the most complete digital camera system ever built

the most complete digital camera system ever built
THE MOST COMPLETE DIGITAL CAMERA SYSTEM EVER BUILT
THE INDUSTRY’S
GOLD STANDARD
“I THINK ALEXA IS THE BEST SYSTEM
OUT THERE, WITH DIFFERENT
CAMERA MODELS AND RECORDING
OPTIONS TO CHOOSE FROM, ALL
OFFERING – TO MY EYE – THE HIGHEST
IMAGE QUALITY.”
Cinematographer Roger Deakins CBE, ASC, BSC
2
A camera system that changed everything
Since the moment it was launched, ALEXA has had a profound impact on the industry, redefining
the limits of digital motion picture capture with efficient workflows and incredible image quality.
All over the world it has been accepted as the gold standard for productions ranging from episodic
TV shows, documentaries and commercials to feature films and drama series. With its future-proof
system architecture, ALEXA continues to adapt to evolving needs such as high resolution and high
dynamic range distribution channels.
Every film Roger Deakins has shot digitally,
he has captured with ALEXA.
In Time (2011)
Director: Andrew Niccol
Skyfall (2012)
Director: Sam Mendes
Prisoners (2013)
Director: Denis Villeneuve
Unbroken (2014)
Director: Angelina Jolie
Sicario (2015)
Director: Denis Villeneuve
Untitled Blade Runner project (2016)
Director: Denis Villeneuve
Photo courtesy of:
David James
3
“THE ALEXA CAMERA SYSTEM ALLOWED
US TO SHOOT WITH VERY LOW
LIGHT LEVELS AND MAKE THE MOVIE
EVEN MORE IMMERSIVE.”
“ALEXA AND THE ARRIRAW FORMAT
OFFER A MORE GENEROUS DIMENSION
IN TERMS OF COLOUR SPACE THAN
OTHER DIGITAL CAMERAS. I ALSO
APPRECIATE HOW THE DYNAMIC RANGE
CAN HOLD BRIGHT HIGHLIGHTS SO WELL.”
Emmanuel Lubezki ASC, AMC
Cinematographer
ALEXA credits include: The Revenant, Gravity,
Birdman and Weightless
Frankie DeMarco
Cinematographer
ALEXA credits include: All is Lost
Photo: Dikayl Rimmasch
“THE AVENGERS WAS MY FIRST FEATURE
FILM WITH THE ALEXA. I WAS REALLY
HAPPY WITH OUR IMAGES. WHAT WAS
PARTICULARLY IMPRESSIVE WAS HOW
WELL IT HELD UP IN IMAX THEATERS....
THIS WAS A REVELATION TO ME.”
“I LOVE WORKING WITH ALEXA —
YOU GET GORGEOUS, REFINED IMAGES
WITH THE IMMEDIACY OF SHOOTING
DIGITAL. I'M A STAUNCH FILM LOVER
AND IT'S THE ONE DIGITAL CAMERA
THAT REPLICATES FILM'S COLOR SPACE,
TEXTURE AND DYNAMIC RANGE
BETTER THAN ANY OTHER.”
Seamus McGarvey ASC, BSC
Cinematographer
ALEXA credits include: Marvel's The Avengers,
Fifty Shades of Grey and Pan
“I’VE BEEN A CAMERAMAN FOR MORE
THAN 30 YEARS AND THIS IS THE FIRST
QUANTUM LEAP IN FILMMAKING
TECHNOLOGY I’VE SEEN SINCE
I STARTED OUT - EVERY OTHER
CHANGE HAS BEEN INCREMENTAL.”
“THE INDIAN FILM INDUSTRY HAS
BEEN IN LOVE WITH 35 MM FOR A LONG
TIME; NOW WE ARE IN LOVE WITH
ALEXA. THIS CAMERA PERFECTLY
CAPTURES THE COLOR AND VITALITY
OF INDIAN CINEMA, WITH IMAGES AS
RICH AND ORGANIC AS FILM.”
Robert McLachlan CSC, ASC
Cinematographer
ALEXA credits include: Game of Thrones and
Ray Donovan
Ravi K. Chandran ISC
Cinematographer/director
ALEXA credits include: Yaan and Baar Baar Dekho
“WE WERE THE FIRST TO USE THE
ALEXA ON A FEATURE AND IT
WAS CLEAR THAT THIS CAMERA
REPRESENTED A REVOLUTION FOR
FILMMAKING. ITS SENSITIVITY
AND DYNAMIC RANGE DELIVER
RESULTS THAT USED TO BE
UNTHINKABLE.”
Anna Foerster ASC
Cinematographer
ALEXA credits include: Anonymous and White House Down
4
Reed Morano ASC
Cinematographer
ALEXA credits include: The Skeleton Twins,
War Story and Meadowland
“ALEXA HAS BEEN MY CHOICE FOR
EVERY PROJECT SINCE I STARTED
SHOOTING DIGITAL. IT SEES LIFE LIKE
I DO AND I DON'T HAVE TO CORRECT
ANY NOISE OR GRAIN.”
Yves Bélanger CSC
Cinematographer
ALEXA credits include: Brooklyn,
Dallas Buyers Club and Wild
“ALEXA IS BUILT LIKE A GERMAN
TANK, VERY SUPERB AND RELIABLE.
WE NEVER HAD A PROBLEM
WHEN SHOOTING IN DUST, WIND,
ICE AND FIRE. YOU CANNOT REALLY
BREAK THE CAMERA.”
“NO MATTER WHAT HAPPENS WITH
DIGITAL CINEMA, ALEXA IS THE CAMERA
I CAN RELY ON…I LIKE ARRIRAW AS IT
GIVES ME THE GREATEST RANGE AND
THE MOST POSSIBILITY TO ACHIEVE THE
LOOK I WANT.”
