Download - Arri

More documents

Recommendations

Info

0 6 C a m e r a While the announcement of the ARRI Digital Camera System at IBC 2009 focused on the image quality of the system’s 35 format 3.5K CMOS sensor, the exciting news at NAB 2010 is the upcoming availability of the ALEXA camera, ARRI’s implementation of the Apple ProRes codec and the camera’s versatile and highly efficient workflows. The Camera Based on extensive customer feedback and innovative technologies, the ALEXA camera is a 35 format film-style digital camera that is part of a completely new universe of cameras, lenses, accessories and recording solutions supplied by ARRI. Designed for broadcast and feature film productions, ALEXA offers exceptional image performance, is simple to operate, reliable in even the most extreme environments and versatile enough to cover a wide range of workflow and budget requirements. Main Features • Image Performance – Film-like, organic image quality – Sharp images for HD and 2K DI – 800 EI base sensitivity – More than 13 stops exposure latitude – Exceptionally low noise – Same exposure latitude and low noise from 200 to 800 EI – Excellent color separation • Efficient and Versatile Workflows – Efficient Direct-to-Edit (DTE) workflows ç Record Apple ProRes onto on-board SxS cards ç for straight online with ProRes ç for off-line/on-line with ProRes and ARRIRAW or uncompressed HD – Parallel output of ProRes, HD and ARRIRAW – Complete metadata – Integrated color management • ARRI Product Quality – Robust and reliable – Simple and safe operation – Ergonomic design – Compatibility with existing accessories – Worldwide ARRI service • Open, Future-proof Architecture – The largest selection of matched PL mount lenses – Support for third party on-board recorders – Support for ARRIRAW post tools – Gold and V mount on -board battery adapters – Upgradable memory card module – Upgradable camera electronics – Exchangeable Lens Mount
How the Work Flows… Future Proof The ALEXA system represents the most versatile, fastest and smoothest method to get images, audio and metadata from the set to post and distribution. This is achieved through a multitude of output options, support for Direct to Edit workflows, rich metadata and integrated color management. The ALEXA camera is unique in that it can simultaneously record Apple ProRes files, output uncompressed HD-SDI video and uncompressed ARRIRAW data. This output versatility makes it ideal for a myriad of productions and workflows from telenovelas to feature films. As one of only a handful of companies that have licensed the ProRes codec, ARRI has worked closely with Apple on creating camera electronics that can encode images with the ProRes codec and combine them with audio and metadata into QuickTime files in real time. The Apple ProRes codec family provides an unparalleled combination of multi-stream, real-time editing performance coupled with impressive image quality for 1920 x 1080 HD or 2K at reduced storage rates. The availability of such a high powered codec for ALEXA is a revolutionary step that offers a number of dramatic improvements for straight on-line as well as for off-line/on-line workflows, collectively known as “Direct to Edit” (DTE). Productions that need to get HD images as quickly as possible from the camera into post can record QuickTime/ProRes files onto the on-board SxS cards, pop the cards into a laptop and start editing immediately. This is the fastest and simplest method for increasing production efficiency through tapeless, filed-based recording. Recording the content in the same codec that is natively used by the Final Cut Pro editing software removes the hassle of transcoding and takes full advantage of the speed and power of the editing software. Furthermore, the extremely high quality of the ProRes 422 (HQ) and 4444 codecs means that the edited result can be immediately distributed. Productions that choose to record in uncompressed HD or ARRIRAW for an off-line/online workflow gain another benefit: the QuickTime/ProRes off-line editing proxy is created directly in the camera, carrying the exact same images, audio, timecode and metadata as the on-line HD or ARRIRAW material. This removes the time-consuming extra step of ingesting and creating an offline copy, plus it ensures complete congruency between off-line and on-line versions. As the best recording media for Apple ProRes files, ARRI has chosen SxS cards because of their high data throughput. Two SxS cards can be slotted into a module on the camera’s left side for convenient on-board recording of QuickTime/ProRes files. Smoothing out the workflow is rich metadata in the QuickTime headers, a separate XML file, the HD-SDI video stream and ARRIRAW files. ALEXA generates all the necessary information right in the camera in the correct format and marries it to the image. Integrated color management allows the cinematographer to apply a look file to any camera output. This is extremely useful for either “baking in” a look, or for recording a “clean” log or ARRIRAW image and applying a look file only to the camera’s monitor HD-SDI output. C a m e r a To protect our customer’s investment in the ALEXA camera, we have designed the left and the right side as well as the lens mount of the camera in a modular fashion. Attached to the camera’s left side is the Removable Storage Module RSM EC35, which holds the SxS cards. Should another recording technology prove more desirable in the future, it is quick and easy to exchange the storage module for a new one. The camera’s right side contains the control electronics, which can also be exchanged when a new version with expanded functionalities becomes available. To make a whole new world of lenses accessible to productions, ALEXA is equipped with an Exchangeable Lens Mount (ELM) system. The standard PL lens mount can be removed and replaced with either a Pana vision or a stills camera lens mount. 0 7
Page 1 and 2: 0 4 / 2 0 1 0 n e w s the alex a Un
Page 3 and 4: Dear Friends and Colleagues Dr. Mar
Page 5: ARRI/FUJINON Zooms ARRI/ZEISS Prime
Page 9 and 10: Powerful options 3D optimized The E
Page 11 and 12: Flow Apple ProRes Direct-to-Post Wo
Page 13 and 14: S.two OB-1 * FilmLight Filmlight Ba
Page 15 and 16: Workflow Case Study ARRIRAW Workflo
Page 17 and 18: Recently, the newly founded ARRI Di
Page 19 and 20: The sensitivity of the ARRI sensor
Page 21 and 22: The production was supplied with AR
Page 23 and 24: LIE TO ME When Sidell was brought o
Page 25 and 26: 81 Degrees North extreme cold, rain
Page 27 and 28: (f.l.t.r.) Kai Schubert, Hans Fisch
Page 29 and 30: Transforms two streams of 1920x1080
Page 31 and 32: ASWAR EL AMAR (MOON WALL) is among
Page 33 and 34: photo Dean Morin it turned out that
Page 35 and 36: What postproduction route was taken
Page 37 and 38: photo: Ingeborg Klyve John Christia
Page 39 and 40: M A I N F E A T U R E S • Matched
Page 41 and 42: ARRI/ZEISS 12 master Prime A Techno
Page 43 and 44: ©A.M.P.A.S.® photo: Danny Molosho
Page 45 and 46: photo Matt Petit © A.M.P.A.S.® ph
Page 47 and 48: an ARRISCAN rather than run through
Page 49 and 50: Current Productions Numerous restor
Page 51 and 52: Focus on Company 3 File-based Workf
Page 53 and 54: iPAX The ARRI PAX LED Kit with True
Page 55 and 56: photos: Jake Gigliotti Mark Read al
Page 57 and 58:
Successful TV show relies on ARRI T
Page 59 and 60:
ARRImAX in China Illuminating the g
Page 61 and 62:
Based on the design principles of t
Page 63 and 64:
Under the guidance of DoP Gernot Ro
Page 65 and 66:
Dr. Martin Prillmann (right) presen
Page 67 and 68:
Dr. Martin Prillmann, Adel Adeeb, F
Page 69 and 70:
HoRIZoNS Stephan is to analyse the
Page 71 and 72:
ARRI way both analogue and digital
Page 73 and 74:
That same year Volker was named Pre
Page 75 and 76:
ARRI RENTAL GERMANY ARRI CSC ARRI M
show all

Download - Arri

Create successful ePaper yourself

Delete template?

Save as template?