It is also so easy to grade and deal with the footage after you have finished shooting. Again, just like with the 3.3K 6:5 mode, you can have the camera de-squeeze and resample the image for you, so you end up with a UHD (3840 x 1920) 2.39:1 image. Neither ProRes 422HQ or ProRes 4444/4444XQ actually has a bit-depth. Is This the Best Digital Sensor Ever Made? Meet the New ARRI Alexa 35 ALEXA35 offers a host of inputs and outputs for all your accessories. If you dont use the screen for more than 60 seconds it defaults to show your ND setting, like a filter tag. In this video, Product Marketing Manager Sean Dooley will take you through the process of building the Lightweight Set, and give you a little bit of info on each of the components and what you can use them for. The Camera Companion App offers remote control of one or multiple cameras, as well as customization of the user interface. They are then just taking the noise reduction that is being applied to that second image and combining it with the noise from the first image to reduce the noise of the image that is actually being recorded. With previous ALEXA cameras, it was 16-bit linear saved as 12-bit Log. What I like is that there are so many different accessories that you can really tailor the camera to your exact needs. It has been designed as one standard for cameras and lights. The result? There will always be a subconscious urge to use tools that we are familiar with and comfortable with. ARRIRAW footage captured by ALEXALF and Mini LF cameras can be processed with REVEAL Color Science, gaining many of its advantages. Another setup with UV lights had absolutely no reading on the light meter. These range from options for shooting skin tones, vintage looks, higher contrast looks, and for night scenes, etc. The Alexa camera system includes modularity, PL mount lenses, a Super 35 sized CMOS sensor shooting up to 34242202 resolution and supports uncompressed video or proprietary raw (ARRIRAW) codec. And no, there arent any white versions of the camera available! Just like the Mini LF, the ALEXA 35 also features two scratch microphones on the front of the camera. In a lot of ways, the original ALEXA and its sensor were a make-or-break moment for ARRI. Since 1917. ARRI is a global player within the motion picture industry, employing around 1,200 staff worldwide. As far as competition is concerned, that is a hard one. Description of the ARRI LogC4 logarithmic curve as part of REVEAL - the ALEXA35 color science. For this first look, apart from testing some of the features and telling you what the camera can and cant do, from an operational perspective, Im primarily interested in seeing how the ALEXA 35 fares when used by a single shooter or small crew. With more processing power comes more heat. You dont need to worry, most battery manufacturers will be making 24V batteries that are under 100Wh for this very reason. They connect to the camera via LBUS cables. Originally I wasnt sure if I liked the placement of where ARRI put the main jog wheel on the MVF-2. Well, ARRIRAW recording has now changed from 12-bit Log to 13-bit Log. Vertical mirroring is only applied to output paths; internally recorded material is not rotated, but rotation information is written into metadata. Well, ARRI firmly believes there is still a market for Super 35 sensor-sized digital cinema cameras. I did notice this faint ghost trail when I was shooting at 6400 ES and following a train moving across a bridge. It is very easy, especially if you want to shoot fairly wide open, to mess up the focus if you are not careful. In controlled environments, you can tailor the conditions to the camera you are using, but in uncontrolled conditions, the camera has to be able to perform no matter what you throw at it. There are also two WiFi antennas that enable you to use third-party remote apps, ARRI Webremote, and the new ARRI Camera Companion App. Pre-record will work in all frame rates, but the times will vary depending on what you choose. popular format for the S35 ALEXA cameras, and was chosen to be included in Mini LF SUP 7.0 instead of the S35 6:5 as When ARRI set out to develop the ALEXA 35 it had to meet the following requirements: ARRI has always prioritized image quality over resolution. If storage and money arent an issue for you, then shooting ARRIRAW 4.6K 3:2 Open Gate will provide you with the best results. It also can take away some of the confusion when you are choosing sensor modes and recording resolutions. Familiar MVF-2 viewfinder and menu structure from ALEXAMini LF; now with the option to switch to HDR viewing in the eyepiece. Shipping Restriction: No shipping to SOUTH KOREA. Frame grabs of rotated images will be displayed upside down on a computer. Order A new era begins For over a decade the ARRI ALEXA camera family has set the gold standard for digital cinematography. This allows for a lot of creative freedom and if you already own existing S35 lenses you can use them on this camera. ARRI cameras are designed to be as robust as possible. This is another aspect of ARRI cameras that I like. Scene referred color spaces are not limited by display technologies. I will be sure to test this at a later date. Previously ARRI always had two boards, a sensor board and a separate board that housed the analog to digital converters. The sensor in this camera is simply phenomenal. There is no difference for flight safe capability between 12V and 24V batteries of the same Wh. This vastly speeds up productivity when you are shooting. Please note that the It gives you the ability to customize how you like to work and operate. When you had a sensor that was as good as the ALEV there was no point in bringing something out that was worse. I did this test and my jaw dropped to the floor. The way the camera captured all the different variations of the color red, in quite extreme environments, was remarkable.