10-PAGE LED LIGHT SPECIAL! WELCOME TO THE FUTURE definitionmagazine.com
August 2018
£4.99
FLYING GLASS
Aerial Fujinon cine lenses
Mamma Mia 2 – how to shoot the music...again
$1 BILLION DINOS Jurassic World post route
BLURRED LINES Fujifilm’s new 4K camera
LIGHT FIELD REDUX Lytro technology reborn
WELCOME PRES
New ASC President speaks
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IMAGE COURTESY OF ARRI
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Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ UK
EDITORIAL EDITOR Julian Mitchell
01223 492246 julianmitchell@bright-publishing.com
EDITOR IN CHIEF Adam Duckworth CONTRIBUTORS Adam Garstone, Adam Duckworth SENIOR SUB EDITOR Lisa Clatworthy SUB EDITORS Siobhan Godwood, Felicity Evans
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Definition is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Definition is a registered trademark of Bright Publishing Ltd. The advertisements published in Definition that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted in sterling, euros and US dollars are street prices, without tax, where available or converted using the exchange rate on the day the magazine went to press.
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LED LIGHTS:
The revolution is here and fast paced – can you keep up?
Welcome
It was something top gaffer Perry Evans said to us: “Digital cameras had their revolution about six years ago and now it’s our moment to catch up with the rest of the industry.” Perry was talking about the onslaught of new LED light technology and the joy of now not going to work with a knife, a pair of pliers and a screwdriver in his pocket. His life is so much easier now his choices are made from a user interface on the back of a light or even on a tablet controller for a DMX wireless system. There are also the subtle changes of using light from projection systems which are being used more and more from companies like Lux Machina on movies including Solo: A Star Wars Story. This is now a world of high precision control and not necessarily high output. But with such a revolution there are always parts of the movement that can’t keep up with such a fast pace. With this in mind we have put together a survey to ask the leaders in LED light technology where we are headed. Questions like, ‘is CRI is the correct measurement for coloured LED lights any more?’ open the discussion between the thought leaders who are creating lighting’s future. As ever we want Definition to be a place for further discussion so read our survey and then follow us on social media to have your say.
JULIAN MITCHELL EDITOR @DEFINITIONMAGS
AUGUST 2018 DEFINITION
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NEWS INTERVIEW
WELCOME BACK MR PRESIDENT
Kees Van Oostrum has been re-elected as President of the American Society of Cinematographers. We asked him to reassert the mission statement QUESTIONS JULIAN MITCHELL
Definition: Was does the American Society of Cinematographers (ASC) stand for? Kees Van Oostrum: The ASC was founded in Hollywood in 1919 with the sole purpose of advancing the art and science of cinematography, and bringing cinematographers together to exchange ideas, discuss techniques and promote the motion picture as an art form – a mission that continues today. Our society’s motto is ‘Loyalty. Progress. Artistry’. We pursue those tenets through educational activities, such as the ASC Master Class and International Master Class programs, which have now had more than 1,200 participants since their launch. Our Educational and Outreach Committee brings in hundreds of students every DEFINITION AUGUST 2018
year to meet with ASC members, network and ask questions. And our popular ‘Coffee & Conversations’ offer anyone interested in filmmaking a chance to hear a cinematographer discuss his or her creative approach and decision-making process on a project. We are also very active internationally. Besides the biannual ASC International Cinematographers Summit, that brought together 40 associations from 40 countries this past June, we really delved into the artistic as well as the technological advancements in cinematography. Production is more global than ever and thought sharing with cinematographers all over the world supports our motto of advancing the art of cinematography.
ABOVE DOP and ASC member Dean Cundey holds an ASC Master Class. ABOVE RIGHT The ASC Clubhouse circa 1915.
Def: What are the goals of the ASC? Is it mostly a preserver of a legacy or is there more to it? KVO: We certainly have a role of preserving a legacy. We will be 100 years old next year and are therefore effectively the oldest organisation of this kind in the world. In preserving the legacy, more than ever our educational and research activities are important. Soon you will be able to search 100 years of our magazine online. This will be the largest database of cinematography-related stories and information. We are expanding our heritage collection of cameras that are historically connected to specific cinematographers. We will also be expanding on digital content, documentaries, etc, all with the DEFINITIONMAGAZINE.COM
INTERVIEW NEWS
that meets regularly to discuss, debate and make recommendations on pressing tech issues that impact the entire entertainment industry. Since its formation in January 2003, MITC (then known as the ASC Technology Committee) has been extremely influential in guiding and shaping technological developments in ways that serve the creative interests of filmmakers while emphasising the cinematographer’s contributions in advancing the art form. A number of subcommittees, all devoted to specific areas of industry research, collaborates with and reports back to MITC, which also works closely with other industry groups, including the Academy of Motion Picture Arts and Sciences’ Science and Technology Council, the Society of Motion Picture and Television Engineers (SMPTE), Digital Cinema Initiatives (DCI), the Producers Guild of America, the Art Directors Guild, the Visual Effects Society’s (VES) Technology Committee and the Previsualization Society.
