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BITS & PIECES www.postmagazine.com 7 POST SEPT/OCT 2026 ARRI & HONOR BRING CINEMATIC IMAGING TO IPHONE MUNICH, GERMANY — Arri (www.arri.com) and Honor have teamed up to launch the Magic9 Pro Max phone. The announcement is the next step in their Cinematic Imaging Partnership and integrates select elements of Arri Image Science, adding additional Arri Looks and access to the Arri Look Library. Arri chief product officer David Bermbach says the collaboration provides an opportunity to introduce up- and-coming cinematographers to the Arri brand at an early stage in their creative journey. Honor recently introduced the Robot Phone, which it co-engineered with Arri and features a professional, mechanical gimbal. A central differentiator of the Magic9 Pro Max is that the Arri brand is now part of the physical product expe- rience, with company logos on both the device and its packaging. The Magic9 Pro Max integrates selected elements of Arri Image Science across capture, color management, realtime preview and finishing. Native Arri LogC3 recording in the Arri Wide Gamut 3 color space is designed to preserve more usable highlight, shadow and color information for post production, while Arri Looks allow creators to preview distinctive visual styles at the moment of capture. The device combines dual 200MP cameras with the Honor Imaging Chip H1, APV 10-bit 4:2:2 recording, cinematic video functions and a cinematic directional mi- crophone. Optional creation accessories including the Honor Teleconverter G200, Teleconverter G500 and SmallRig Mobile Video Kit. The unit is available now for a price of $970. WAR: IMAGINARY FORCES CREATES SHOW OPEN LOS ANGELES — To create the open for War, Imaginary Forces (imaginary- forces.com) director Ronnie Koff employed a constantly-evolving canvas of paint that transform conflict into a visceral landscape. The high energy legal drama pits two of London's most prestigious law firms against one another as they represent high-profile cases. The series was created by George Kay and premiered on HBO October 1st here in the US. "We wanted the sequence to feel like conflict distilled to its most elemental form," Koff explains. "Instead of showing lawyers, courtrooms or traditional imagery from the legal world, we wanted to visualize what happens when two opposing forces come up against one another." Across the sequence, forms collide, fracture, bleed and consume one anoth- er, creating compositions that combine both beauty and destruction. Moments of control give way to chaos, only to reorganize before collapsing again. "We started thinking about the two sides almost like two boxers in a ring," Koff explains. "One advances, the other responds. They collide, separate and come back at each other. Once we started giving the paint that kind of inten- tion, the abstraction suddenly had a story." In addition to Koff, the Imaginary Forces team included art director Henry Chang, designer Kathy Liang, painter/animator Drew Tyndell and editor Lexi Gunvaldson. Apple TV's Cape Fear was shot by cinematographer Eben Bolter and color graded at Harbor by supervising colorist Damien Vandercruyssen and senior colorist Roman Hankewycz. The se- ries was shot in Savannah using Arri's Alexa 35 and they graded at Harbor using their FilmLight's Baselight systems. According to Vandercruyssen, the team pushed the limits of the image, par- ticularly in terms of contrast and saturation, but also worked on the S-curve to keep imagery looking filmic.