Kramer Morgenthau ASC
Cinematographer
ALEXA credits include: Thor: The Dark World,
Chef and Terminator Genisys
Phedon Papamichael ASC
Cinematographer
ALEXA credits include: Nebraska, Monuments Men
and The Huntsman: Winter's War
“THE DYNAMIC RANGE AND GORGEOUS
PALETTE OF THE ALEXA FAMILY MADE
SHOOTING IN NATIVE 3D ON X-MEN:
DAYS OF FUTURE PAST A JOY. I CANNOT
IMAGINE HAVING SHOT THE FILM WITH
ANY OTHER CAMERA.”
“IN TESTS ARRIRAW WON OUT OVER
35 MM FILM. I FELT SO SAFE WITH IT
THAT I BECAME A MORE INTUITIVE DP,
FREE TO FOCUS ON ARTISTIC RATHER
THAN TECHNICAL CONCERNS.”
Benoît Delhomme AFC
Cinematographer
ALEXA credits include: A Most Wanted Man,
The Theory of Everything and Free State of Jones
Newton Thomas Sigel ASC
Cinematographer
ALEXA credits include: X-Men: Days of Future Past
and Drive
Photo: Rainer Hosch
“I THINK ARRI CAMERAS ARE
THE BEST IN THE WORLD
AT THE MOMENT TO CAPTURE
SKIN TONES.”
“THE ARRIRAW IMAGES FROM THE
ALEXA WERE CLEAN, RICH IN DETAIL
AND HIGHLY PLIABLE IN THE VFX
ENVIRONMENT; ESSENTIAL FOR WHAT
WE NEEDED ON GRAVITY.”
Friede Clausz BVK
Cinematographer
ALEXA credits include: Los Ángeles
and 24 weeks
Tim Webber
Visual effects supervisor
ALEXA credits include: Gravity
“THE ALEXA SYSTEM IS WITHOUT DOUBT
THE FIRST DIGITAL IMAGE CAPTURE
SYSTEM TO SATISFY THE MORE
FEARFUL OR SKEPTICAL SECTORS OF
THE FILMMAKING COMMUNITY!”
Anthony Dod Mantle ASC, BSC, DFF
Cinematographer
ALEXA credits include: Rush, In the Heart of the Sea,
Trance and Snowden
“I'D RATHER HAVE BETTER PIXELS
THAN MORE PIXELS.”
Jake Morrison
Visual effects supervisor
ALEXA credits include: Marvel's The Avengers,
Ant-Man and Thor: The Dark World
5
AND THE WINNER IS:
BEST CINEMATOGRAPHY OSCAR®
AWARDED 5 YEARS IN A ROW TO ALEXA PRODUCTIONS
2016
3 OSCARS®
6
2015
4 OSCARS®
2014
7 OSCARS®
Filmmakers and motion pictures working with ALEXA have been among
the winners and nominees of the top Academy Awards, and numerous
other international awards, ever since the camera was released.
In 2012, the first year in which ALEXA-shot movies could be considered,
four films captured with ALEXA were Oscar® nominated. One of them was
Hugo (Dir. Martin Scorsese; DP Robert Richardson ASC), which was awarded
five statuettes, including those for cinematography and visual effects –
the two most relevant to image quality. In 2013 this feat was repeated when
Life of Pi (Dir. Ang Lee; DP Claudio Miranda ASC) took the cinematography
and visual effects awards, and once again a year later when Gravity
(Dir. Alfonso Cuaron; DP Emmanuel Lubezki ASC, AMC) did the same.
Lubezki claimed the cinematography Oscar® again for Birdman in 2015
and The Revenant in 2016, making it five years in a row that productions
captured with ALEXA had won the award.
2013
4 OSCARS®
2012
5 OSCARS®
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THE BEST
JUST GOT BETTER
SXT, or Super Xtended Technology, is the new high-performance
platform for the ALEXA family of cameras, with
the ALEXA SXT EV (Entry Version), ALEXA SXT Plus and
ALEXA SXT Studio replacing ALEXA XT models.
Ever since its launch, the ALEXA system’s fundamental
advantage has been its unique combination of the highest
overall image quality with the most efficient workflows
on set and in post. Based on extensive market feedback, the
ALEXA SXT cameras further improve upon those qualities.
8
NEW FEATURES
New Recording Formats
•
1 4 carefully fine-tuned recording options
•
A
ll sensor modes in ARRIRAW and ProRes
•
6
new recording formats
New ARRI Look Management
•
· 6:5 ProRes 2K Anamorphic
•
· maintain and share DP's look on set,
in dailies and in editing
· wide range of unique looks possible
· 16:9 ProRes 4K UHD
· Open Gate ProRes 4K Cine
L ook management - preproduction to post
Super Flexible On-Set Monitoring
· for on-set HDR quality control
•
L ook file always stored in metadata for
•
R
ec 709 or Rec 2020 outputs
· for future-proof monitoring
· live grading on set
· 6:5 ProRes 4K Cine Anamorphic
F
our independent monitoring outputs
· 1x viewfinder and 3x MON OUT
· new ARRI Look File contains CDL and 3D LUT
•
H
igh Dynamic Range (HDR) monitoring
· automated dailies creation
· 16:9 ARRIRAW 3.2K
· editing with looks
· Open Gate ProRes 3.4K
Improved Image Quality
New SXR Capture Drives
•
O
ptional mild ARRI Noise Reduction (ANR)
•
High reliability
•
Advanced defect pixel correction
•
High speed
•
M
ore range for baked-in looks with 3D LUTs
•
H
igh capacity
New Media Bay
•
S
upports wide range of media
· XR and SXR Capture Drives
· SxS PRO and SxS PRO+ cards
· CFast 2.0 cards
•
P
roRes RAID
· Redundant recording to XR
and SXR Capture Drives
9
FUTURE-PROOF IMAGES FOR
4K-HDR-WCG-HFR
© Bill Bennett ASC/ Dolby
10
More than ever before, ALEXA offers the best overall
By striking a perfect balance between pixel size and resolution, ALEXA SXT is able to produce beautiful images
image quality with the SXT cameras. For content
in HD, 2K, 4K UHD or 4K Cine, while also delivering the highest dynamic range of any camera on the market,
producers that are increasingly concerned about
with 16 bit in-camera processing. It is therefore uniquely suited to the creation of content for emerging HDR
compatibility with next-generation standards for
(High Dynamic Range) display technologies. Since ALEXA SXT records a WCG (Wide Color Gamut) signal
deliverables and displays, there is no better choice
larger than any current displays can show, its images are ready for new color space standards like Rec 2020.
