Regardless of whether your production has been shot on film, DV or video: Today, once actors and cameramen have gone home, the raw footage will almost invariable make its way into digital postproduction. At the end of the journey the DEFINITY Digital Film Recorder will make sure that the result will shine in cinemas worldwide.
DEFINITY gives you and your customers the confidence that whatever is envisioned in postproduction will find its way on the big screen, whether you work in logarithmic or in linear space. DEFINITY's effectively flare-free field array recording technology means that neither in the shadows, nor in the highlights one detail or nuance will have to be lost. For Digital Intermediate DEFINITY comes calibrated to the Kodak Cineon standard, and will become the ideal counterpart for your scanner or telecine. Its fixed geometry and a practically unlimited contrast range ensure that your digital intermediate will be virtually indistinguishable from your original material.
Because of the unique spectral characteristics of its light source, DEFINITY negotiates between digital color space and the film gamut with a minimum of chromatic shifts.
If you want to go the extra yard to ensure that the colors on the silver screen will perfectly match the creative vision established in postproduction, DEFINITY can incorporate virtually any existing color management system in order to match color spaces already in the grading suite.
Currently, the Truelight calibration and Color Management System from Filmlight Ltd. is used by a number of DEFINITY users.
Preparing 12bit, 12 megapixel images on-the-fly requires considerable computing power, and that is what this Xeon Dualcore 64bit workstation provides in abundance.
Only this way advanced multichannel sharpening and upres algorithms can be applied that will make even low-resolution DV material suitable for the big screen.
But the station also serves as the gateway for incoming data, whether you want to record directly from the network or from a customer's firewire drive.
Finally, it comes with a 3 terabyte RAID array, enough storage space for entire 4K features.
When a device must run around the clock, its user interface can't be simple enough: The DEFINITY touchscreen GUI makes it possible for jobs to be set up and handled even by non-trained staff. And complex projects with multiple fine-tuned parameters can also be managed with the tip of a finger. The interface also provides several ways of staying informed about the status of your project, from mobile phone text messaging to internet monitoring.
Inside this inconspicuous housing lies the heart of DEFINITY, the Central Imaging Unit, or CIU. A monochrome 15 megapixel LCD panel, high-precision DVI-LVDS converters, a third-generation dichroic filter system, holographic diffusers and an innovative LED light source join forces to create an imaging device like no other in film recording.
DEFINITY's CIU can switch from square to rectangular, anamorphic pixels that allow an increase in horizontal resolution by a factor of three: Unlike conventional film recorders with their square or round pixels, DEFIINITY can switch between three different available pixel aspect ratios, thus recording formats like Cinemascope or HDV Anamorphic without loosing vital visual information or introducing unnecessarily stretched pixels in projection.
Apart from knowing that it will generate the most stunning images, you will not have to spare many thoughts about DEFINITY's CIU: It is virtually maintenance-free and has a life that makes every other available technology pale in comparison.
DEFINITY's mechanical workhorse has been designed with three objectives: ease of use, reliability and accuracy. And this is what this unique 35mm camera has delivered for many years now.
The autoload mechanism makes film loading as easy as the turn of knob. Putting on a magazine with fresh film, loading it and taking off the take-up magazine with the recorded film all in all takes only a few seconds. And with as few moving parts inside as possible, there is less to go wrong, and less to look after.
You can choose between 1,000 and 2,000ft split magazines; if you frequently operate with different film stocks, multiple magazines can be digitally coded to automatically keep track of the remaining material inside.
The camera also houses the custom-designed apochromatic lens system that reduces geometric distortions and chromatic aberrations to an absolute minimum.