Posts Tagged ‘ ARRI ALEXA

Kameratest – Arri Alexa, Sony FS100, Panasonic AG-AF101, Canon EOS 5D Mk II

source:cinescopophilia.com

Camera test featuring:
Arri Alexa
Sony FS100
Panasonic AG-AF101
Canon 5D MKII

New Martin Scorese film shot in 3D with ARRI Alexas

FD Times has a write up on the new Martin Scorsese film “Hugo” that was shot in 3D with ARRI Alexas.

Editors technical notes: “Hugo” was the first 3D feature film to use Arri Alexas, with Pace 3D rigs, and the first to use all three sets of Cooke lenses: 5/i, S4/i, and Panchro/i. The little box with 3 LED lights on it (above the BACKUP “A” PADDLE label is a Cooke /i illuminated focus scale dimmer. Gregor Tavenner, 1st Camera Assistant on the production said, “The Cooke 5/i illuminated focus scales were low on my list when I first saw them. But guess what. This was a perfect application for it. Two lenses inside a dark and crowded 3D rig, no way a Maglite–or two Maglites–would get in.” Other gear in picture above: Transvideo CineMonitorHD 3DView, Cinematography Electronics Cine Tape Measure, Preston Cinema Systems MDR, OConnor head.

For the full article check out the FD Times website.

DP Anna Foerster on Lighting ANONYMOUS

Director of Photography Anna Foerster describes lighting a scene with actors Vanessa Redgrave, Edward Hogg, Xavier Samuel and Sam Reid. ANONYMOUS is a Sony Pictures release directed by Roland Emmerich. It was the first feature film to shoot with the ALEXA camera.

Arri Alexa Now Supports Avid DNxHD

Avid DNxHD is a revolutionary HD codec technology engineered to create mastering-quality HD media at dramatically reduced file sizes, shattering the barriers to real-time HD productivity, whether using local storage or in real-time collaborative workflows.

Native HD camera compression formats are efficient, but simply aren’t engineered to maintain quality during complex post production effects processing. Uncompressed HD delivers superior image quality, but data rates and file sizes can stop a workflow dead in its tracks. Avid DNxHD delivers both efficiency and quality without compromises.

“ Avid DNxHD allows you to do things you couldn’t otherwise afford to do”
- Joe Beirne, Executive Vice President of Technology, PostWorks
Key benefits

Optimal mastering picture quality
Minimal degradation over multiple generations
Reduced storage requirements
Enables real-time HD sharing and collaboration
Improved multi-stream performance
New Pro Tools 8 Workflow Improvement : The QuickTime HD codec can be exported much faster from Media Composer than other QT codecs, offers superior playback performance and picture quality in Pro Tools, and has reduced storage requirements.

For more information check out Avid’s and ARRI’s site.

Zacuto The Great Camera Shootout 2011: SCCE ~ Episode Three

The Great Camera Shootout 2011: Episode 3 ~ “It’s Not So Black & White” from Steve Weiss on Vimeo.

Digital:
Arri Alexa
Sony F35
RED ONE MX
Sony PMW-F3
Panasonic AF-100
Weisscam HS2 Mk2
Phantom FLEX
DSLR’s:
Canon 5D MkII
Canon 1D MkIV
Canon 7D
Nikon D7000
Film:
Kodak 5219 and Kodak 5213.

Episode 3, It’s Not So Black & White, completes the three part Great Camera Shootout 2011 series but also has an unexpected announcement that will leave you salivating for more! In this episode, the cameras are tested on motion artifacts, color and skin tone. The tests were administered by Robert Primes, ASC and conducted as an unbiased test through the SCCE (Single Chip Camera Evaluation). Some updates to certain cameras such as “S Log” on the Sony F3 and “CineStyle” for the Canon cameras were not available at the time of these tests.

For more info check out the Zacuto site.

Arri Alexa, RED MX, Super 16 comparison footage test (VIDEO)

Source:johnbrawley.com

Dynamic Range Camera Test from John Brawley on Vimeo.

A dynamic range test between Alexa, RED MX and Super 16.

Four Scenes shot with three cameras to test the dynamic range of each camera in a real world situation. Lighting was very simple in each case, only involving a single fixture and available or practical lighting otherwise.

All lenses were cooke S4′s.
Simple balancing grade done in Lustre from grey card for each setup.
Alexa was shot in LOG mode, recorded to PRO RES 4:4:4.
RED MX processed via R3D’s natively in Lustre.
Super 16 was transferred to 2K DPX via Spirit. First setup was KODAK 250D and subsequent setups were KODAK 500T. NO noise reduction was used (though this would normally be applied)

Check the original topic and discussion on DVXUSER.COM

Blending Photo and Video to Create a Unique Visual Experience w/ Scott Duncan

Lexar article with Director Scott Duncan working photo and video on a beer marketing campaign.

As a professional shooter, I often receive assignments that require me to capture both photos and videos, and blend them together to create unique visual experiences. The different photo and video elements combine for a final product that tells a story while remaining compelling for viewers. I was recently tasked with one of these projects from Miller Genuine Draft, a brand of beer known the world over.

The Concept
The goal of the project was to communicate to viewers all the exciting and unforgettable experiences that can happen tonight –what’s the magic that can occur, what are all the fun things that can take place, and what are all the memories people can make over the course of just one night? These experiences don’t have to take place in some big exciting metropolitan area or anywhere in particular. Rather the goal was to show just how much fun a regular person can have in one night if they went out looking for it.

The Execution
My team and I shot on location in Vancouver, London and Moscow, but didn’t focus on all the amazing landmarks associated with these places. Instead, our shooting centered around all the regular places where people work, live and play, and these locations provided the ideal backdrop for the project. We had specific, must-have shots to capture, but I also had the freedom to really explore different angles and vistas in the city that would really feel familiar to anyone – as if these sites could be seen in your city, my city, any city in the world!

Check out Scott Duncan’s website and blog.

The Great Camera Shootout 2011: SCCE ~ Episode Two “Sensors & Sensitivity”

The Great Camera Shootout 2011: Episode 2 ~ “Sensors & Sensitivity” from Steve Weiss on Vimeo.

For more info about the test check the
Zacuto
site.

Digital:

Arri Alexa
Sony F35
RED ONE MX
Sony PMW-F3
Panasonic AF-100
Weisscam HS2 Mk2
Phantom FLEX
DSLR’s:
Canon 5D MkII
Canon 1D MkIV
Canon 7D
Nikon D7000
Film:
Kodak 5219 and Kodak 5213.

SCCE

ARRI ALEXA Firmware v4.0 Released

SOURCE: ABELCINE

ARRI

FROM ARRI

“ALEXA Software Update 4.0 released

We are proud to announce the release of our latest software update for the ALEXA camera system. The ALEXA Software Update Packet (SUP) 4.0 provides a number of new features and improvements for both the ALEXA and ALEXA Plus models, based on our own R&D as well as feedback from film and television professionals working with ALEXA in the field. Epitomizing ARRI’s ongoing commitment to future-proofing the system platform and delivering lasting value to our customers, SUP 4.0 further enhances ALEXA’s already impressive versatility and usefulness.

ARRI Look files

The software update allows customized looks to be applied to all ALEXA outputs via an ARRI Look File, which alters the way the camera image is converted to video color spaces. As an example, ARRI has designed a Low Contrast Curve (LCC) Look File for those who do not want to deal with Log C but would like more dynamic range in a gradable video image. An ARRI application for creating ARRI Look Files as well as support from various third parties are in development.
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