Posts Tagged ‘ ARRI

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.

Arri Hand Held Rig For DSLR Cameras

Jared Abrams from Wide Open Camera has posted a video showing the “new” ARRI hand held rig for DSLR cameras.

Arri Hand Held Rig For DSLR Cameras. from jared abrams on Vimeo.

ARRI shows off their accessories for the Canon C300

source:Cinema 5d

ARRI shows off their accessories for the new Canon C300 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.

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.

Fauer Finder:Sony NEX E-Mount PL Mount Director’s View Finder

source: Film and Digital Times

Want a terrific Director’s Finder? You’re three internet clicks away. Ingredients: One Sony NEX-5 digital camera, one MTF Services PL to Sony E Mount Adaptor, and one beautifully designed and machined Viewfinder and bracket from the wonderful folks at iDC Photo Video. Bruce Dorn has been sketching, milling and drilling away, and is now making me blush by calling it the Fauer Finder.

About the same size as your trusty Birns & Sawyer optical Director’s Finder, this product of rampant retrofit syndrome lets you pop on PL mount lenses and view the scene through iDC’s bright, clear magnifying loupe. The iDCPhotoVideo bracket firmly holds the loupe against the NEX-5′s 3″ TFT LCD. Because the NEX-5 uses a 23.4 x 15.6 APS-size CMOS sensor, what you see is very close to an ARRI Alexa’s 23.76 mm x 13.37mm or Sony F65 24.7mm x 13.1mm image area. Mark the frame lines with chart tape on the NEX-5 LCD.

The Sony NEX-5 has a Sony E-mount with a flange focal depth of 18mm. Live View makes it especially suitable as a finder. The 14.6 megapixel sensor provides RAW+JPEG stills and 1920×1080 HD AVCHD video for excellent storyboard frames and pre-viz scenes.

Oh, and if you just want to use the Sony NEX-5 the way it was intended, as a small APS-C size point and shoot with a Dorn good finder, you can order the camera with a small interchangeable E-mount 18-55, 18-200, or 16mm lens.

Three Pieces Needed
Viewfinder
PL – E Mount Adapter
Sony NEX 5

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.
Read more