Tag Archives: ARRI

ARRI Ultra Wide Zoom 9.5-18 mm

  More details on ARRI’s UWZ 9.5-18 mm T2.9 Ultra Wide Zoom. But first some thoughts on where it might be used, and on what kind of scenes: underwater, aerials, POVs from trains, planes, automobiles. The 8R is a wonderful lens, but sometimes we have the irresistible urge to zoom in slightly or change focal length during the shot–especially when the… read more…

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ARRI Amira $39.9K

As expected, ARRI announced the price of Amira cameras today. The camera with viewfinder base price is $39,999.00. A large and varied list of accessories and options allow the camera to be customized. The Amira, in case anyone missed the demos at IBC and elsewhere, is a documentary-style, shoulder-resting, 35mm HD and 2K camera. The ergonomics are superb, remind me… read more…

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ARRI/ZEISS Master Anamorphics

  Camtec in Burbank received one of the first “starter sets” of ARRI/ZEISS Master Anamorphic Prime lenses: 35, 50, and 75 mm T1.9. Kavon and Jay Elhami kindly let me test them on an Alexa and on a Gecko lens projector. These 2x squeeze anamorphics are incredibly free of geometric distortion. In other words, if you’re doing a Day, Exterior, Wide… read more…

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Alexa Update Sup 9.0

Cyber-Monday includes the new ARRI Alexa 9.0 Software Update Packet (SUP) for XT/XR and Classic cameras. SUP 9.0 includes ARRI Open Gate sensor mode.
In Open Gate sensor mode, the active pixel area is 28.17 x 18.13 mm, 3414 x 2198 photo sites, an image circle of 33.5 mm, and an aspect ratio of 1.55:1. This larger area can be helpful for repo, resizing, digital stabilization, rotating, or native 3.4K VFX. read more…

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ARRI Amira SR

It reminds me of the ARRI 16SR — the camera that launched a thousand careers, including mine. The 16SR was designed by Erich Kaestner as a documentary and news 16mm film camera so lightweight and portable that it could fit into an attaché case (that came with the camera–optional extra in those pre-Petrol-Kata-Tenba-Lowepro days) and fit under an airline seat… read more…

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ARRI Alexa Internal Filter Module

ARRI Alexa XT cameras will be delivered with the Internal Filter Module (IFM) filter holder installed —  except the Alexa Studio which has its own motorized ND filter system and cannot use of the Internal Filter Module. The filters that go into the IFM are called FSNDs. They are not included with the Alexa XT cameras, and have to be purchased separately…. read more…

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ARRI Alexa XR and XT

Alexa XR Module Upgrade ARRI has announced today that existing Alexa cameras can soon be upgraded with internal ARRIRAW. ARRI and Codex worked together to develop a new XR Module (Xtended Recording) side cover for ARRIRAW uncompressed recording right where your SxS PRO card previously went. Any of the five current Alexas can be upgraded: Alexa, Alexa Plus, Alexa Plus… read more…

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The Envelopes Please

Ladies and Gentlemen, start your engines and get your gowns or tuxes ready for the awards season. In Arthur Mayer’s film class at Dartmouth we placed bets. The winner got a prized copy of Arthur’s “History of the Movies.” Times have changed. We now look for patterns in technique and technology. This list comes from many sources and will be… read more…

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Clairmont Alexa In-Camera Filter System

Designed by Clairmont’s very own Andree Martin, these new tools give the cinematographer access to an In-Camera Net Holder and an In-Camera Blue Streak Effect “Filter.”  The In-Camera Filter Systems can be used with both spherical and anamorphic lenses and are an available option to rent with Clairmont Camera’s ARRI Alexas.  The In-Camera Filter System will be available for purchase from Schneider in the… read more…

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Conv Design Gemini 4:4:4 Gets ARRI OK

Convergent Design’s Gemini 4:4:4 has received certification by ARRI for Alexa ARRIRAW Certification. An ARRIRAW Recording Certificate is issued when all of the following conditions are met: The product can reliably record the ARRIRAW T-linkstream (2880×1620, 16:9, at standard speeds of 23.976, 24, 25, 29.97 and 30 fps) The product can reliably record the complete set of ARRIRAW metadata embedded in… read more…