than ALEXA SXT.
In addition, the ability to record at up to 120 fps in full image quality means that HFR (High Frame Rate)
approaches to enhancing viewer experience can also be easily accommodated.
DP: Adi Geisegger
11
GREAT CHOICE
OF RECORDING FORMATS
12
ALEXA SXT offers a total of 14 in-camera recording formats, six of which are completely new. All sensor modes can now be recorded in ARRIRAW or ProRes. Whatever the
budget, intended market, resolution requirements, aspect ratio, lens choices or postproduction plans, there is an ideal ALEXA SXT recording format to ensure easy operation
on set and a seamless image pipeline.
Recording Formats (SXT SUP 1.0)
Sensor Mode
Recording
File Type
ProRes
Recording
Resolution
16:9 ProRes 4K UHD
6:5 ProRes 4K Cine Anamorphic
The easiest and fastest path to the best 4K UHD
The most economical path to the best overall 4K image quality with
image, offering the immediacy and speed
anamorphic lenses. The camera creates a ready-to-view ProRes
HD
of ProRes in the UHD distribution standard of
file in the 4K DCI delivery format (4096 x 1716), so no debayering,
2K
3840 x 2160 pixels.
cropping, rescaling or de-squeezing is needed in post.
Open Gate ProRes 4K Cine
16:9 ARRIRAW 3.2K
A format unique to SXT cameras; it not only
The largest number of pixels that can be processed at 120 fps (3168 x 1782).
provides the cine standard of 4096 pixels
Use the full image area with ARRI Super 35 PL mount lenses, or gain
across, but allows for up/down repositioning
extra room for repositioning, stabilizing and tracking when using lenses
in post through the height of 2636 pixels.
with an image circle covering a 2.8K image area.
3.2K
16:9
4K UHD
2.8K
ARRIRAW
3.2K
ProRes
2K
Anamorphic
4K Cine
Anamorphic
6:5
ARRIRAW
2.6K
6:5 ProRes 2K Anamorphic
Open Gate ProRes 3.4K
ProRes
2.8K
The most economical path to the best overall
Designed for those who want the maximum image area and pixel count
ARRIRAW
2.8K
2K image quality with anamorphic lenses.
from a Super 35 ALEXA (3424 x 2202) in combination with the immediacy
The camera creates a ready-to-view ProRes file
and speed of ProRes.
4:3
3.4K
ProRes
Open Gate
4K Cine
ARRIRAW
3.4K
in the 2K DCI delivery format (2048 x 858), so no
debayering, cropping, rescaling or de-squeezing
is needed in post.
13
KEEP YOUR LOOK
FROM PREP TO POST
ALEXA SXT incorporates a completely new look management architecture, offering
Graded Rec 709 or Rec 2020 image
total control of looks from preproduction through post in order to protect and share
the cinematographer's creative intentions. A new ARRI Color Tool (ACT) and ARRI Look
File (ALF-2) allow the creation of unique looks, which are compatible with ALEXA Mini
CDL & 3D LUT
Ethernet
and AMIRA. With all look information stored in the metadata of recorded files, this
new system enables live grading on set, as well as automated dailies and editing with
looks. Early and wide adoption of the system by third parties ensures that the desired
On-set monitoring
ALEXA SXT
ARRIRAW
Metadata
look is maintained throughout a smooth workflow, no matter what your preferred
grading, dailies or editing tools.
Deliverables creation
Color grading
14
Live grading on set
Automated dailies
Editing with looks
ALEXA SXT cameras can replace a LUT box on set.
The ALF-2 look file is always stored in metadata, so dailies
Non-linear editing programs such as Avid Media
Live grading to fine-tune the cinematographer's
and editing proxies that show the same look as was seen
Composer, Apple Final Cut Pro X and Adobe
look on set is already supported by Pomfort
on set can be generated automatically and fast. This is
Premiere Pro can apply looks from metadata
LiveGrade, Codex Live, Colorfront On-Set Live,
supported by DaVinci Resolve, Colorfront OSD, Codex
automatically, allowing the editor to see the
Filmlight Prelight and Technicolor DP Lights, with
Production Suite, Pomfort Silverstack and Filmlight Daylight,
same look as was seen on set and in dailies.
others in progress.
with others in progress.
© Bret Suding
Photo: Local 600 DIT Michael "Strawberry" Romano
15
FULL FLEXIBILITY
FOR MONITORING ON SET
DP Matias Boucard with camera assistant FranÇois Vigon
L'affaire SK1
© Roger Do Minh
16
On-set quality control for High Dynamic Range
The right image for each crew member
Rec 709 and Rec 2020 outputs
While images recorded with ALEXA have been
Four independent monitoring outputs (EVF-1 and
The color range captured by ALEXA (ALEXA Wide Gamut) far
High Dynamic Range (HDR) since 2010,
three MON OUTs) cater to the needs of different
exceeds the ability of current displays. Through its increased
ALEXA SXT can be used with the latest HDR
crew members. Each output has completely
processing power, ALEXA SXT can provide an independent
monitors to allow monitoring of HDR images
independent settings such as image processing,
color space for each MON OUT, including the HD standard of
on set, for precise quality control.
surround view, status info, peaking and false color.
