» Posts Tagged ‘arri’
These 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 »
Although 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 »
Lighting, whether we like it or not, is a highly technical craft. Even though it isn’t necessary to know the amount of footcandles or lux that a light gives off at a certain distance, or how a light’s CRI will affect the final image, in order to light a shot effectively, you can bet that the most discerning cinematographers and their gaffers are absolutely thinking about those technical characteristics when they light. Even though that type of information can be intimidating for beginning (and even intermediate) filmmakers, Arri’s new Photometrics app puts all of it right at your fingertips: More »
Earlier in the year at the IBC convention, ARRI announced a new camera, one that many believe to be the perfect documentary camera. This camera, the ARRI AMIRA, combines the image quality of its cinematic big brothers (the ALEXA line of cameras) with the single-shooter ergonomics of ENG style cameras. The result is a camera that is perfectly suited for high-end documentary production (as well as run ‘n gun narrative production, for that matter.) The fine folks at Zacuto and NewsShooter have released their first look videos and interviews from IBC. Here’s what they had to say about the AMIRA: More »
There has been some significant news on the Arri front over the past few months — namely, that the growing Alexa family is forking out ‘budget’ HD-specific and Doc-friendly body implementations. All the while, AbelCine has been a great resource on keeping us all up to date on the family’s tech specs & specifics. This trend continues as AbelCine’s Andy Shipsides walks us through Arri’s Alexa XT system. Briefly, the XT series upgrades Alexa to Codex-powered internal ARRIRAW recording. Andy’s videos go through the ins and outs of this system — detailing everything from virtual media to live-grading metadata. Read on to check out the videos. More »
ARRI just announced a brand new camera at the IBC conference in Amsterdam they are calling the AMIRA. Not to be confused with the budget ALEXA HD that was just recently announced, the AMIRA features the same sensor and similar recording resolutions as that camera, but is housed in a completely new body design designed to be more ENG/TV/Documentary-friendly. Check out their intro video below: More »
ARRI is developing a 4K camera with 14 stops of dynamic range and high frame rate capabilities, and while that might not come as a surprise to anyone who’s been paying attention, now we’ve got confirmation straight from the company itself. Everyone is making a 4K camera, so it was only a matter of time that ARRI jumped on board as well. What’s interesting, however, is not that ARRI is developing a 4K camera, but that they aren’t happy with how quickly companies seem to want to push HD to the wayside and get on the UHD and 4K trains. More »
Want that sweet ALEXA look but can’t quite afford the full price to buy one? Or need the rental to be just a little cheaper? What if you don’t need that fancy schmancy RAW option? Then the new ARRI ALEXA HD might be in your immediate future. ARRI has taken everything that’s good about the camera series — like the 14-stop 800 ISO sensor, 10-bit Log-C ProRes, SxS cards, and the intuitive menu system — and is passing the cost savings on to the customer. Here is AbelCine’s Mitch Gross explaining exactly what this camera has to offer for users who want their ARRI just a little cheaper: More »
Suffice it to say some lucky, happy campers here at NFS have recently (finally) gotten their hands on a refurbished Canon 5D Mark III. Substances will surely flow in the not-too-distant future — and by substances I think I mean “footage.” We recently came across an overall-helpful 5D3 RAW DaVinci Resolve workflow tutorial from DP Hunter Hampton Richards, which we have found very helpful in our early experiences. Hunter has devised his own custom LUT to Alexa-ify your 5D CinemaDNG RAW footage, emulating that camera’s Rec. 709 output. Hunter also digs Purity Ring, so you’ll definitely want to check this out. More »
Built with an ARRI Super 35mm CMOS sensor, the HDK-97ARRI intends to pave the way for large format sensors in a broadcast environment. The lovechild of two giants in the industry — Ikegami and ARRI — this imaging machine is business up front, party in the back, and vice-versa. Check the all-important specs and details below. More »
It might be possible to get higher quality aerial footage than ever before from somewhat inexpensive aerial vehicles, but getting a digital cinema camera into a real helicopter with a gyroscope is still the best way to get rock-solid footage. If you’ve been wanting to add some beautiful aerial footage to your own films, but you can’t afford the stock footage (or certainly the helicopter rental), you’re in luck, because Luke Neumann has put together some high-quality Arri Alexa aerial footage, and the best part of all: he’s giving away 5 shots completely Royalty Free on his website. More »
This is a guest post by Cinematographer Ryan E. Walters.
