"The clever thing about RDI is how Fujifilm have managed to make a negative stock that is significantly faster without sacrificing the granularity. In-fact the grain-structure appears to be finer and there is a noticeable decrease in flare and increase in sharpness when recording out high-contrast subject matter, due to its faster film speed.
“Fujifilm RDI exhibits much less colour cross talk over an extended density range, due to its dye layers being sensitised to the laser wavelengths used by the Arri recorders. This has a desirable affect on colour management since our recorder characterisations become less distorted – 3D colour cubes become more cubic."
Jerome Dewhurst – Digital Grading Engineer, Framestore
“Fujifilm RDI gives a greater colour gamut, delivering more saturated colours, and rich, detailed blacks. The image on RDI has more detail than other negative stocks; this crisper image keeps the bulk prints looking like they were struck straight from the OCN and not like dupes.”
Asa Shoul – Digital Lab Colourist, Framestore
"Fujifilm RDI has enabled me, as a Framestore digital intermediate colourist, to create bolder and richer looks. A film like "Heartless" has benefited greatly from being able to create velvet-like blacks and saturated colours, yet keeping a nice separation between the different hues.
“RDI helped me build a look, without it becoming a colour wash. I like to put a main colour theme in a scene and sprinkle it with complementary colours to make the main colour theme stand out even more. For more naturalistic looks, the Fujifilm RDI stock is great. On "Ondine", I sat down with Christopher Doyle and created a blue, cyan and green palette for Ireland. Again, the subtle colour palette transferred great and the rich blacks retained their detail."
Brian Krijgsman – Digital Lab Colourist, Framestore |