Rec 709 and the new UHD standard of Rec 2020.
Operator:
EVF-1 with custom look, frame lines,
surround view and status info
Assistant:
Rec 709 on-board monitor with
frame lines, surround view, status
info and LDS info
DIT:
Rec 709 monitor with Log C, clean
Director:
Rec 2020 monitor with custom look,
frame lines and surround view
Example of how the four independent monitoring outputs might be used on set
17
UNIQUELY SUITED TO
TRUE ANAMORPHIC
Meadowland
Director/DP: Reed Morano ASC
© Meadowland Movie, LLC
18
Anamorphic cinematography produces a widescreen look that has long been appreciated by filmmakers and
With the new sensor modes (6:5 and 8:9) and the option
audiences worldwide. The unique tall sensor of ALEXA cameras maximizes resolution when using anamorphic
to record and monitor squeezed or de-squeezed images,
lenses and ensures that the distinct optical qualities of those lenses are rendered faithfully in the digital image.
the ALEXA SXT system presents the perfect solution
Since ALEXA's sensor has almost exactly the same dimensions as a 35 mm film image, anamorphic lenses
for anamorphic productions.
maintain their field of view.
6:5 SENSOR MODE
2.39
2.39/2 = 1.195
1.195
For the most efficient recording and post-processing of anamorphic images,
the 6:5 sensor mode has been introduced. Dividing the CinemaScope aspect
1
ratio of 2.39:1 by the lens' horizontal squeeze factor of two results in a
1
1.195:1 image area, which can also be expressed as 6:5. The 6:5 sensor mode
captures only the image area needed by anamorphic lenses for a 2.39:1
2 x horizontal squeeze
through anamorphic lens
original scene on set
1.195:1 = 1.2:1 = 6:5 area on sensor
deliverable. In contrast to the old 4:3, this allows higher frame rates, avoids
loss of resolution in ProRes recordings and results in fewer post-processing
steps for ProRes and ARRIRAW.
16
16/2 = 8
8:9 SENSOR MODE
8
9
For productions intended for 16:9 HD or UHD TV distribution, the 8:9 sensor
9
mode is the best option when shooting with anamorphic lenses (from
ALEXA SXT Software Update Package 2.0).
original scene on set
2 x horizontal squeeze
through anamorphic lens
8:9 area on sensor
19
FUTURE-PROOF
PRODUCT DESIGN
The ALEXA system is based on an open architecture,
with many industry-standard interfaces and
compatibility with third-party products. This provides
more choice to the filmmaker and ensures that
best-of-class components can be used. To protect
customers’ investment in ALEXA, a plethora of
affordable hardware and software upgrades have
been promised and delivered, continually expanding
the feature set.
20
SXT Plus Panel
since 2016
XT Plus Panel
since 2013
Standard Panel
since 2010
SxS Module
since 2010
XR Module
since 2013
SXR Module
since 2016
PL Mount
Panavision
Mount
Four ALEXA components have been specially designed to
remote control. Third, the Exchangeable Lens Mount
facilitate an easy upgrade path. First, the camera's left
allows the use of PL, LDS PL or Panavision lenses,
side holds the Storage Interface Module; the original SxS
LDS PL Mount
further extending creative options. And finally, ALEXA’s
Module was replaced by the XR Module for ALEXA XT
processors are Field Programmable Gate Arrays (FPGA),
cameras, which is now superseded by the SXR module for
a technology that permits the camera's feature set
ALEXA SXT cameras. Second, the Electronics Interface
to be completely reprogramed. This has allowed the
Module on the right side can be replaced with an upgrade
continuous development of many exciting new features
such as the Plus Panel, for wireless camera and lens
through free-of-charge software updates.
21
VERSATILE
AND EFFICIENT WORKFLOWS
Create great images efficiently
Through detailed case studies, ARRI engineers have
examined how images, sound and metadata are
created and moved through the entire digital workflow
chain. As a result, productions are free to select the
most appropriate and cost-efficient recording medium,
format and color space for their needs, making ALEXA
suitable for a wide range of workflow and budget
requirements.
22
Choose your ideal recording options
Move smoothly into post
ALEXA SXT cameras offer in-camera recording of ARRIRAW or ProRes to a wide
Great efforts have been taken to prepare captured material for efficient handling in all
range of media. ProRes enables file-based workflows that save time and money,
near-set and post processes. Rich metadata is recorded into every format and the new
while ARRIRAW delivers maximum image quality, the greatest flexibility in post
ARRI look management maintains, protects and shares the cinematographer's look on
and the safest choice for archiving. Additional options are provided by different
set, in dailies creation and in editing. Through close collaboration with ARRI partners, all
recording color spaces, the most popular being ARRI Wide Gamut/Log C, which
relevant editing, grading and visual effects tools can read and process ALEXA files and
captures the widest range of tonal values and colors for advanced color timing.
display the look, without any need for pre-processing. Additionally, ARRI enhances the
Rec 709 is perfect for immediate access to HD images, while Rec 2020 provides
workflow at all stages through a wide range of powerful stand-alone applications and
immediate access to images utilizing this new color space standard.
useful online tools, and by sharing software code with third parties.