- DP Jessie Wang, ChinaShot with ALEXA 35, the K445 Default ARRI Texture, ARRI Master Anamorphic and Kowa Anamorphic lenses.Tigerine is one of the short films in the Encounters series commissioned by ARRI for the launch of the ALEXA 35. I could almost expose correctly for middle grey on the camera that had no direct light on it while not blowing out the window. It has its flaws and faults like any camera, but it offers those intangible elements that very few other cameras can. I was extremely impressed by the results I could obtain. Nothing is baked into an ARRIRAW image. The drives are formatted by the ALEXA 35 in the UDF format for ARRIRAW and ProRes. ARRI Textures are visible on both the viewfinder and the SDI outputs. ARRI recommends against using 12V to 24V up-converters (even though they are in the market), as they get very hot. You can choose in the menu settings to set the fan to Rec Low or Low Noise. Just because the ALEXA 35 is a great camera, doesnt mean it is a suitable tool for everyone or every job. ARRI ALEXA 35 | B&H Photo Video The camera has been superseded by the ALEXA Mini LF and the ALEXA 35. ALEXA35 is the smallest fully-featured ARRI production camera ever, packing the features and processing power of a larger ALEXA into a Mini-sized body. This means you can change how the LUT behaves which is great for making subtle or larger changes to the look. To deal with this heat ARRI has designed a cooling core that essentially acts as a vertical chimney. In saying that, a 512GB CFast 2.0 for my AMIRA cost more than a $1,000 USD a few years ago. Above you can see the maximum frame rates when recording in ProRes in the various resolutions and frame sizes. Learn more >. New Release. I would go as far as to say that an ALEXA 35 file is incredibly easy to grade. The ALEXA 35 is the first small-form-factor ALEXA with all of the high-end features and no compromises. It is amazing to think that there are only a few mounting points on the body, yet you can build up whole systems depending on what you are doing. In the next step, you can then choose what color display space to convert it to. The adapter passes LDS protocol and is LDS-2 compatible. A decent amount of sample footage will be available in two hours, so we'll be updating the article in real-time. There is also a 3K 1:1 sensor mode and you want to use a 2x anamorphic lens for a 2:1 aspect ratio result. I used the ALEXA 35 for a couple of TVCs where I had to shoot a lot of the content in very challenging lighting environments where there were very high dynamic range scenes with a lot of mixed lighting. What is interesting is that even though this is the exact same viewfinder that works with the Mini LF, on the ALEXA 35 it is capable of displaying 500 nits. There was only one foil on the test camera I had and for obvious reasons, the ALEXA 35 signage was also missing. There is also the ability when using the 3.3K 6:5 sensor mode to have the camera de-squeeze and resample the image for you, so you end up with a 4K (4096 x 1716) 2.39:1 image. For further information on ALEXA 35 workflows visit our website: www.arri.com/alexa35-workflows. So what else has changed? The camera assembly is a modern process done in-house. Together, the increased dynamic range and stray light control make it easier to handle any lighting conditions on set, increase flexibility in post, and provide the best source for HDR (High Dynamic Range) projects. For ARRIRAW files you simply import them into the new ARRI Reference Tool, or you can use other compatible software such as Davinci Resolve or Baselight. Some other streaming services actually require more than 8.29 MP when shooting 2x anamorphic so what has ARRI done to meet these requirements? shooting with most spherical S35 lenses for a 16:9 target deliverable. This will not only provide you with the absolute best image quality, but it will also give you the greatest flexibility in post, and the safest archiving solution. What ARRI is doing here, is essentially simulating one week of rough use on the set. These new accessories allow you to create many different camera configurations, large and small. Now, because ARRI hasnt compromised on features but they have gone with a smaller form factor which means more processing power is required. The New Super 35 format native 4K 3:2 sensor allows you to shoot at up to 120 fps and it has 17 stops of dynamic range. There is also now the ability in the menus to choose what power source has the priority. ALEXA 35 - 4.6K Super 35 digital camera | ARRI Keep the ALEXA 35 User Manual, the ALEXA 35 Operating Manual and all other instructions belonging to the system in a safe place for future reference and possible subsequent owners. So what is the Reveal Color Science and what does it do? You cant just magically pluck a sensor out of thin air and expect it to be better than the ALEV-III. There are an endless number of options when it comes to rigging. The caveat to doing this is that you cant stitch a sensor board like this anymore, which is what ARRI was doing in the past with cameras like the ALEXA 65, ALEXA LF, and Mini LF. ADA-7 is a much more powerful algorithm than ARRI has used before and this is only possible because of the increased processing power in the ALEXA 35. There was a certain feel to it, a different structure to just pushing the ASA. With its Super35 4:3 native 4K sensor, ALEXA35 can be used with a vast global inventory of existing lensesmodern and vintage, anamorphic and spherical, Super35 and large format. This is a The ALEXA 35 is equipped with a universal lens mount base that uses the same camera to lens mount interface as used on the ALEXA Mini LF, ALEXA Mini and AMIRA, so all lens mounts that fit on these cameras will physically also fit on the ALEXA 35. This camera is very special for ARRI, as it is the first to feature a completely new sensor: the 4.6K ALEV 4. You dont have locked-in