» Posts Tagged ‘arri’

Description image

CineVerse Camera Comparison ChartDiscerning cinematographers know that different jobs and projects often require different tools. With digital cinema technology proliferating at an incredible rate, cinematographers now have such a wide variety of camera systems to choose from that the process of deciding which one meets the technical and aesthetic needs of any given project can often be entirely overwhelming. If only all of the relevant technical information for each high-end digital cinema camera could be aggregated into one place, maybe into the form of a well-organized chart –Luckily for us, Tom Fletcher over at CineVerse, a nationwide rental house, put together just such a chart with all of the major digital cinema cameras on the market today (the high-end ones, at least), and it’s an insanely helpful graphic that puts our top-of-the-line digital cinema technology into perspective. More »

Description image

cinema5D ARRI AMIRA ReviewARRI introduced the ENG-style AMIRA back in September of last year, surprising quite a few people who were expecting a low-cost ALEXA, but not necessarily aimed at a different audience. ARRI sees this new camera as more of a TV or documentary tool, since it is designed to fit more comfortably on your shoulder and has better access to functions on the operator side. Even though it has a max resolution of 2K, it has the same sensor as the ALEXA, which means the footage has that signature ARRI look. Sebastian from cinema5D recently reviewed the camera and shot some beautiful footage with it. More »

Description image

Arri Amira Color ToolWhen ARRI released information about their ENG-style, “documentary” camera, AMIRA, there were several reasons for filmmakers to get excited, like its lower price point and the promise of ALEXA-level image quality. Another great feature is the ability to import custom 3D LUTs, and now, ARRI has sweetened that deal by offering a free grading program called the AMIRA Color Tool, which lets users “create, extract, and organize” AMIRA Look files, and then export them for in-camera use. More »

Description image

ARRI ALEXA XTThere were some rumors that ARRI might be talking about a new 6K 65mm camera or a new 4K camera at NAB 2014, but there wasn’t a peep from the company about any new cameras except for the AMIRA. While there are plenty of ALEXA projects shot at 1080p and 2K, Michael Cioni, CEO of Hollywood post house Light Iron, talks about how shooters can get the most out of the almost-3K sensor in a 4K world and how to optimize the ALEXA XT for 4K and UHD applications. More »

Description image

Under the SkinDirector Jonathan Glazer’s artsy sci-fi thriller Under the Skin, starring Scarlett Johansonn as the alien seductress preying on men in Scotland, hit theaters this month, earning the highest per-theater average during its opening weekend, even above Captain America: The Winter Soldier. Success like that makes one wonder what it’s got going on, and thanks to a few featurettes and interviews with Glazer, we get to take a peek behind the scenes as the filmmakers of this hauntingly fascinating movie quietly and secretively capture the disturbing world of a sexy alien disguised as a human using a tiny CCD camera developed specifically for the film; the One-Cam. More »

Description image

AMIRA Camera SimulatorChances are, if you’ve operated or assisted on a production using an ARRI ALEXA, you’ve also used ARRI’s fantastic ALEXA camera simulator, which digitally mimics all of the menu functions and exterior buttons of the camera. Resources such as camera simulators are excellent training tools for both up and coming cam-ops and assistants, as well as experienced guys who need a refresher on how a particular system works. With the new AMIRA camera making its way out into the world, ARRI has released the first version of the AMIRA camera simulator, and it’s definitely worth checking out you intend to use this camera any time in the near future. More »

Description image

Amira BrazilLast week, after months upon months of waiting with our breath held, ARRI unveiled the pricing for its ENG-style documentary camera, the highly anticipated AMIRA. As was expected, the camera, which sports the same 16:9 sensor as some of its ALEXA brethren, is not an inexpensive one by any stretch of the imagination, with basic AMIRA packages starting in the neighborhood of $40,000. Even though the cameras are starting to make their way out into the wild, we still haven’t seen too many people put the AMIRA through its paces yet. Until now, that is. Filmmaker Jens Hoffman was recently given the chance to finish up his ALEXA-shot documentary MATA MATAwhich is about soccer culture and players in Brazil, on a brand new AMIRA, and the footage is breathtaking, to say the very least. More »

Description image

ARRI AMIRA

Geared more toward documentary, news, or TV work — yet using the same sensor as some of the higher-end ALEXA cinema cameras — the lower-cost, ENG-style AMIRA is expected to provide the usability that a run-and-gun shoot would require without sacrificing too much in image quality. Earlier this year, ARRI revealed the prices of its different upgradable camera packages, but yesterday they added another very important piece to the puzzle by announcing that they’ll begin shipping the highly anticipated camera this month. More »

Description image

ARRI Logo LargeWhile the 6K market may start to get crowded over the next few years, what’s so special about that resolution? As an acquisition format, 6K gives you all sorts of options for better-looking 4K with the ability to reframe and stabilize. That’s why it comes as no surprise that ARRI looks to be developing their own 6K camera, but instead of squeezing those pixels onto a Super 35mm sensor like the RED DRAGON or the new Kinefinity 6K cameras are, the company is letting them breathe on a gigantic 65mm sensor. More »

Description image

ben knight DamNation red epic

Sure, we’re all a bunch of gear junkies, but in some ways we know, a camera is a camera is a camera. It’s just as important for every production to have a good (or at least decent) concept, and therefore, a good reason to use one camera over the other! From scrapping a 3D production to saving up for six years to buy a RED EPIC, the excerpts below from a handful of different, but very talented, SXSW filmmakers are centered around one question: what did you shoot on and why? More »