XR / SXR Capture Drives, SxS PRO / SxS PRO+ cards or CFast 2.0 cards
XR / SXR Capture Drives
23
EASY
Effortless and efficient
IN-CAMERA PRORES
RECORDING
No other motion picture camera bridges the gap between
production and postproduction as simply and elegantly
as ALEXA. By utilizing the Apple ProRes codecs, which
are the same high-quality codecs used natively by Apple’s
Final Cut Pro editing software, ALEXA offers the most
streamlined and cost-effective workflow possible.
24
For home or cinema screens
Smaller files for faster workflows
While ProRes is the staple of TV productions worldwide, its
ProRes provides high image quality while using
high image quality and specialized recording options also
compression to reduce file size and thus costs.
make it suitable for the big screen. Between ProRes 3.2K,
Native support by Apple and an expansive
Open Gate ProRes, ProRes 4444 XQ, ProRes pre-recording
infrastructure, from the built-in ProRes viewer in
and ProRes in-camera de-squeeze for shooting with
every Mac to specialized VFX software, provides
anamorphic lenses, filmmakers can choose the ProRes codec
unrivaled immediacy and speed when working
most appropriate for their project.
with ProRes files.
“I DID A TEST WITH LOTS OF DIFFERENT
CAMERAS…WE FINALLY SETTLED ON
ALEXA AND PRORES, AS THIS IS THE
BEST COMBINATION OF IMAGE QUALITY
AND SMALLER FILE SIZE.”
Cinematographer Chun-Seok Kim
That Winter, the Wind Blows
© SBS
25
ARRIRAW FOR
ULTIMATE
QUALITY AND FLEXIBILITY
Maximum image quality
For productions requiring uncompromised image quality, ARRIRAW
is the best digital recording option. Unlike other camera formats,
ARRIRAW delivers raw, uncompressed, unencrypted image data and
does not ‘bake in’ any camera settings. This, in addition to the lack of
compression, provides artefact-free images and maximum flexibility
in post, as has been proven on numerous blockbuster movies, lower
budget features and commercials.
26
Safe archiving
Since ARRIRAW image processing is openly published in SMPTE RDD 30 and 31, and a number of white papers,
it is also an excellent, future-proof archiving format. Footage archived in ARRIRAW can be retrieved safely
in the future and will look even better through continuous advances in debayering technology.
ALEXA SXT sensor modes
4:3 - Often chosen for projects using
Sensor Size
16:9 - The ideal format for TV series or
Sensor Size
16:9
commercials using spherical lenses.
4:3
spherical lenses that require extra room
above and below the image for VFX
markers or repositioning.
Open Gate - For all projects wanting
8:9 - For TV series or commercials using
Sensor Size
8:9
anamorphic lenses with a 16:9 deliverable.
Sensor Size
= Open Gate
the maximum image area and pixel
Available from ALEXA SXT Software Update
count from a Super 35 format ALEXA.
Package SUP 2.0.
Best for resizing, repositioning,
rotating, stabilizing, tracking and 4K
up-sampling in post.
6:5 - Plug-and-play for any project using
Sensor Size
6:5
anamorphic lenses with a 2.39:1 CinemaScope
deliverable. The 6:5 sensor mode, in contrast to
4:3, allows higher frame rates and reduces the
number of processing steps needed in post.
27
ARRIRAW FOR
SMALLER BUDGETS
Cuéntame como pasó
TV drama, Spain
DP: Tote Trenas AEC
© Grupo Ganga producciones
28
Nirvana
Feature film, China
DP: Shan He
© CCTV movie channel
Lavender
Feature film, Canada
DP: Brendan Steacy CSC
© Lavender FIlms
While ARRIRAW used to be employed mainly for high-end feature films, recent years have seen it become
a popular choice for smaller budget features, commercials and even some TV series. Increases in computer
processing power, compatibility with common postproduction tools and ARRI's continued dialogue with the
industry through its partner program have all improved workflow speeds and made ARRIRAW a compelling,
widely affordable option.
Scarlet Heart
TV drama, South Korea
DP: Chun-Seok Kim
© SBS
Rams
Feature film, Iceland
DP: Sturla Brandth Grøvlen DFF
© Netop Films
The Land
Feature film, USA
DP: Steve Holleran
© IFC Films
29
SAVE TIME
WITH RICH METADATA
Metadata is information about the images and sound recorded,
such as lens information, camera type, tilt/roll data, look files
and much more. Metadata is becoming increasingly important
on set and in post, as it allows filmmakers to concentrate on their
creative work without having to manually track tedious details
already known to the camera. The ARRI metadata system is
unique in its wide scope and assures an automatic and seamless
flow of information from the set into post.
Photo: Helen Sloan
30
Photo: Macall B. Polay
Faster on set
Faster in post
A rich set of metadata is always recorded into the ARRIRAW and ProRes files. At the
Metadata greatly helps lubricate the flow of images through post, especially
same time ALEXA provides live streams of this information for many different uses on
on projects handling massive amounts of data. Having instant access
set. The ARRI WCU-4 wireless hand unit graphically displays critical lens information like
to reliable information such as clip name, date of recording, recording format
depth of field, allows lens mapping and performs precise focus tracking. Monitors show
and frame rate simplifies media asset management and is a valuable
camera and lens status, and specialized software provides real-time pre-visualization of
timesaver. Frame-accurate lens information about focus, zoom and iris
complex VFX shots. Looks can be fine-tuned and the results are automatically recorded, so
settings is critically important for VFX compositing, as it allows a closer
they can be used for dailies and in final grading. Custom frame lines can be created in prep
match between computer generated images and live footage, especially for
and transported as metadata for automatic image cropping in dailies creation.
tricky shots involving simultaneous zooms and camera moves.
“ON GAME OF THRONES THE ACCURACY OF OUR
LENS DATA IS MISSION CRITICAL. ARRI HAS
BENT OVER BACKWARDS TO ENSURE THAT OUR
LENSES AND CAMERAS ARE TALKING, AND THAT
METADATA INFORMS EVERY MOVE WE MAKE.”
