» Posts Tagged ‘arrialexa’

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Sony a7S at NAB 2014While the full-frame 1080p/4K A7S from Sony is proving to be an absolute beast in low-light situations, it’s far more than just a night-shooting camera. Besides resolving what looks like a very solid 1080p image (an external recorder is required for 4K), it’s also got some pretty fantastic dynamic range. How good? Well the folks over at cinema5D took the camera for a spin, and measured it at over 14 stops, right next to the ARRI AMIRA, which uses the same sensor as the even higher-end ALEXA, which is being used on tons of Hollywood and indie features. More »

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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 »

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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 »

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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 »

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NebraskaA little while back, I shared an ASC podcast that featured Nebraska cinematographer Phedon Papamichael. In that interview, Papamichael talked about many of the cinematic techniques behind the well-received Alexander Payne road movie. For those of you who love to hear cinematographers talk about their work and the theory behind it, you’ve probably seen many of the fantastic interviews that Cinefii puts together. Well, dear cinematography geeks, the fine folks at Cinefii have done it again, as they’ve just put out an extended interview with Phedon Papamichael in which he reveals even more of the techniques that he used to bring Nebraska to life. More »

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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 »

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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 »

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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 »

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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 »

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A057C003_120515_R2C5.0137578.tifIt seems as though people can’t stop talking about Spike Jonze’s newest movie Her — and rightfully so. The film’s story overflows with a certain humanity and honesty that may be expected from Jonze, but not as much from a contemporary love story. With such a great narrative, the visual storytelling should certainly echo its sentiments — a task given to cinematographer Hoyte Van Hoytema, who has worked on films such as Let the Right One InThe Fighterand Tinker Tailer Soldier Spy. In an in-depth piece, the International Cinematographers Guild plunges head first into the beautifully lonely world of Her and asks Van Hoytema how he built it. More »

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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 »

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Video thumbnail for youtube video AbelCine Lays Out The ARRI ALEXA XT - nofilmschoolThere 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 »

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ARRI AMIRA Side 1ARRI 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 »

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arri-alexaARRI 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 »

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Arri Alexa HD - AbelCineWant 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 »

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Video thumbnail for vimeo video Meet the Hunter-LUT, a Beautiful Alexa-Like Look for 5D Mk III CinemaDNGs (Plus RAW Workflow Tutorial!) - nofilmschoolSuffice 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 »

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BOSCH BMCC-Arri Alexa AdEach camera you use has strengths and weaknesses, and it’s common for bigger productions to use multiple cameras and formats depending on those attributes. Though many discussions often make the situation about one camera over another (especially with the recently released Magic Lantern hack), there are plenty of times where two or more cameras can be used in the same production to achieve a specific result. In the videos below, see if you can spot which camera is which (Arri Alexa, Blackmagic Cinema Camera, Canon 5D Mark II RAW), and also think about how they can be used to complement each other. More »

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arri-alexaWhen thinking about your upcoming project, do you ever catch yourself dreaming about the latest greatest buzz camera? I know I do. It’s easy to get caught up in the tech and forget that finding the right tool for a given project is just as important as thinking about the right project for the tool you have at hand. As the good folks at Indiewire found out at this year’s Tribeca Film Festival, filmmakers are using a great variety of cameras to make their projects happen. More »

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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 »

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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 AlexaBlackmagic 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 »