Welcome to Part 03 of Some Like It RAW, where I am comparing the Arri Alexa, Blackmagic Cinema Camera, and the RED EPIC. My goal for these tests is to explore how each of these cameras handle real world shooting environments. Part 01 explored how these cameras handle IR pollution. In Part 02, I tested underexposure. And here in Part 03, I’m exploring the world of overexposure and diffusion filtration. Continue on to watch the 10 minute video, read my summary, and get the downloadable RAW frames from each camera. More »
This is a guest post by Cinematographer Ryan E. Walters.
Welcome to Part 02 of Some Like It RAW, where I am comparing the Arri Alexa, Blackmagic Cinema Camera, and the RED EPIC. My goal for these tests is to explore how each of these cameras handles real world shooting environments. Part 01 explored how these cameras handle IR pollution. In Part 02, I test the limits of low light levels, or underexposure. Continue on to watch the 11 minute video, read my summary, and get the downloadable RAW frames from each camera. More »
If you’ve been using a newer large sensor digital cinema camera, you may have noticed that your image takes on more reddish tones when using increased neutral density filtration. This is related to the way many of these ND filters block visible light, but let in more infrared light which can pollute the image. We’ve seen a few examples showing what IR pollution can do, and today, we have a video comparing RAW cameras, specifically the Blackmagic Cinema Camera, Arri Alexa, and RED EPIC, and how each of them handles black cloth when using IR cut filters of different strengths along with increased ND filtration.
There might be a lawsuit going on right now regarding compressed RAW, but Arri and their Alexa camera have avoided that business by sending out uncompressed, untouched RAW to third party recorders. Codex, maker of one of these third party recorders, has now partnered with Arri to design an internal RAW upgrade solution for all Alexa models called the XR Module that replaces the internal SxS technology, and takes a brand new 512GB card. From now on, the only new models offered from Arri will be the XT line with the XR upgrade, and the original Alexa with a 16:9 Super 35mm sensor. All new XT models will have the 4:3 sensor as standard. Check out the videos of the XR in action below. More »
A litte over a year ago, there was an email hacking incident involving Arri, Band Pro, and RED; Jannard and RED have since dropped their lawsuit to the best of our understanding, since as of a few days ago that case was agreed to be dismissed by all parties involved (everyone comes out a loser having to pay all legal fees and expenses). Now we have word that a brand new legal suit has appeared against Sony, alleging patent infringement related to their F65, F55, and F5 cameras. More »
A solid color grade can very quickly take the edge off an image that looks “too digital.” If you don’t have much time to spend on said color grade, but you’d like to get a great look very easily, a film LUT that attempts to recreate some of the magic we get from Kodak and Fuji stocks could serve you well. We’ve discussed FilmConvert a bit before, but basically it’s either a standalone program or a plugin for the major Apple and Adobe products that uses the color science of the specific camera you’re using in order to precisely match the film stocks they have in their system. Now they’ve introduced another update, this time including support for the Canon C300 and the Arri Alexa. More »
We’ve talked about how just because something is made as an advertisement, that doesn’t necessarily mean it can’t stand on its own as a piece of art. The same can be said for a film made for a particular cause, in this case domestic violence. FRED et marie and Marie et Fred were both commissioned by Fédération Wallonie-Bruxelles, or the French Community of Belguim, one of the three official communities in Belgium. The films focus on the abusive marriage between Fred and Marie, and they were both shot on the Arri Alexa — I mention this because they are two of the nicer-looking films I’ve seen lately. Click through to watch both. More »
While there have been rumors for years about Hollywood rental and camera company Panavision developing a new camera to replace the aging Genesis, that’s pretty much all we’ve gotten: rumors. Back in early December at the Plus Camerimage 2012 festival, Panavision unveiled a prototype for a digital camera that will have a sensor equivalent to 70mm. It’s interesting and significant for a number of reasons, mostly because the last time Panavision developed a camera it became the standard that other digital cinema cameras had to live up to, and also because it signals that the company might think that’s where the future of movies is headed. More »
At this point, solid state image sensors have matched or exceeded film in a lot of ways, including light sensitivity, responsiveness to shadow detail, and overall dynamic range — but that doesn’t mean our chips aren’t susceptible to certain problems previously avoided by the nature of emulsion. Indeed, ‘sensitivity’ nowadays means something different altogether — and with the virtual necessity of neutral density filters as a result, this often means vulnerability to infrared pollution. Unless you like shooting at f/22 or you’re already using the Aaton Penelope Delta, you may also require an IR filter with your ND. AbelCine has recently shared a great rundown of which cameras suffer the most from IR pollution — and what filters work best to correct each. More »