Steve Kullback, visual effects producer
31
HIGHEST
PRODUCTION VALUE
Bajrangi Bhaijaan
DP: Aseem Mishra
© Salman Khan Films
32
Best overall image quality
Best overall production costs
All ALEXA cameras offer unrivalled image quality by focusing not just on
The overall production costs of choosing a particular camera go far beyond the rental fee.
spatial resolution, but also on other crucial elements such as color rendition,
They include on-set factors such as reliability and downtime, speed of changing setup, ease
skin tones and dynamic range. It is ALEXA’s careful balancing of all the
of operation and flexibility of configuration. They also include postproduction factors such
different image quality parameters that make it the most popular choice
as how quickly images can be moved from set to post, how easy they are to grade, how
for top-level filmmakers who judge cameras not by numbers, but by their
much metadata is available and how simply VFX elements can be incorporated. ALEXA SXT
own tests and their own eyes. ALEXA delivers the best overall image quality
aces all of these factors; with its robust build quality, seamlessly integrated camera and lens
whether the chosen output is HD, 2K, 4K or one of the native resolution
control functions, rich metadata and huge variety of recording options, it delivers the best
outputs like ProRes 3.2K or uncompressed ARRIRAW Open Gate.
overall production value available.
The Revenant
DP: Emmanuel Lubezki ASC, AMC
© Twentieth Century Fox
Cuéntame como pasó
DP: Tote Trenas AEC
© Grupo Ganga producciones
33
THE MOST POWERFUL
CAMERA SYSTEM
34
ALEXA Classic EV – THE ORIGINAL
ALEXA SXT EV – SUPER XTENDED
Where it all began: the classic ALEXA with its
A tall sensor for anamorphic shooting, in-camera ARRIRAW recording up to 120 fps,
16:9 sensor is compact and affordable, with
14 recording formats, ARRI look management, super flexible on-set monitoring,
ultra-fast workflows and image quality akin
ARRI Lens Data System, improved image quality, single speed mode, a new media
to 35 mm film.
bay and new, high-performance drives - what's not to love?
What makes ALEXA the most powerful digital camera system ever built? It is the range of camera models, each tailored to
specific industry requirements. It is the best overall image quality, efficient and versatile workflows, simple and safe operation,
and the open and future-proof architecture. It is the tight integration with ARRI and third-party accessories. And it is the
existence of a whole biosphere of ARRI and third-party software tools, all supporting ALEXA.
ALEXA SXT Plus – THE ALL-ROUNDER
ALEXA SXT Studio – THE FLAGSHIP
ALEXA Mini – THE COMPANION
The Swiss Army knife of cameras: all the features of
All the features of the ALEXA SXT Plus, but with
Compact, lightweight and self-contained, yet
the ALEXA SXT EV, plus built-in wireless remote control
a film-style optical viewfinder, rotating mirror
capturing the same image quality as other
of camera and lens motors, tilt/roll sensors, electronic
shutter and motorized ND filter slider.
ALEXA models, the Mini is ideal for gimbal
horizon and additional connectors for remote control,
mounts, drones and helicopters, as well as
video output and accessory power.
underwater, car, action and 3D shoots.
35
THE ORIGINAL
The first camera on the scene remains at
the center of the family; it is the keystone
of a modular and upgradeable system that
offers not just an image-capture solution,
but an entire image pipeline. Working
successfully on TV shows worldwide and
updated with the latest software, the
ALEXA Classic EV is proof of ARRI's long
product cycles and the secure investment
ALEXA cameras represent.
36
HDR since 2010
Recognizing the importance of high dynamic range early on, ARRI has designed
first ALEXA in 2010 contains a wealth of information from the brightest to the
ALEXA cameras with the widest exposure latitude of any camera in the industry.
darkest parts of the image, which is why ALEXA footage outperforms all others
This provides not only the most creative flexibility in color grading, but also is
on HDR displays and projectors.
the ideal basis for a spectacular display in HDR. Even footage captured with the
37
SUPER XTENDED
While keeping the sensor and user interface of
the original ALEXA design, the capabilities of
ALEXA SXT cameras have been greatly extended.
Equipped with the powerful electronics and
sophisticated image processing of the ALEXA 65,
SXT cameras can manage more recording formats
and handle more processor-intensive tasks such
as calculating looks with 3D LUTs or color space
conversions to Rec 2020, all in real time. Building
on work done originally for the ALEXA Mini and
AMIRA, the new ARRI look management and
optional noise reduction help creative filmmakers
get their ideas across. And last but not least,
the new media bay can accept a wide range of
media, as well as the new, high-performance SXR
Capture Drives.
38
Various recording media
New SXR Capture Drives
The new media bay can accommodate a
The new SXR Capture Drives represent the next generation of professional solid-state media for ALEXA SXT and ALEXA 65
wide range of media for unrivaled flexibility:
cameras. Sophisticated selection of memory, careful manufacturing processes and a modern, robust housing design make
XR and SXR Capture Drives, SxS PRO
these the most reliable media on the market. Their lightning-fast maximum write speed of 20 Gb/s allows for higher maximum
and SxS PRO+ cards, and CFast 2.0 cards.
frame rates with some recording formats, while the 1 TB or 2 TB capacity permits longer recording times.
CFast 2.0 Adapter 2 and
CFast 2.0 card
SxS Adapter 2 and
SxS PRO/SxS PRO+ card
XR Adapter and
XR Capture Drive
SXR Adapter and
SXR Capture Drive
39
THE ALL-ROUNDER
The ALEXA SXT Plus is the most
versatile and flexible of the ALEXA SXT
cameras, a true all-rounder. With an
integrated wireless radio for camera and
lens remote control, tilt/roll sensors,
electronic horizon and additional
connectors for camera and lens control,
signal output and accessory power,
the ALEXA SXT Plus offers the best
value and widest range of uses.