premise of education and information of our craft. Def: What is your role as President on a day-to-day basis? KVO: I would best describe it as overseeing the current and future trends as well as watching out for our mission. Def: What are your biggest challenges over the next few years? KVO: To stay relevant in the most important way. Democratisation of the workflow and the accessibility to creating images has more than often degraded our craft. We are creators of images and that does not mean that accessibility to photography tools equals cinematography. There is a fine line and an intellectual line that needs to be respected. If we stop creating, our job will become irrelevant. We need to educate the world about the artistic endeavours of the cinematographer and the need and important relevance of this contribution. It only helps to tell the story and enhance and support the dramatic content.
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WE ARE CREATORS OF IMAGES… DOES NOT MEAN THAT ACCESSIBILITY TO PHOTOGRAPHY TOOLS EQUALS CINEMATOGRAPHY BELOW From left, actors Wallace Beery and Robert Florey, ASC founding memeber Arthur Edeson, star Douglas Fairbanks and director Allan Dwan during the production of Robin Hood (1922).
Def: How do you keep up with new technology? What is your educative proposal regarding initiatives? KVO: Through our Technology Council we communicate with many if not all technology leaders in our field. They often call for our expertise in the early stages of a new development. MITC consists of about 120 members, regular and associates, and many
Def: Are you looking to become more inclusive with new capture technologies like VR and AR? KVO: One prominent body serving a key role in promoting technological progress is the ASC Motion Imaging Technology Council (also known by the acronym MITC, or ‘My Tech’), an impressive body of industry experts @DEFINITIONMAGAZINE |
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AUGUST 2018 DEFINITION
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SHOOT STORY MAMMA MIA 2
Recycling the look How do you better the smash hit of the original Mamma Mia movie? You just follow the music WORDS JULIAN MITCHELL IMAGES UNIVERSAL PICTURES
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MAMMA MIA 2 SHOOT STORY
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IMAGE The ‘When I kissed the teacher‘ song sequence.
WE OCCASIONALLY USED LARGE SILKS TO SOFTEN THE HARSH CROATIAN SUN
hank you for the music’ is what everyone is saying about Mamma Mia!, especially the producers. The stage musical has banked $1 billion in receipts and it was the first movie to make over $600 million at the box office. The new movie, Mamma Mia! Here We Go Again is then a sure-fire hit and it’s perfect for the summer cinema doldrums. The first movie had a heightened look to go along with the slightly kitsch song and dance sequences, so what could DOP Robert Yeoman add to it? Robert has shot movies as different as Dogma and The Grand Budapest Hotel. We asked him what it takes to make a sequel of such a popular hit movie? Is it limiting, do you pursue making a similar movie or are you encouraged to bring your own aesthetic and vision to the production? “Certainly we were all fans of the first Mamma Mia! movie. Our goal was to capture the joy and spirit of the first film and, hopefully, expand on it to find a fresh approach to the story. There were obvious visual motifs – the sea, the hotel, etc – but we were free to embellish and give a new interpretation to this backdrop.” But would the production be tempted to follow the example set by the Oscar-winning screen version of Les Misérables, for instance, and record live vocals to get nearer the audience? The quick answer from Robert was, “I don’t remember any live vocals for the songs, everything was prerecorded and the actors had to lip sync.” @DEFINITIONMAGAZINE |
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AUGUST 2018 DEFINITION
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GRADE STORY JURASSIC PARK
Jurassic Post
The team at Goldcrest tell us about their latest work on Jurassic World: Fallen Kingdom, and what the future holds for their leading studio WORDS JULIAN MITCHELL IMAGES UNIVERSAL
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JURASSIC PARK GRADE STORY
hen we find ourselves at a noisy Soho eatery with Goldcrest Post senior colourist, Adam Glasman, it’s hard not to feel incredibly lucky to have carved out 30 minutes of his time outside the suite. After all, it’s been quite a remarkable few months not just for Adam’s already impressive CV, but for Goldcrest Post as a whole. In March, Three Billboards Outside Ebbing Missouri, which Adam created the final grade for, won two Oscars and was nominated for five more. In May, the launch of a brand new Goldcrest TV drama wing – featuring state-of-the-art 4K and HDR Resolve grading suites – marked a departure from the facility’s film-centric legacy towards a new future filled with more breadth. And not just for taking advantage of television’s increasing budgets either, as Goldcrest’s aspirations look to be far higher: to become a true one stop shop for everything from production and financing to post, no matter the project. The team’s latest show at the time of writing, Jurassic World: Fallen Kingdom, couldn’t be better proof. Adam was the supervising digital colourist throughout the making of the film, but Goldcrest’s involvement spanned across everything from DI to sound mixing, and even providing all cutting rooms and production office space. Over two cups of well-deserved coffee, we find out more about how the latest instalment in the greatest dinosaur franchise of all time was created, and what this means for the future of one of London’s most exciting moving picture studios.
