New ARRI ALEXA Mini: Same Image Quality in a Much Smaller Package You Might Also LikePrices Revealed for AMIRA, ARRI's Cheaper ENG-Style ALEXA-Sensor 2K/HD/200FPS CameraARRI ALEXA Mini costs $36,000...and it's a steal While it may disappoint many observors who had hopes of a truly affordable ARRI camera, the premium pricing of the ALEXA Mini may be justified by saving productions money down the line. Anybody who follows video camera development understands ARRI's dilemma: how does a camera maker at the premium end of the market continue to differentiate its products with lower-end cameras of increasing quality and feature sets? Over the last six months, we have seen ARRI answer the challenge, first in the surprise announcement of 4K recording on its AMIRA (through a 1.2x upsample to UHD), then by introducing the much rumored ARRI ALEXA 65, which perhaps signals both the beginning of real medium format video recording and the the final push of film to obsolescence.

This past week, ARRI continued its run of shock announcements with the debut of its ARRI ALEXA Mini camera. It's the ALEXA shrunken down to a lightweight, carbon fiber weather sealed cube, utilizing the same sensor as the ALEXA and AMIRA, with recording up to Prores 4444 4K/UHD internally at 60 fps (using the same internal trickery as the AMIRA to achieve the feat) and external HD and 2K recording up to 200 fps. Some optimistically wondered if the ARRI Alexa Mini would arrive at a price level to directly compete with lower priced options. News of the ALEXA Mini's actual price, around 32,500 EUR (or a shade over $36,000 before license upgrades), obviously crushed the dreams of those who had unrealistic designs of owning their own ARRIs. But this pricing for the ALEXA Mini is fairly sensible for what you get, for its capabilities, and its place within certain productions. While I don't see many individual operators outright purchasing this camera, it will undoubtedly be a popular rental item, as any production that features the ALEXA XT as its main camera will look very seriously at the ALEXA Mini as its go-to 'B' camera.

On the production side, it's diminutive size and cubic form factor means you can stick it in tight places its big brother could never go, whether it's in the floorboard of a car, on a UAV drone or in the ocean (with underwater housing, of course). I'm sure there are some that will say, "The ALEXA Mini is unneccessary; the [INSERT CAMERA NAME HERE] works just fine as a 'B' camera to the Alexa." Of course, those folks may also be shielded from having to make that footage truly match. Rhodesian Ridgeback Puppies For Sale MnUsing any non-ARRI camera in production as its 'B' camera in prodcution is a compromised decision and the balance occurs in post, when time (and therefore money) is spent to bring a result that could never parallel what's possible by simply acquiring the footage from multiple ARRIs. Olympus Digital Camera Price Dubai

Now, with the introduction of the ALEXA Mini, no matter what the shooting circumstance, you can ensure matching footage at capture, thereby streamlining the workflow. The ALEXA Mini is definitely a specialty device catering to a niche segment of filmmakers and production. But ARRI has always made products for high-end productions and with its new ALEXA Mini, it once again answers the needs of its elite user-base. for alerting us to this story. You can read the full interview with ARRI Product Designer Michael Jonas HERE.Moving Truck Rentals Woodbridge Va So why do cameras look like cameras? It's not just about the camera, it's about the craft The incredible new DXL 8K camera from Panavision The look that Hollywood loves and the lenses that create it RedShark's Teradek NAB live TV shows - Episode 4, ARRI The Arri Alexa (stylised as ALEXA) is a film-style digital motion picture camera system made by Arri first introduced in April 2010.

The camera marks Arri's first major transition into digital cinematography after smaller previous efforts such as the Arriflex D-20 and D-21. It features modularity, PL mount lenses, a Super 35 sized CMOS sensor shooting up to 2880×2160 (2K) resolution and supports uncompressed video or proprietary raw (ARRIRAW) data. Arri Alexa camera being used with Master Steadicam. The camera has several methods of recording, including SxS cards, CFast 2.0 cards and SXR Capture Drives at resolutions up to 2880 x 2160 pixels in either Rec. 709 or Log-C to ProRes or ARRIRAW codecs. Alexa camera owners can purchase additional software "Licenses" that will unlock different capabilities of the Alexa Camera including High Speed 120fps recording, DNxHD codec and 4:3 "Open Gate" Mode for anamorphic lenses. The camera is designed for use in high budget feature films, television shows, and commercials, and competes with Red Digital Cinema's line of high end cameras such as the Epic Dragon and Weapon Dragon.

