http://www.arri.com/alexamini/

Compact, lightweight and self-contained, the ARRI ALEXA Mini is a versatile additional tool in the ALEXA camera range. Crews will find that the ALEXA Mini perfectly complements their ALEXA shooting kit, eliminating the complications of working with third-party cameras for specialized shots and keeping everything within a single system that is trusted all over the world.

To maintain ARRI’s famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount – also made of titanium – to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.

PR

ARRI announces the new ALEXA Mini, a versatile additional tool in the ARRI ALEXA camera range that combines a compact and lightweight form factor with the same unparalleled image quality that has made the ALEXA system a gold standard for the industry. Designed for specialized shot-making, the ALEXA Mini perfectly complements a full ALEXA shooting kit and allows crews to eliminate the complications of working with third-party cameras by keeping everything within a single system that is trusted all over the world.

To maintain ARRI’s famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and environmentally sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.

The ALEXA Mini can be operated in a number of ways: by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. Light enough to be comfortably held at arm’s length in a hand rig, its compact size and extremely quiet operation also make it ideal for tight shooting conditions. The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, the ALEXA Mini’s interchangeable lens mount can be replaced with any of those designed for the ARRI AMIRA, allowing the use of B4 video and EF mount stills lenses.

Equipped with a 4:3 sensor, automatic de-squeeze mode for anamorphic productions and frame rates of 0.75-200 fps, the ALEXA Mini records ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder that can record image streams from up to four ALEXA Minis simultaneously — a compelling option for multi-camera setups such as 360° plate shots. Images from the ALEXA Mini will perfectly match those from all other ALEXA cameras, making the final grade easier and quicker.

Integrated functionality is at the heart of the ALEXA Mini’s efficient and self-contained design. A built-in lens motor controller allows new active lens motors to be connected directly to the titanium PL mount, while ARRI Lens Data System (LDS) technology provides frame-accurate metadata that can save time and money both on-set and in post. Wi-Fi connectivity means that iOS or Android devices can be used to remotely control camera functions such as the motorized internal ND filters, which permit rapid responses to changing light conditions without adding bulk to the camera configuration.

The body design is optimized for use with new-generation brushless gimbals, multicopters and other specialized rigs. It is compact enough in the lens direction to allow the use of standard PL mount lenses even on lightweight and space-constrained rigs, such as gyro-stabilized aerial systems. The camera’s superb low-light performance makes it perfect for underwater work; dedicated underwater housings are currently being developed by leading manufacturers.

Like the ARRI AMIRA, the ALEXA Mini can record 4K UHD ProRes images, facilitating real-time 4K UHD output and simple pipelines for high-resolution deliverables. More importantly, the Mini and all other ARRI cameras with the ALEV III sensor offer unrivalled overall image quality by focusing not just on spatial resolution, but also on other parameters such as colorimetry, skin tones and High Dynamic Range (HDR). This is equally true whether the chosen output is HD, 2K, 4K UHD or one of the native resolution outputs like uncompressed ARRIRAW 2.8K or ProRes 3.2K, ensuring that images captured with the ALEXA Mini are future-proof, whatever new industry standards emerge.

Shot with a Canon 5D Mark III and Panasonic GH2; I would love to hear what you guys think.

Any shares and subscribes are much appreciated!

What's your opinion/recommendation?

I also wonder if anyone has used 800W Red Head Quartz Fresnel lights (for just £56, it seems to be a steel)

I understand that the LED is the new fashion and everyone is going after them. But which ones would you recommend in terms of good old fashioned fresnel lights? So far my requirements are Dimmer, Color temperature control, Barn doors and Fresnel lens. Should I look for other features when choosing? It would be awesome to have LED with Fresnel, but alas...

AMIRA features the same sensor and exceptional image quality as the ARRI ALEXA, recording superior HD 1080 or 2K pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural color rendering, breathtaking skin tones and speeds of up to 200 fps, AMIRA will deliver beautiful, life-like images in any situation.

AMIRA records Rec 709 or Log C images using ProRes LT, 422, 422HQ or 444 codecs. By recording to in-camera CFast 2.0 flash memory cards with super-quick data rates, the route into postproduction is made as simple as possible. CFast 2.0 is an open format, easily accessible to anyone and delivering a fantastic price-performance ratio through incredible transfer speeds, long recording times and compatibility with standard IT tools. Costs per GB are brought right down and higher-than-broadcast-quality image pipelines are made available even to low budget productions.

Links

• http://www.arri.com/amira/
• http://www.arri.com/news/arri-amira-unveiled/
• http://www.definitionmagazine.com/storage/ibooks/ibc2013_digitaldaily1.pdf

I have a set of Arri Zeiss lenses, in standard mount with PL adapters. The set is 24/32/50/85 all lenses have arri pitch gears installed, and 80mm fronts. The 50/85 are clickless, but the 24/32 have not been de-clicked. Glass is very nice, though the 24 has some cleaning marks on the front. These lenses range from the late 60's to early 70's and are the pre T* coating. I'll also throw in a set of Tiffen diopters +1, +2, +4.

You can view photos of the set here: https://www.dropbox.com/sh/1d97lhvt6...YCmieGkwa?dl=0 Also, you can view a promo spot shot with these lenses here: http://www.savagehenryfilms.com/port...cs-7-layer-set (sorry for the excessive flares, but the client gets what they asked for!)