40
ARRI ELECTRONIC CONTROL SYSTEM
Single Axis Unit
SXU-1
Wireless Compact
Unit WCU-4
Controlled Lens
Motor CLM-4
ARRI LDS LENSES
ARRI/ZEISS
LDS Ultra Prime
lenses
ARRI/ZEISS
Master Prime
lenses
ARRI/ZEISS
Master Anamorphic
lenses
ARRI/ZEISS
Master Macro
100
ARRI/FUJINON
1.4x Extender
2.0x Extender
ARRI/FUJINON
Lightweight Zoom
LWZ 15.5-45/ LWZ 30-80
ARRI
Anamorphic UWZ 19-36
Ultra Wide Zoom UWZ 9.5-18
Lens metadata for a smooth workflow
Simplifying VFX
Lens metadata is invaluable for efficient working on set and speedy VFX in post,
For a full, end-to-end metadata workflow into VFX post, ARRIRAW and ProRes metadata
which is why ALEXA SXT cameras are equipped with a Lens Data System (LDS) lens
can be carried over to DPX or OpenEXR files through the ARRI Metadata Bridge (AMB).
mount, allowing them to insert lens metadata into all recording and output formats.
Lens metadata allows faster compositing by matching VFX elements to real images, which
is particularly helpful for shots incorporating dynamic camera movements, when tracking
Easing tasks on set
On the set, streaming lens metadata is used for an overlay in the ALEXA display,
viewfinder or MON OUT image. In addition, it is utilized by the Wireless Compact
software is often out of its depth.
Metadata from any lens
Unit WCU-4 for an easy-to-use graphical lens display. The HD-SDI image carries
In addition to more than 42 ARRI lens models with built-in LDS, it is possible to gather lens
streaming lens metadata that can be displayed by a range of modern monitors or
metadata from any lens by using the ARRI Lens Data Archive (LDA) function of the camera, in
used for real-time virtual set applications.
combination with either an ARRI Controlled Lens Motor (CLM) or ARRI Lens Data Encoder (LDE).
41
THE FLAGSHIP
At the pinnacle of the Super 35 format
ALEXA range is the ALEXA SXT Studio,
featuring a quiet, rotating mirror
shutter with adjustable shutter angle
and an optical viewfinder that provides
real-time, high-contrast images. The
ALEXA SXT Studio is a direct response to
cinematographers’ requests for a camera
that perfectly combines cutting-edge
digital image acquisition with traditional
elements of the film cameras they have
known and trusted for generations.
42
ALEXA Studio
viewfinder
Mirror shutter
The optical viewfinder and mirror shutter truly distinguish the ALEXA SXT Studio
A motorized ND filter slider adds to the high-end options, allowing the level of neutral
from all other digital cameras on the market and have made it an immediate
density filtration to be adjusted rapidly and thereby making daylight exteriors
favorite with cinematographers. While the viewfinder provides the best possible
easier and faster to shoot. Many of the world’s top filmmakers have appreciated the
operating experience, the film-style spinning mirror shutter captures images in
Studio’s connection with its celluloid heritage and have relied upon it when making
the time-honored way and in doing so eliminates any rolling shutter artefacts.
the transition from film to digital.
43
THE COMPANION
ALEXA Mini is a versatile additional tool in the ARRI ALEXA
specialized shots and for working with gimbals and drones, the
camera range, combining a compact and lightweight form
ALEXA Mini perfectly complements a full ALEXA shooting kit
factor with the same unparalleled image quality that has
and allows crews to keep everything within a single system.
made ALEXA a gold standard for the industry. Designed for
44
© Skynamic GmbH
To maintain ARRI's famously rugged build quality in such a small camera body, unique design
solutions such as environmentally sealed electronics, a lightweight carbon housing and a solid
titanium PL mount have been incorporated. Nimble in use and hardy on set, ALEXA Mini can be
operated 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 camera’s user button interface.