The range of models has been expanded through the camera's lifetime. In 2012, there were five basic models of the Alexa: The first camera of the Alexa product family. The ARRI ALEXA’s CMOS Super-35mm sensor is rated at 2.8K and ISO 800. That sensitivity allows the camera to see a full seven stops of over exposure and another seven stops of underexposure, an unprecedented Dynamic Range. To take advantage of this, ARRI offers both industry-standard REC709 HD video output as well as the Log-C mode that shows the entire range of the chip’s sensitivity, allowing for an extreme range of color correction options in post. The ALEXA Plus adds integrated wireless remote control, the ARRI Lens Data System (LDS), additional outputs, lens synchronization for 3D, and built-in position and motion sensors. The ALEXA Plus adds integrated wireless remote control, the ARRI Lens Data System (LDS), additional outputs, lens synchronization for 3D, and built-in position and motion sensors and a 4:3 sensor making it ideal for anamorphic cinematography.

The Alexa M has its imaging and processing unit broken down in two parts to be small, compact and lightweight for 3D rigs and other uses where size is a concern. The Alexa Studio features an optical viewfinder, mechanical shutter, and a 4:3 sensor for anamorphic cinematography. In February 2013,[2] the range was renewed as Alexa XT (XT standing for extended technology). This range is upgraded versions of the original Alexa cameras, which are equipped with a so-called XR module, which replaces the SxS module on the cameras, and allows direct RAW recording without the need for an external recorder. This module records on dedicated SSD drives. Further improvements are an internal ND filter unit, a 4:3 sensor and a quieter cooling fan. The range accordingly comprises the Alexa, the Alexa XT, the Alexa XT M, the Alexa XT Plus, the Alexa XT Studio, and the Alexa Fiber Remote. Existing cameras can be upgraded with the XR module for internal RAW recording. On 21 September 2014 at the Cinec convention in Munich, Arri announced the Alexa 65,[4] a 6k 65mm digital cinema camera.

The camera will be available for rental only, like those from competitor Panavision. Arri announced details of the camera on their Arri Rental Group website: At the heart of the ALEXA 65 is the A3X sensor; the largest high-performance motion picture sensor available on the market today. The sensor has a 54.12 mm x 25.59 mm active imaging area, which is even larger than the film gate of ARRI’s 765 65 mm film camera. The first production to use the camera was Mission Impossible - Rogue Nation, which was used to shoot the underwater sequence, and around forty percent of The Revenant,[5][6] additionally, the Alexa 65 will be used to film sequences in the upcoming Star Wars spinoff film, Rogue One, The Huntsman and The Divergent Series: Allegiant. The first feature films to be shot entirely with the camera were Snowden and The Great Wall. In April 2015, it announced that Captain America: Civil War would feature 15 minutes of footage shot using a version of the camera built in collaboration with IMAX.

In May 2015, Marvel Studios announced that Avengers: Infinity War and its untitled sequel will be shot entirely with the new camera, marking the first time a full-length theatrical film will be shot entirely with a customized version of Alexa 65 camera, Alexa IMAX. On 24 February 2015 Arri announced the Alexa Mini. It has the same sensor as the other Alexa cameras. It features in-camera recording to CFast 2.0 cards, 200 FPS and 4K UHD in-camera upscaling. On 18 March 2015, Arri announced the SXT line of Arri Alexa cameras which will support in-camera upscaling of Apple ProRes to 4K resolution and Rec. 2020 color space.[9] Arri also announced the SXR module which can upgrade XT, XT Plus, and XT Studio cameras with the SXT features. Arri Alexa being used on the set of Law & Order: SVU The Alexa's ALEV III sensor has 3392×2200 effective pixels used for generating an image, 2880×2160 pixels are generally used for recording on the Alexa Studio and M in 4:3 mode, and 2880×1620 pixels are used for recording on the regular Alexa and other models in 16:9 mode, the rest of sensor is used for lookaround in the viewfinder.

Alternately the full sensor resolution may be employed in 'Open Gate' mode for resolution demanding situations. Director Robert Tur with an Alexa-Plus camera equipped with an 18 mm Master Prime lens on the set of SIS. The Arri Alexa can record to 1920×1080 ProRes 422 or ProRes 4444 on SxS Cards or 2880×1620 ARRIRAW to external recording devices. The Arri Alexa Firmware 7 increases the resolution on the SxS cards to 2k ProRes 4444 (previously 1080p) ArriRaw is a raw codec similar to CinemaDNG that contains unaltered Bayer sensor information, the data stream from the camera can be recorded via T-link with certified recorders like those from Codex Digital or Cineflow. The ArriRaw format (along with the other recordable formats) contains static and dynamic metadata. These are stored in the header of the file and can be extracted with the free web tool metavisor[10] or with the application Meta Extract provided by Arri. Of particular importance for visual effects are the lens metadata, which are stored only when Arri's lens data system (LDS) is supported by the lens used.