Looking for $7500 for the set.

This is the music video that we made for the dutch DJ Bassanova. The video was filmed with two GH2's. Technical specs:

Camera : 2x Panasonic GH2 (AVC-Intra Driftwood MOON T7) Lens : Nikon AF-S 24-70mm f2.8 G ED, Nikon 50mm F1.2, Nikon Fish Eye, NIKKOR 80-200mm f/4.5, 2x Meta Bones SpeedBoosters Gear : Sachtler FSB-4 75 CF, Kessler Hercules 2.0 Head, Kessler Pocket Jib, Kessler K-Pod Tripod System, Kessler K-Flex Dolly Track System, Gini Follow Focus Rig, 2x Lilliput monitors, ARRI 650 Plus Tungsten Fresnel Light

Video links:

Regards

Now you can find out what cameras, what lenses, etc were used to shoot certain films, also if they were strictly DI, or transferred to film for their final master/negative.

Very interesting to see what lenses were used on certain films. I wish they had more details, such as which camera used which lenses when listing the cameras.

These cameras all have (or are slated to have soon) RAW recording capability in some form.

Max Horizontal Resolution

• BMCC: 2.4K
• Arri Alexa: 2.88K max horizontal resolution.
• Sony FS-700: 4K expandable with 1.92K at release.
• Sony F55: 4K max horizontal resolution (4096x2160).
• Canon C500: 4K max horizontal resolution (4096x2960 RAW max).
• Sony F65: Greater than 4K.*
• Red One/Red One MX: 4.5K max horizontal resolution.
• Red Scarlet: 5K max horizontal resolution (but 4K max horizontal resolution at 24/25/30P).
• Red Epic: 5K max horizontal resolution.
• Red Dragon: 6K max horizontal resolution. Unreleased.

*As for the Sony F65, I don't want to get into that can of worms. With it's 20MP sensor, let's just say "easily 4K, probably more in the future" but not get too far into it other than to say that the current recording format is 4K.

Cameras with Global Shutter

• Sony F55

Max Framerates at 4K and Highest Resolution (with the color depth recorded)

• BMCC: Cannot do 4K. Max 30P 12-bit log at 2.5K.
• Arri Alexa: Cannot do 4K. Max 60P 12-bit log at 2.88K in 16x9 mode.
• Red One MX: 30P 12-bit at both 4.5K and 4K.
• Canon C500: 60P 10-bit at 4K.
• Sony FS-700: Upcoming 60P at unspecified RAW bit-depth in 4K.
• Sony F55: 60P 16-bit linear 4K.
• Sony F65: 120P 16-bit linear 4K.
• CMV12000: 90P 12-bit or 150P 10-bit at 4K.
• Red Scarlet: 30P 16-bit at 4K. 12P at 5K.
• Red Epic: 150P 16-bit at 4K. 120P 16-bit at 5K.
• Red Dragon: Unknown 4K (expected to meet or exceed Red Epic at all framerates but guaranteed 120P at 5K). At least 85P 16-bit at 6K. Unreleased.

Native DR

• Sony FS-700: Untested in RAW.
• Red One (not MX): 11.3 stops official.
• Canon C500: 12 stops official. (Though the highlight roll-off has been garnering praise)
• BMCC: 13 stops official.
• Red MX (as used in MX/Scarlet/Epic): 13.5 official. (Some sources measured at under 12 but I'm not invested in one measurement over the other).
• Arri Alexa: 14 stops official.
• Sony F55: 14 stops official.
• Sony F65: 14 stops official.
• Red Dragon: Over 15 stops official. Unreleased.

And of course, the Red Scarlet, Epic (and upcoming Dragon) support the HDRx mode that some people like and others do not, which is officially specified as increasing dynamic range to 18 stops (with a lot of caveats to go along with it).

This is approximately 1/3rd of the total price I paid for the entire light and about 3x the price for the 650w globes. Considering these globes are rated for around 25 hours life expectancy it works at to about $2 per hour per globe.

Can anyone suggest a supplier for A1/248 150W bulbs or equivalent that doesn't charge such ridiculous prices? - TIA

ARRI offer simulators for the ALEXA and ALEXA plus. http://www.arri.de/camera/digital_cameras/tools/alexa_camera_simulator.html

Sony's simulator is available as a Remote iPad application that allows operators to control the f65 over a Wi-Fi network. http://itunes.apple.com/us/app/f65remote/id497318839?mt=8

Canon also has C300 simulator for those interested.... http://learn.usa.canon.com/resources/articles/Simulators/c300.shtml?categoryId=229

I am currently searching for an affordable lighting set-up as I'm going to do more interview stuff etc. in future.

The only thing I am sure about is that i want softboxes as light-modifiers, but what kind of light sources should I use? There are so much options. Halogen - Fluorescent - HMI - LED... As far as I am concerned, LED is the new trend in terms of lighting, but whats the reason for? Low energy, portable? Do I need a softbox in use with a LED for example?

I have a budget of approximately 100-350USD.

As a hair light, i'm going to use a 150w or 300w PRO As ARRI Fresnel. (http://www.ebay.de/itm/As-ARRI-Economical-300W-studio-lighting-Fresnel-Tungsten-Light-300-watts-bulb-/221022906307?pt=LH_DefaultDomain_0&hash=item3375fde7c3#ht_3350wt_1398)

Thanks a lot!