A NATURAL AMBIENCE Having previously worked closely together on several films including A Monster Calls, The Impossible and The Orphanage, Spanish director J.A. Bayona and his DOP of choice, Oscar Faura were already very close before beginning work on Jurassic World. “They’d never collaborated with Goldcrest before, though,” begins Adam. “Initially, what attracted them to us was the ability to have full picture post under one roof, including sound. Oscar Faura ended up coming over to the UK a few months before DI began, and we spent a week together at Goldcrest. He had some really strong ideas about colour from the outset. The Jurassic films are some of the highest grossing and most
IMAGES Getting up close and personal with some not-socuddly creatures on set.
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culturally celebrated landmark films of all time, so we had a lot to live up to!” To depict the story, which showcases Owen Grady (actor Chris Pratt)’s campaign to rescue the remaining dinosaurs from extinction when the island’s dormant volcano begins roaring to life, Oscar Faura, Adam and the rest of the colour team needed to achieve a lush, vibrant look, whilst still retaining natural contrast levels. “By the end of the week, we had completed a rough grade of the film with lots of gaps for temporary effects, just to set looks for all the key scenes,” Glasman reveals. “We then screened this to the director, editor and VFX team to ensure all were comfortable with the direction of the grade before we continued.”
ADAM AND THE REST OF THE COLOUR TEAM NEEDED TO ACHIEVE A LUSH, VIBRANT LOOK @DEFINITIONMAGAZINE |
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AUGUST 2018 DEFINITION
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SHOOT STORY LENSES FOR AERIAL CINEMATOGRAPHY
Standing out from the crowd
Amazon Video’s Vikings included aerials using Fujinon’s Cine zooms, lenses that are making a name for themselves in the air
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LENSES FOR AERIAL CINEMATOGRAPHY SHOOT STORY
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elicopter Film Services (HFS) has been producing the highest end aerial cinematography for years and has seamlessly bridged the arrival of drones by incorporating them neatly in to its offering. The company also embraces new ways of capture with its fleet of helicopters and heavy lift drones by wringing the most out of their engineering ability. SHOOTING PLATES An example of this is HFS’s Typhon 6 Camera Array, which shows off their engineering achievement in the best light. This array incorporates six ARRI ALEXA Mini cameras mounted in a Shotover K1 stabilised system, in order to shoot plates that can then be stitched together in post-production. The Array is designed to enable both aerial and ground-based filming of sequences when a particularly wide field of vision is required. Oliver Ward, chief technical officer at HFS, explains: “We created the Typhon to meet ever greater need for a stabilised array, primarily based around the ARRI ALEXA camera.” It’s already seen use on Paddington 2, whose unit production manager, Tim Wellspring explains: “We had a first use, and it worked beautifully.” The Typhon 6 was used extensively on a tracking vehicle with a hydroscope crane on Paddington 2 for the train chase sequences. Glen Pratt at Framestore, visual effects supervisor explains: “The Typhon Array gives us a huge field of view. This provides a better sense of the environment you’re moving through and means that, within the frame, there are a lot of points of interest that can act as a background for areas you’ve shot before. The Typhon can also be used for a photogrammetry aspect, so you can run at a slower frame rate with a hard shutter to build this large field of view, creating a successful piece of tracking geometry. “Only a super-stable system can allow the use of this frame rate/ shutter. Having this Array also brings benefits when creating any CG fields on top of what we’ve already shot,” continues Glen. “When creating a wholly graphic environment, it gives a very thorough starting point, meaning we can reduce the number of CG builds so there’s less work required in post. That means less pressure on budgets and schedules, and more time to finesse the work.”