Description image

Screen Shot 2014-03-16 at 11.47.00 PMBelieve it or not, shooting on film is still a legitimate thing (I know, it’s shocking). Despite the fact that digital imaging is finally matching the technical capabilities of film (and maybe even surpassing it in the case of DRAGON), many narrative productions are still shooting on good old fashioned celluloid. What does this mean for younger folks looking to make a career in the camera department? Well for one, it means that knowing your way around a film camera, and knowing how to load various types of magazines, is still a valuable skill in this industry, one that might land you a gig or two. Luckily for us, literally anything can be learned on YouTube, including the methods for loading film in a variety of popular magazines and cameras. More »

Description image

ALEXA-Studio_headerWithin the span of the past three years, the ARRI ALEXA has become the gold-standard for cameras in productions of all shapes and sizes, from the highest-end Hollywood extravaganzas to television shows and commercials and beyond. Essentially, if you’re looking to work as a camera operator or assistant, or even as a DIT, it will behoove you greatly to know your way around the ALEXA. With that goal in mind, I’ve pulled together some of the finest resources from around the web to get you started with this excellent camera system. Luckily, it’s a very intuitive camera, so you’ll be up and running in no time flat! More »

Description image

ARRI ALEXA XT BW Monochrome-InfraredSeems like it’s all ARRI news lately, but the company has another new product coming out. We’ve talked a bit about the RED EPIC Monochrome camera that shoots only in black and white, and it gives spectacular results. Now, ARRI is coming right back with their own monochrome camera, which takes most of what people like about the current ALEXA, and pumps up the performance even more. Not only is this camera monochrome, but it’s capable of shooting infrared with the switch of a filter. Check out some of the footage shot on the new B+W: More »

Description image

AmiraAt the IBC show in Amsterdam back in September, ARRI made a huge splash unveiling the AMIRA, which has the same 16:9 sensor as some of the higher-end ALEXA cinema cameras. While the AMIRA is an ENG-style camera marketed towards documentary filmmakers by the company, the possibilities for its use certainly don’t stop there. The promise of ALEXA image quality in a cheaper rental package is certainly enticing, but what if you want to own one of your own? Click through for some pricing information that has finally been revealed. More »

Description image

Iris Rod Support Standards 15mm 15mm LWS 19mmIn the flooded market of new camera accessories, one can easily become confused as to which support gear is best for which camera setups. Iris rods should be found on almost every camera setup in the world, but which sizes and spacings should you use? Read on to clear up any confusion you might have between ARRI’s three rod standards: 15mm LWS, 15mm and 19mm Studio. More »

Description image

sundance logo 2014Sundance is over – the winners have been announced and filmmakers of all types are leaving the small town of Park City in droves — however, for many, things are just beginning. This festival has a way of inspiring young filmmakers to jump out of their seats and grab their cameras, but probably the biggest question that’s asked in the very beginning is, “What camera should I buy?” One way to answer that is to find out what pros are using on projects that closely resemble yours, which is why this list, compiled by Indiewire, of the cameras used by this year’s Sundance Film Festival filmmakers is an excellent resource in learning our (future) peers and colleagues’ approach to filmmaking. Continue on for the full list of cameras. More »

Description image

OscarsWe all know that being a filmmaker means a lot more than having an awesome camera. However — it doesn’t hurt. But, how exactly do we gauge the awesomeness of cameras on the market? Well, that depends on your personal definition, but one way would be to look at what the Oscar-nominated filmmakers of 2014 used on their films. Setlife Magazine has shared a trove of technical specifications for the nominated films, including which cameras, lenses, film/digital negatives and prints were used, but let’s just say — one camera maker swept up nice and clean. Find out which one after the jump. More »

Description image

Nebraska Black and WhiteI’m a sucker for good black and white cinematography. For that reason, 2013 was a fantastic year. We were given a slew of unique independent films shot in black and white, from Joss Whedon’s Much Ado About Nothing to Noah Baumbach’s Frances Ha. While these films have wonderful aesthetics, perhaps the most gorgeous black and white cinematography of the year came from Phedon Papamichael’s efforts on Alexander Payne’s most recent flick, Nebraska. Papamichael recently sat down for an interview on the ASC Podcast in which he talks extensively about the processes and intricacies of black and white cinematography in the digital age. More »

Description image

sean bobbittThese days, there aren’t many DPs doing more inspired work than Sean Bobbitt. From his absolutely stunning collaborations with British artist Steve McQueen (of which 12 Years A Slave is the most recent), to his work with masterful filmmakers like Derek Cianfrance and Neil Jordan, Bobbitt has defined one of the most unique and compelling cinematic voices in recent memory. At last month’s Cameraimage festival in Poland, Bobbitt conducted a truly excellent hour and a half workshop about handheld camera operating. For camera operators and DPs alike, this is a must-see workshop. Check it out: More »

Description image

Hurlbut Camera Tests Alexa c500Although most digital productions these days are shot on the ALEXA or the EPIC, Director of Photography Shane Hurlbut’s most recent project, Need For Speed, featured an against-the-grain camera choice of Canon’s C500. In a recent series of blog posts, Hurlbut provided his readers with an extensive amount of information about how he and his team chose the C500 over the multitude of digital cinema cameras on the market today. Here’s a roundup of his first set of camera tests, featuring the ARRI ALEXA and the Canon C500. More »