This new form factor is aimed directly at people who need a smaller ALEXA for aerial or gimbal work to match a bigger ALEXA A-cam (and don't want to mix cameras). It's clear that this is going to take some work away from cameras like the Canon C500/C300 and RED EPIC, especially if it's a fully ALEXA show. The Mini can do 2K ProRes up to 200fps and 2.8K ArriRAW up to 30fps — all recording to internal CFast 2.0 cards. If you use the Codex recorder, you get up to 60fps at 4:3 and up to 120fps at 16:9.
Dan Chung and Newsshooter got an early look at the camera at BVE, and talked with Product Designer Michael Jonas:
cinema5D also got their hands on the camera at the show, and talked to Jonas as well:
We've already got most of the specs here, but the videos add some important details. First off, battery consumption is going to be around 50W to 70W depending on external conditions, frame rate, and codec. In terms of battery mounting, while they used dual lock velcro (the heavy duty plastic kind) in the video above, they will also be producing cages that will let you mount the battery wherever you'd like. Since you can't really have mounting points on the carbon fiber itself, they've put the mounting points on the sensor carriage which is made from Titanium. These ARRI and 3rd party cages will also give you many more options for mounting other accessories.
At a weight of just 5 pounds, the camera is balanced right in the middle so that it can be easily mounted in any direction. There are many different options for changing settings, but it seems like the LCD/viewfinder is going to be the easiest way to control all of the functions (even though you can control basic functions through WiFi and through the few buttons on the camera itself).
Audio can be sent into the camera through the 4-pin Lemo on the front — though it doesn't have phantom power. While an internal mic for scratch audio would have been great, I think between timecode and the Lemo port on the front, people will figure out enough solutions.
The price for the body-only starts at €32,500 (I've also seen €32,000), and the ArriRAW and 4:3 will cost €2,950 each. If you want the viewfinder, that is apparently going to run about €6000. This puts a full package closer to $50,000 when you consider all of the external accessories necessary.
Obviously you don't need all of these options for every shoot, so if you don't want the viewfinder and don't need the RAW and 4:3, you can get into a package for under $40,000. Regardless of price, it's going to be a rental for most people because it's a specialty camera, though that doesn't mean it's not usable as an everyday camera, especially with the built-in NDs and the internal RAW. We'll have full prices next month (camera is shipping in May), so we'll know then exactly how much it will cost in the US to get in on one of these. Rentals will probably be competitive with other cameras in this range (including the Amira).
via Newshooter & cinema5D
Source: ARRI
10 Directing Lessons From Yasujirō Ozu
Ozu always kept it simple, beautiful, and deep.
Yasujirō Ozuu, a name synonymous with the golden era of Japanese cinema, has inspired filmmakers and cinephiles across generations. His approach to storytelling, framing, and character development offers a treasure trove of lessons for aspiring directors.
In this post, we delve into ten of his most influential techniques.
Let's get started.
1. The Importance of "Ma" (Negative Space)
Ozu’s use of "ma," or negative space, in his compositions teaches us about the power of what is not shown. His frames often feature empty spaces that speak volumes, encouraging viewers to engage more deeply with the scene.
2. Low and High Camera Angles
Ozu's signature low camera angles, often at the eye level of a seated person, create an intimate perspective. This approach invites the audience into the world of the characters, making the experience more immersive.
His high camera angles of buildings, bird's eye views, and static scenery shots emphasize a world that changes before our eyes.
3. Minimal Camera Movement
In stark contrast to contemporary filmmaking, Ozu often used a static camera. This technique forces the viewer to focus on the subtleties of the performance and the composition of each frame.
4. The Pillow Shot
Ozu frequently inserted "pillow shots," short, transitional scenes of nature, everyday objects, or settings, to create a contemplative pause in the narrative. This technique allows for a moment of reflection and emphasizes the environment's role in the story.
5. Restrained Editing
Ozu’s editing style is marked by its restraint. He often avoided conventional editing techniques like cross-cutting, instead opting for straight cuts that offer a more straightforward, contemplative flow.
6. Finding The Profound in the Everyday
Ozu's films often revolve around everyday life and simple stories, yet they touch on profound themes like family dynamics, the passage of time, and the clash of tradition and modernity.
7. Subtle Performances
Ozu directed his actors to deliver understated performances, believing that subtlety could convey deep emotions more effectively than overt drama.
8. Set Design
Ozu's meticulous set designs were integral to his storytelling. He carefully arranged every object in the frame to reflect the characters' inner lives and the film’s broader themes.
9. The Beauty of Simplicity
Ozu teaches us the beauty of simplicity in both storytelling and visual composition. His films, devoid of complex plot twists or elaborate cinematography, capture the essence of the narrative through simple yet powerful means.
10. Respect the Audience
Ozu respected his audience's intelligence, never over-explaining or spoon-feeding the story. He believed in the viewer’s ability to piece together the narrative and find personal meaning in it.
Yasujirō Ozu’s filmmaking philosophy transcends time and cultural boundaries, offering universal lessons for directors. His emphasis on simplicity, subtlety, and the profound in the everyday makes his work a continuous source of inspiration and learning.
It's amazing to have art like his to study and breakdown as we emotionally connect with its storytelling.
Now go watch his films and take these lessons into your own work.