buttons like so many other cameras do. It is the new standard. There is a huge range of much more affordable cameras out there that have far better specifications on paper. ARRI currently believes that 4K is enough for the foreseeable future is that if you need higher resolutions they already have the ALEXA 65. The ALEXA 35 is certainly sustainably better in low-light environments. Please note Join Oliver Temmler, Product Manager for Networked Camera Systems, to explore HDE workflows for the new camera. ARRI Textures allow you to alter the amount and character of grain in the image, and the amount of contrast at different levels of detail, perceived as sharpness. The MFV-2 is a lot higher quality than the previous ALEXA Mini viewfinder. Registering your ARRI product will allow you to receive important information on ARRI products and promotions. There is also a small record light that is located just under the user buttons. The side screen is a welcome addition and I think a lot of users of the camera will be happy to see it included. If they hadnt gotten it right, who knows where they would be today. Get an overview of how the new native 4.6K Super 35 sensor, in combination with REVEAL Color Science, gives you more dynamic range, more sensitivity, more accurate colors, and more creative control. First informations on the ALEXA35 workflow. Senior Product Manager Marc Shipman-Mueller talks through the diverse range of spherical and anamorphic lens options available to filmmakers who need to shoot native 4K with ALEXA 35. If you need more power outputs or better onboard audio capabilities, ARRI now has a couple of modules that can attach directly on the back between the camera and the B-mount battery plate. There's still no word on when the new offering is expected to hit the shelves . FPGAs not only have the horsepower to deliver multiple streams of the highest image quality, but their re-programmable nature ensures that improvements in processing can be made available to all existing ARRI cameras. June 2, 2020 Educate 3 mins read In honor of the 10th anniversary of ALEXA, ARRI reveals some interesting facts, including the next ALEXA model which is a Super 35 4K camera that will be launched in 2021. In both situations the skin tones and textures came out very well. The ALEXA 35 has big shoes to fill as it is the first ARRI camera to feature a sensor that isn't based on the ALEV-III. All the information on the ARRI ALEXA 35 is out (apart from the price). a little confusing, but thats because there are so many accessories and options that are available. Another new addition to the ALEXA 35 is the ability to set the intensity of any LUT you select. You would think that the bigger the scene referred color space, the better, but this is not the case. The results you can obtain are pretty good at some of the higher EI levels, however, EI 4800 and EI 6400 are pretty noisy. When you view the cliplists you now can also see the recording codec, framerate, timecode and duration of the clip. However, above you can see some of the key components more closely. You can see such much detail and it is very hard to clip highlights. It is a 4.6K (4608 x 3164) 3:2 sensor and it has physical dimensions of 27.99 x 19.22mm. You can mirror the sensor image in horizontal and vertical directions. One thing that is nice is that you can take the MVF-2 off the camera and then use a 10-meter extension cable if you want to control the camera via a hard-wired connection. Some programs may be hardcoded and they wont read the ARRI metadata and they will by default just always show ProRes 422HQ as 10-bit. Eleven filmmakers from around the world were given ALEXA 35 is the smallest fully featured production camera ever made by ARRI, packing the features and processing power of a larger ALEXA into a Mini-sized body that is fast and easy to use on any type of production.Senior Product Manager Marc Shipman-Mueller provides an overview of the numerous usability improvements introduced with the ALEXA 35, including sophisticated cooling, flexible ARRI has always been committed to providing filmmakers with the best overall image quality, rather than fixating on a single parameter such as resolution. ARRI has also included increased pre-recording capabilities in the ALEXA 35. The camera cant do Multicam as there is currently no fiber option, or multi-cam painting. A camera is just a tool. What is also nice is that there are options that allow you to just monitor certain channels. You can then utilize all of the benefits of the new processing including the same Debayering technique, ARRI Wide Gamut AWG4, LogC4, and the new LUTs. I like to take as much as possible out of the equation when evaluating the camera. If, for example, you are shooting at 24fps and 180 shutter angle, half the time the camera is capturing an image, and half the time it isnt. Filmmakers wanting to shoot with ARRI cameras while having to fulfill 4K mandates now have an immeasurably broader lens choice. Everyone loves the image, reliability and simplified operation of the ALEXA Mini and Mini LF, and I am sure those same people will like the ALEXA 35. ARRI sent cameras out to DPs and purposely told them not to go gentle. Despite the industry trend of pushing for higher and higher resolutions, ARRI is still releasing cameras that can only record in resolutions no higher than 4.6K. Camera index: added one more letter for stereo shoots (eye index) or large productions with more than 26 cameras, Reel counter: added one more digit for long-term TV series that continue to count reels across seasons, Added codec identifier (ARRIRAW or Apple ProRes), Frame grab name shows which SDI path it was captured from, FilmLight Baselight and Daylight (Beta), Colorfront On Set Dailies (in progress), The Hi-5 3-axis hand unit for wireless remote lens and camera control.
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