45
ARRI CAMERAS
AT A GLANCE
Camera model
Base sensitivity
Exposure latitude
In-camera processing
Sensor format
Sensor/recording modes
Maximum number of recorded sensor photo sites
Frame rate
Weight (body and PL lens mount)
Viewfinder
In-camera recording
Maximum frame rate ARRIRAW
ARRI Look File 2 (3D LUTs & CDL)
In-camera recording to 4K UHD
In-camera recording to 4K Cine
In-camera recording to SxS PRO/SxS PRO+ cards
In-camera recording to SXR Capture Drives
In-camera recording to XR Capture Drives
In-camera recording to CFast 2.0 cards
Independent monitoring outputs
(MON OUT/SDI and viewfinder)
Accessory power outputs (12 V/24 V)
Audio
Lens Data System
Integrated radio for wireless remote control
Multicam interface
Behind the lens ND filter
46
ALEXA Classic EV
ALEXA XT EV
ALEXA SXT EV
ALEXA XT Plus
ALEXA SXT Plus
EI 800
EI 800
EI 800
EI 800
EI 800
14+ stops over the entire sensitivity range (EI 160 - 3200) as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
16 bit
16 bit
16 bit
16 bit
16 bit
35 mm
35 mm
35 mm
35 mm
35 mm
16:9
16:9, 4:3, Open Gate
16:9, 6:5, 4:3,
16:9, 4:3,
16:9, 6:5, 4:3,
Open Gate
Open Gate
Open Gate
2880 x 1620
3414 x 2198
3424 x 2202
3414 x 2198
3424 x 2202
0.75 - 120 fps
0.75 - 120 fps
0.75 - 120 fps
0.75 - 120 fps
0.75 - 120 fps
6.3 kg/13.9 lbs
6.4 kg/14.1 lbs
6.5 kg/14.3 lbs
6.9 kg/15.2 lbs
6.9 kg/15.2 lbs
electronic
electronic
electronic
electronic
electronic
ProRes, DNxHD
ARRIRAW, ProRes,
ARRIRAW, ProRes
ARRIRAW, ProRes,
ARRIRAW, ProRes
DNxHD
DNxHD
60 fps (1)
120 fps
120 fps
120 fps
120 fps
●
●
●
●
●
●
●
●
●
●
●
●
●
●
●
●
●
●
●
●
●
3
2/3 (2)
4
2/3 (2)
4
1/2
line in
-
1/2
line in
●
manual
1/2
line in
●
manual
1/3
line in
●
●
manual
1/3
line in
●
●
manual
Camera model
Base sensitivity
Exposure latitude
In-camera processing
Sensor format
Sensor/recording modes
Maximum number of recorded sensor photo sites
Frame rate
Weight (body and PL lens mount)
Viewfinder
In-camera recording
Maximum frame rate ARRIRAW
ARRI Look File 2 (3D LUTs & CDL)
In-camera recording to 4K UHD
In-camera recording to 4K Cine
In-camera recording to SxS PRO/SxS PRO+ cards
In-camera recording to SXR Capture Drives
In-camera recording to XR Capture Drives
In-camera recording to CFast 2.0 cards
Independent monitoring outputs
(MON OUT/SDI and viewfinder)
Accessory power outputs (12V/24V)
Audio
Lens Data System
Integrated radio for wireless remote control
Multicam interface
Behind the lens ND filter
ALEXA XT Studio
ALEXA SXT Studio
ALEXA Mini
AMIRA
ALEXA 65
EI 800
EI 800
EI 800
EI 800
EI 800
14+ stops over the entire sensitivity range (EI 160 - 3200) as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
16 bit
16 bit
16 bit
16 bit
16 bit
35 mm
35 mm
35 mm
35 mm
65 mm
16:9, 4:3,
16:9, 6:5, 4:3,
16:9,
16:9
1.50 Crop, 1.78 Crop,
Open Gate
Open Gate
Open Gate
Open Gate
3414 x 2198
3424 x 2202
3424 x 2202
3200 x 1800
6560 x 3100
0.75 - 120 fps
0.75 - 120 fps
0.75 - 200 fps
0.75 - 200 fps
20 - 60 fps
8.2k g/18.1 lbs
8.2 kg/18.1 lbs
2.3 kg/5 lbs
4.1 kg/9.0 lbs
9.5 kg/21.0 lbs
optical or electronic
optical or electronic
electronic
electronic
electronic
ARRIRAW, ProRes,
ARRIRAW, ProRes
ARRIRAW, ProRes
ProRes, MPEG-2
ARRIRAW
DNxHD
120 fps
120 fps
48 fps
60 fps
●
●
●
●
●
●
●
●
●
●
●
●
●
●
●
●
●
●
2/3 (2)
4
2/3 (3)
2/3 (3)
3
1/3
line in
●
●
motorized
1/3
line in
●
●
motorized
line in
●
●
●
motorized
3/1
4ch line & mic in, 48V
●
●
motorized
1/5
line in
●
●
manual
All information as of SUP 11.1 (ALEXA Classic), SUP 11.1 (ALEXA XT/XR), SUP 1.0 (ALEXA SXT), SUP 4.1 (ALEXA Mini), SUP 4.1 (AMIRA) and SUP 1.0 (ALEXA 65).
(1) ARRIRAW recording on an external recorder via T-Link.
(2) 3 independent outputs in 16:9, 2 independent outputs in all other sensor modes
(3) some parameters can be set independently for SDI OUT 1 and SDI OUT 2
47
GLOBAL SERVICE
AND SUPPORT FOR AN INTERNATIONAL INDUSTRY
ARRI products are renowned all over the world for their precision and durability. Nevertheless, ARRI values the trust of its
customers in service and support as highly as their trust in the equipment itself. With service centers and support partners
covering the entire globe, we are never too far away to provide the support you need, wherever you might be.
48
LOS ANGELES
TORONTO
LONDON
BERLIN
MUNICH
VIENNA
MILAN
NEW YORK
BEIJING
HONG KONG
SYDNEY
SAO PAULO
ARRI subsidiaries
Over 50 service and support partners worldwide; contact details at www.arri.com
49
RELYING ON
PARTNERS
F i r e fl y
CINEMA
POMFORT
fn
ARRIRAW certification:
ARRI openly supports innovation in a rapidly changing market, working with the world’s best
hardware and software manufacturers to deliver high-quality, reliable products and file-based workflow
CERTIFIED FOR
solutions in support of the widespread adoption of the ALEXA camera system.
RECORDING
This label indicates that a device can
reliably record ARRIRAW, including all
ALEXA
metadata, and output *.ari files.
This ALEXA brochure (80.0012377) is published by Arnold & Richter Cine Technik, August, 2016 © ARRI/2016
Technical data and offering are subject to change without notice. All rights reserved. Without any warranty. Not binding 08/2016. ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.
Cover photo: Yves Krier
50
STRENGTHEN YOUR KNOWLEDGE
ARRI ACADEMY
Certified training courses, bespoke one-on-one tuition, masterclasses and close-up events
Offering a wide range of multi-day training courses, individual sessions and educational events in different
Visit the website to learn more
and book a training course:
countries and languages worldwide, ARRI Academy is the best route for users of all abilities to gain hands-on
www.arri.com/academy
knowledge of ARRI products and workflows, and build their on-set confidence.
51
www.arri.com/alexa
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