Molinare invests in ARRI DI tools

Molinare, one of the leading postproduction facilities in London's Soho, recently invested in a range of ARRI DI tools as part of a significant overhaul of its DI department. The package included a 4K ARRISCAN, ARRI Wet Gates, an ARRILASER II and the ARRI Relativity software. Scott Holmgren, CTO at Molinare, spoke with ARRI about the transformation of his company's DI offerings.

It was the speed and just the overall image quality that led us to the ARRISCAN.

ARRI News: Your investments in ARRI DI equipment form part of a major refurbishment; what impact it will have on the services offered by Molinare?

 

Scott Holmgren: Molinare's owners have injected about eight million pounds for us to purchase additional equipment, upgrade the infrastructure and also to effectively re-develop the facilities themselves, with some new areas being developed and existing areas being revitalized. 

 

As part of these upgrades we have just built an extremely large grading theatre where we have a Baselight 8 with digital projection, stereoscopic projection and also a film projector. The seating is extremely plush and comfortable, with an eight meter wide screen for a true cinematic experience.

 

AN: Is work already lining up for the new theatre?

 

SH: The theatre has been very well received by everyone who has seen it and we have a lot of work lined up. The whole DI department is expanding and in the end we will have a total of five Baselights. We are able to service multiple major productions simultaneously; recently we were working on the features Ironclad and The King's Speech at the same time as a stereoscopic feature called The Mortician was being offlined.

 

AN: You've ordered a 4K ARRISCAN with ARRI Wet Gates; how will it fit into your existing workflow and will you be chasing archive or restoration work?

SH: We're definitely looking to expand into archive and restoration; that was the reason behind the purchase of the Wet Gate. We have two Northlight scanners, but from a performance and speed perspective they just couldn't keep up with the work we were doing. So the challenge then was to find something fast that could match the existing quality. We did a test with some footage from The King's Speech, which was sent off to ARRI to run through the Wet Gate; the results that came back were truly amazing.

AN: The ARRI Relativity software was part of your package; what element of that software do you anticipate being most useful to the services you offer?

SH: In particular it was the degraining element; it actually came about because initially I had some clients that requested it for a 16 mm production. They had heard about Relativity so we brought it in to test it for them and the results were very positive; the clients loved it, so it reached the point where my hand was being forced by the client's request to have this in-house!

AN: What were the major factors behind your decision to go with the ARRI technology?

SH: It was the speed and just the overall image quality that led us to the ARRISCAN. 

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AN: You've traded in an ARRILASER for an ARRILASER II; was this also to speed up turnaround times?

 

SH: Yes; again this was another area that was a bottleneck for us. It's one of those scenarios whereby the ARRILASER is either sitting idle or we have a backlog of work for it. The ARRILASER II is doubling our throughput right now.