I may never shoot on an ARRI Alexa camera — after all , it ’ll cost around $ 60,000 this summertime — but a human race can dream , ca n’t he ?
ARRI , shaper of legendary film television camera , has finally unveiled the full specs of their upcoming digital tv camera , the Alexa . It ’s an interesting camera — its Super 35 CMOS Bayer sensor ( ARRI ’s own ) can shoot uncompressed 2 kB resolutions output to an outside source ( like a arduous drive ) , or downrezzed to 1080p and hive away right on on the camera thanks so SxS card backing ( expensive flash memory ) . accidentally , this SxS card support is part of a mental faculty that could be removed and trade out for a dissimilar storage technology in the future .
Did I lose you ?
So the smashing matter is this : you may shoot really eminent oddment 1080P video with the camera and have it encoded in Final Cut Pro aboriginal codecs ( Apple ’s ProRes 422 and ProRes 4444 ) , mean you could literally edit what you shot , right when you ’re done charge it without conversion — a rareness in the cinematic HD macrocosm .
OR , you could edit this footage while having a 2 K backup of everything . Cut the 1080p footage , then use the timecode information from your cutting and use it to the 2K … saving a gross ton of hard driveway blank space and processing headache in your postproduction workflow .
Despite shooting a max of 2 cat valium as controvert to 4 chiliad , ARRI is convinced that their video quality will look just as good as anything snap on RED television camera — partially thanks to a 13.5 - occlusion active orbit . And they promise that the build quality , dependableness and comfort of use will outpace anything released by RED … which is one reason the Alexa is bold enough to cost a minimum of $ 20,000 more that anything from RED in a shoot - quick configuration . ARRI is also less concerned about the resolution airstream , citing the fact that Avatar was technically snap in 1080p ( Cameron ’s Fusion photographic camera system is technically just double Sony HDC - F950s ) and no one seemed to complain .
It ’s a pretty convincing argument .
With the Alexa ’s pro - focused build and mere post production work flow , ARRI hope to attract Hollywood to shoot digital — a marketplace that RED has n’t been capable to pull in in mass . I ’m interested to see if they can do it . But more than that , I love see true pro cameras — once tools operate behind the doors of studios and rental houses — become reclaimable trade good on the overt market … even if they ’re still a chip beyond our stretch .
ALEXA Steps Out at NAB : Advanced Camera System Offers Highest Dynamic Range and ProRes Capture
( NAB 2010 , LAS VEGAS ) – After much prediction , ARRI is pleased to unveil ALEXA — the first mannequin in a unexampled contemporaries of digital cameras for feature , television , commercial , documentary , music video product and more . Compact , ergonomic and lightweight on one hand , robust with ARRI ’s fabled dependableness on the other , ALEXA ’s Modern Super 35 formatting sensor delivers amazing images with a base sensitiveness of EI 800 , low noise and an unexcelled dynamical range of 13.5 stops . ARRI Imaging Technology ( AIT ) trance constituent , film - like prototype unlike any digital television camera , with natural color rendition and pleasing pelt tones .
The unequaled Dual Gain Architecture ( DGA ) aim of ALEXA ’s CMOS sensor see to it the same extensive exposure parallel of latitude across a stove of sensitiveness from EI 200 to EI 1600 . This creates opportunities in post - production , where it is gentle and faster to get the most out of the plentiful , captured images . proficient detail in both highlight and shadow arena as well as a very modest disturbance grade facilitate the colorist to reduce prison term , sweat and thus , cost in leveling . ALEXA ’s excellent signal to noise ratio and unclouded colour interval are particularly effective for greenscreen and VFX work .
The ALEXA scheme represents the most various and speedy workflow from the set , through post to distribution . This is accomplish through ALEXA ’s efficient Direct to Edit workflow with a battalion of output options , consummate metadata and integrated color direction .
ALEXA is unique in that it can at the same time record Apple QuickTime / ProRes file , output uncompressed HD television and uncompressed ARRIRAW data .
all new to ARRI cameras is the power to record QuickTime files check Apple ProRes encoded images onto on - display panel SxS memory visiting card . ALEXA ’s internal recorder encodes ProRes 422 ( HQ ) or ProRes 444 images , along with audio frequency , metadata and Final Cut Pro ( FCP ) XML files . These files load directly into FCP for redaction , coloring and finishing workplace . Furthermore , the highly high quality of Apple ’s ProRes 422 ( HQ ) and ProRes 4444 codecs means that the edited final result can be immediately circularize .
Two HD - SDI connectors patronize 1.5 G double link or two 3 g-force signals can or else be used to output 4:2:2 or 4:4:4 uncompressed HD signals in gain to an ARRIRAW tetraiodothyronine - link signal . These different signals can be output to certify third party on - board recorder let in those from S.two , Codex and Keisoku Giken . Through ALEXA ’s unmediated to Edit capabilities , the QuickTime / ProRes off - line redaction proxy is create straight off in television camera , carry the exact same persona , audio , timecode and metadata as the on - contrast HD or ARRIRAW material . ARRIRAW is the only way to get at the full potential of ALEXA ’s sensor which has color and dynamic range capabilities far beyond standard HD . ARRI ’s own ARRIRAW Image Converter ( ARC ) provides trope reconstruction features for the Windows , LINUX and Mac bone platforms .
The Super 35 formatting CMOS Bayer sensing element exhibits cinematic , shallow profoundness of force field and allow the use of all 35 mm PL mount lenses . The sensing element ’s 3.5 K pixel count delivers an optimum in image sharpness , sensitivity and parallel for HD ( 1920 X 1080 ) and 2 yard DI workflows . Additionally , the ALEXA viewfinder was specifically designed to receive the demand of camera operator by bid an extremely fast trope display , gamy prototype caliber , exact color reproduction and a routine of features inherit from our optical viewfinders , including overscan .
To protect the investment in ALEXA and to expand the filmmaker ’s options when shoot , three major components of the camera are specifically design to grant an easy rise path . First , taking into history the speedy rate of alteration in memory engineering , the module that hold the memory board cards is removable . Should another transcription engineering prove more desirable in the future , this module can be easily replaced with other store module .
Second , the camera electronics , which comprise the whole right side of the camera , can also be removed and replaced by upgrade electronics with modern lineament . Last , but not least , the Exchangeable Lens Mount ( ELM ) system allows the usage of PL as well as Panavision , Canon or Nikon lenses .
Almost a century of experience and an obsessional attention to detail have run to contemporaries of ARRI tv camera that are baffling , reliable and wide-eyed to operate while offering the best in prototype capture . Those same high lineament standards have also been apply to ALEXA , conduct to a number of innovational and extraordinary resolution for creatives to bring their vision to the sieve .
The ALEXA television camera is available in June , pricing depart at 45,000 Euros .
AlexaAmazonCamcordersCamerasMovies
Daily Newsletter
Get the best tech , scientific discipline , and cultivation newsworthiness in your inbox day by day .
News from the hereafter , deliver to your present .
You May Also Like
