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0 8 C a m e r a Image Performance ALEXA’s unequalled base sensitivity of 800 ISO equivalent, spectacularly wide exposure latitude of over 13 stops and low noise means greater flexibility and efficiency for the cinematographer on the set. Furthermore, the exposure latitude and low noise remain constant from 200 to 800 EI. ARRI Imaging Technology (AIT) ensures the most organic, film-like image quality of any digital camera with natural color rendition and pleasing skin tones. The ALEXA’s 35 format sensor exhibits cinematic, shallow depth of field and creates sharp, natural images for HD and 2K DI. In addition, the ALEXA images also show a very clean color separation, which is particularly important for green screen and other VFX work. ARRI Product Quality Decades of experience, an obsessive attention to detail and an intimate familiarity with the conditions on a typical set have led to generations of ARRI cameras that are robust, reliable and simple to operate. Those same high quality standards have also been applied to the ALEXA camera, leading to a number of innovative and extraordinary solutions. Production is tough and cameras have to function anywhere on, below or above the earth in all climatic conditions. To the ARRI engineers, reliability is a mission-critical, must-have feature. In order to fulfill those requirements, ALEXA is built from a single body, a design that is far more rugged and lighter than an entirely modular body. The camera’s electronics are housed in a sealed compartment in the center of the camera. The heat generated by the boards is transported via heat pipes to a heat sink located in a ventilation shaft at the back of the camera. A single, slow running super-silent fan cools the heat sink. If need be, the fan can be easily exchanged. This system protects the electronics, makes the camera splash and dust proof and ensures proper thermal management of sensor and processing boards. To further improve the legendary stability of the ARRI lens mount, ALEXA is equipped with a novel lens and sensor mount design. The lens mount is attached to a stainless steel tube, which itself is attached to the sensor mount. The whole unit is then attached to the camera body. Using stainless steel ensures minimum material expansion or contraction during temperature changes. A stable flange focal depth is ensured by creating a fixed link between lens and sensor mount – even if strong mechanical influences are applied to the lens mount, such as when a heavy zoom lens is not properly supported. Equally as important as having a durable camera is a camera that can be operated in a straightforward and safe fashion. For ALEXA we have thought up a completely new control concept that combines a large transflective color screen with dedicated hardware buttons, flexible soft buttons and a jog wheel. Operating ALEXA is even simpler than operating the ARRIFLEX D-21, and setting the main parameters like fps, shutter, EI and white balance is something that anyone can learn in a couple of minutes without a manual. We have also included many ergonomic details that will help crews work faster and safer during day to day operations. The camera is compact, lightweight and properly balanced for shoulder operation. Features like a shoulder arch and 15 mm lightweight rod receptacles are built-in, as is support for video style bridge plates right out of the box. Optionally, the camera can accept its own film style bridge plate BP-12, or can be attached via a small adapter to existing film style bridge plates like the BP-3, 5, 8 or 9. For the greatest flexibility in camera and accessory mounting, ALEXA is equipped with a rosette and two 3 / 8 -16 mounting points on each side. More 3 / 8 -16 mounting points can be found on the viewfinder mounting bracket and the handles. Even in the button design have we found potential for ergonomic improvement; different button sizes, raised bumps on some buttons and a judicious sprinkling of raised lines and bumps on the camera housing itself help fingers find buttons quickly and safely even in the dark.
Powerful options 3D optimized The Electronic Viewfinder EVF-1 Multiple options are also available for powering the camera. ALEXA accepts either a 24V power cable from a power supply or battery, or can be equipped with battery adapters that mount either on top and/or back. Battery adapters are available for either Gold or V mount batteries. Batteries can be hot-plugged as the camera will instantly auto-switch to the power source with the highest voltage. Line level stereo audio can be fed into a standard XLR 5 pin connector, and will be embedded into the QuickTime/ProRes files, HD-SDI stream and ARRIRAW data. Various features of ALEXA make it the perfect choice for 3D rigs. Careful planning has gone into making sure that each camera will show the same exact timing as all the others for reliable synchronization between left and right eye cameras. A simple master/ slave mode makes setting parameters a snap. The camera’s unmatched high sensitivity helps compensate for the light loss in mirror rigs, and its compact size reduces the rig’s size and weight. And last but not least, high dynamic range has been identified as one of the contributing factors to a better stereoscopic impression for the audience. While an optical viewfinder still provides the best operating experience, it comes at a price and added weight. For ALEXA we have developed the high resolution ARRI Electronic Viewfinder (EVF-1), a viewing system that combines a state-of-the-art temperature stabilized 1280 x 768 F-LCOS micro display with an innovative auto-calibrating LED light engine, high-quality coated glass optics and robust mechanics. The system offers much more than a conventional electronic viewfinder; it has been specifically designed to meet the needs of professional camera operators by offering high resolution, accurate color reproduction, great ergonomics, overscan and extremely minimal image delay. Weblinks: www.arridigital.com/ www.arridigital.com/alexa-reservation www.arridigital.com/teaser C a m e r a 0 9
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Page 3 and 4: Dear Friends and Colleagues Dr. Mar
Page 5 and 6: ARRI/FUJINON Zooms ARRI/ZEISS Prime
Page 7: How the Work Flows… Future Proof
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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
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ARRImAX in China Illuminating the g
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Based on the design principles of t
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Under the guidance of DoP Gernot Ro
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Dr. Martin Prillmann, Adel Adeeb, F
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