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LIGHTING LED FUTURE
CONFESSIONS FROM A
LED LIGHT FUTURE We asked the designers of the future of lighting about LED light technology and what the future holds QUESTIONS JULIAN MITCHELL
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LED FUTURE LIGHTING
Definition: Should lighting companies look to adhere to a colour standard for LED lighting now that CRI levels are very similar and consistent? Al DeMayo, co-founder/CEO, LiteGear: Yes. For cinema and television use, standards (actually recommendations) already exist such as Rec. 709, Rec. 2020, and several others. Digital cameras – and their ability to adjust white-balance with plus and minus green cast and optional low-pass filters – make the white point a moving target. White light output from any manufacturer should be able to fall exactly on the Planckian Curve with near-zero Delta UV (the distance and direction of colour shift from the Planckian locus), meaning the light is neither too green or too magenta. Coloured light should be provided only within the gamut of the chosen colour space such as Rec. 709. I think it is our best chance at achieving inter-vendor operability. Byron Brown, product manager, Litepanels: The best colour standard for LED lighting is the full colour, 360° spectrum. Most colour standards, like CRI, select a few common colours and measure how well a LED light renders those colours. The best LED lights will render a full and level spectrum for all colours and offer highly flexible and precise colour adjustment. These lights will also perform well on colour standards like CRI and TLCI since those standards are a small subset of the full spectrum. Dedo Weigert, Dedo Weigert Film: Yes, it is true that recently the CRI levels of LED light sources have gone up and are now in the higher 90s. At the same time, we have to be reminded that CRI is a system from 1931, which include
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ABOVE The new SUMO light
ADHERING TO A STANDARD DEPENDS ON HAVING A STANDARD
BELOW Why are there so few LED options for highoutput directional sources? Read on.
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only eight pastel colours, and it totally misses out on the important red and skin tones (R9 and R13). So if we talk about CRI, we must talk about expanded CRI; but even by those standards LEDs have become a lot better. But then there are other ways to look at it. CRI is based on the response of the human eye, therefore, if you are talking about museum lighting and about people watching the artwork, CRI may indeed have some significance. TLCI by Alan Roberts I think is a great step forward and goes much deeper into it, but in
my mind, and as far as I know, refers mainly to studio cameras with three CCD sensors; and even those were not all reacting in exactly the same way. Klaus Hamlescher, product support, Sumolight: An advantage of the CQS for gaffers is the fact that all colour values are combined through a root mean square average so a LED with low single colour values gets a lower overall rating. The average for the CRI is calculated so that a LED can have weak single colours like the important ones for skin tones (R9, R13, R15) and still have a very high rating, which is not ideal. As all colours with CQS are evaluated in its saturated maximum this helps owners of shops to understand their lighting quality requirements but is less useful for digital camera cinematography and post-production. As long as all CRI values are displayed and taken into account separately we are happy with the traditional colour rendering index. Frieder Hochheim, founder, Kino Flo: Adhering to a standard depends on having a standard. CRI is a photopic standard (your eye) and bears little relevance to the spectral response curves of cameras. Since lighting manufacturers all have different levels of technical expertise you will always have a range of product quality; quality in colorimetry, software features, design and construction. Establishing AUGUST 2018 DEFINITION
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FEATURE HOLOGRPAHIC CAPTURE
Stereoscopic 3D was always a small step towards true holography, we look at some old/new ways to gets us even closer WORDS JULIAN MITCHELL
t the NAB Convention in 2016 Lytro demonstrated its new cinema product. Lytro had previously only been known for its cute consumer cameras that used light-field technology, a way of capturing light intensity but more crucially light rays and the way they travel in space to produce a z-axis depth. This allowed for such things as the ability to refocus after shooting the frame. They didn’t really sell. The Lytro Cinema camera took that premise and multiplied it hugely with a Raw 755-megapixel per frame 400Gb/s data stream shooting at 300 frames-per-second. This massive volumetric capture promised the end of green screens as with such a large volume you could bend every pixel to your whim. Changing focus and depth-of-field was just the start. It was the depth and so positioning of the real world that would allow it to be post-produced and changed in any way you wanted. DEFINITION AUGUST 2018
Of course it was too good to be true and realists laughed at the sheer size of the camera, its data load and also at the rental prices that came after. For Lytro it was a way of cementing its technology with a flagship product. The company soon also produced a smaller (but still pretty big) 360 camera, Immerge with 95 light-field cameras, which were offset to produce a wider field of view. The Immerge looked promising and version 2.0 increased the possibilities. Unfortunately, Lytro’s story ended earlier this year when it was bought by Google to possibly add its assets to the search giant’s own efforts in holographic capture. MERIDIAN Just as we saw the demise of Lytro, master riggers Radiant Images joined with Sony and immersion specialists Visby to produce Meridian, a new light-field capture tool.