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35mm 4-perf Film Anamorphic 1.3x 16:9

Sebastien Gonon reports from Paris about shooting a major campaign of shampoo commercials on 35mm film (Kodak Vision3) with ARRI 435 cameras using anamorphic lenses (Hawk V-Lite 1.3x squeeze). Vantage Paris supplied the camera and lens package.  The concept was atmosphere and mood: girl walking, meeting a guy, a hug, beauty, Paris. To help define the look, agency, client and… read more…

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First ALEXA Studio at Clairmont

Clairmont Camera got the first ARRI ALEXA Studio Camera in the US. Although delivered with less fanfare than other recent camera arrivals, our rumor phone and embedded camera technicians have definitely confirmed that Clairmont’s ALEXA Studio arrived the first week of January. I should have known: I was supposed to take pictures of the camera in New York for our… read more…

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1st Alexa Studio at AbelCine

Yesterday was a day of firsts. While the first production Sony F65 was presented in Hawaii, New Yorkers got to see the first ARRI Alexa Studio demo at AbelCine’s newly redesigned headquarters. Moe Shore made the introductions. He pointed out that the majority of TV shows this year have been shot with Alexa. The reasons are probably image performance, efficient… read more…

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ARRI Alexa at 120 fps

With ARRI’s new Software Upgrade Packet SUP 5.0,  your Alexa can now shoot up to 120 fps. While SUP 5.0 is a free update for Alexa customers, its High Speed mode can only be activated through the purchase of a license key at the Alexa License Shop. Each license key is coded to a particular camera and can be selectively enabled or disabled,… read more…

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ARRI Alexa DNxHD on Avid

ARRI Alexa cameras will record native Avid DNxHD as MXF files in-camera on SxS Cards. The downloadable Software Update Packet 6.0 (due January 2012) will enable Avid DNxHD codec data rates of up to 145Mbit/s (bit depth 8 bit) and 220MBit/s (bit depth 10 bit) to be supported in the initial release. Avid’s highest quality version of the codec, Avid DNxHD 444,… read more…

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ARRI Alexa Studio USA Debut

ARRI Alexa Studio made her USA debut in Hollywood on Thursday evening. Two working Alexas were set up in the ASC clubhouse for hands-on scrutiny. Alexa Studio is the third sister in ARRI’s latest family of 35mm digital motion picture cameras. This is the one with a spinning mirror shutter, optical finder and full frame 4:3 35mm sensor. That is… read more…

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ARRI Alexa 4.0 Software Update

ARRI Alexas are everywhere here in Europe, shooting features, television specials and commercials. A busy camera assistant, who prefers to remain anonymous, had this to say about Alexa’s ubiquity, “It’s the green button and it beeps when you start. It behaves like familiar friends–Arriflex film cameras.” You can now upgrade your Alexa to software version 4.0. A full description is… read more…

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Alexa at Cine Gear

At Cine Gear Expo, it felt like Alexa Expo. ARRI Alexa cameras were everywhere. They were as ubiquitous as Canon 5D and RED cameras that populated previous Expos. Alexas were so busy on shows that some exhibitors at Cine Gear had to sub-rent or ship from Europe. Never before have so many cameras been built each month on Tuerkenstrasse in… read more…

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Cine Gear Expo 2011

With a week to digest Cine Gear Expo, along with the delicious In-N-Out burgers, it’s as risky to analyze the trends we saw on Paramount’s New York Streets as it is to augur the whims of Wall Street. Nevertheless, here goes. But first we need to talk about art and politics. Equipment is getting cheaper, labor is getting more expensive,… read more…

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Volker Bahnemann NYU Awards

The first annual Volker Bahnemann Awards for Cinematography were presented yesterday evening at NYU Tisch School of the Arts Maurice Kanbar Institute. Two undergrad and three graduate cinematography students were nominated and received plaques; the winners were awarded grants. The award was funded by ARRI, CSC, friends and colleagues in  recognition of Volker Bahnemann’s half century of service to the… read more…

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