ABOVE OTOY’s 2015 light field ‘office’ experiment with rotating DSLRs.
Meridian is basically a threeby four-foot panel with 24 Sony RX0 cameras carefully positioned throughout the panel. And it’s at “the forefront of the next cycle of immersive capture technology, taking viewers beyond VR by enabling more freedom of movement within the story,” according to Michael Mansouri of Radiant Images. He continues: “We created the Meridian from a collaboration with Sony, who had approached the company DEFINITIONMAGAZINE.COM
HOLOGRPAHIC CAPTURE FEATURE
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X-H1 & MKX LENSES REVIEW
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THE MISSING LINK Fujifilm’s new X-H1 mirrorless camera and its matching MKX cine lenses show their potential for serious video WORDS ADAM DUCKWORTH
hen Fujifilm unveiled a pair of affordable cinema lenses in a Sony E-mount and promised X-mount versions, it became almost inevitable they would pair them with a new camera boasting a stronger video feature set than the firm’s current XT-2 flagship. Of course there was hope that the camera would be designed for filming first with stills as an add-on – much like Panasonic’s GH5S or Sony’s A7SII, with pulse-raising features such as very high frame rates, dual native ISO, ten-bit 4:2:2 footage, even Raw video.
IT’S IDEAL FOR A SECOND CAMERA EVEN WHEN YOU’RE LOOKING TO MATCH TO PRICIER MODELS @DEFINITIONMAGAZINE |
Fujifilm’s new flagship is the X-H1 and it does boast not only the bestever features for stills photographers but is hugely impressive for video use, too. Hardcore filmmaking tech-heads may have been a tad disappointed that the camera doesn’t feature GH5Srivalling spec like 240fps, and there’s certainly no Raw video options. But pro filmmakers who want to push the boundaries of small cameras are not who the X-H1 is aimed at – instead it’s ideal for DOPs who are looking for a smaller form factor that would match up to something bigger. After all, some shooters in pro video don’t want or need loads of different Log options, Raw video or super-slow motion. A camera they can understand and get great results from with as little fuss as possible is what’s important, and in this way the X-H1 delivers. Especially when teamed up with the latest MK cinema lenses, now available in X-mount. These MKX lenses turn the X-H1 into a serious filmmaking tool that’s not daunting
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ABOVE Team the Fujifilm X-H1 flagship with one of the MKX lenses and you’ve got a serious filmmaking tool.
to shooters who have come from DSLRs, and helps boost creativity with the unique advantages of real cinema glass, such as a lack of focus breathing. That’s not to say the spec of the camera is lacking. The X-H1, which uses the same APS-C size sensor as the X-T2, has significantly improved video features thanks to an increase in processing power and speed which has allowed Fujifilm’s engineers to squeeze out every last AUGUST 2018 DEFINITION
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TIMECODE SYSTEMS GEAR
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TIMECODE SYSTEMS :PULSE AND ULTRASYNC ONE There is one thing that you need to rely on and that’s rock-solid timecode. Timecode Systems make products that can help you... WORDS ADAM GARSTONE n my last job, at some point in the mid-afternoon, the RED camera – though carefully jammed to the audio recorder’s timecode after lunch – would lose sync by up to two seconds. Three weeks of rushes – just under two hundred clips with no claps – had to be synced manually.
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I am currently working on a programme shot over four weeks on up to seven roaming cameras, with three sound recordists and half a dozen GoPros. Not a single clip has been out of sync – because the production used Timecode Systems products. THE RANGE The range consists of the SyncBac Pro, which fits onto the GoPro Hero4 and Hero6; the UltraSync ONE, for cameras with genlock and timecode inputs; and a couple of controlling transmitters, the :wave and the :pulse. All the units communicate over a dedicated wireless system with a range of up to 200m to ensure sync; if you go out of range of the radio they have internal clocks accurate enough to keep them within a frame or so
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in 24 hours. And, of course, as soon as they return to radio range they automatically re-sync. The range topping :pulse mini base station is a ruggedly built unit just 94mm x 67mm x 23mm, weighing 230g. There’s a nice case available for it, with a belt clip and velcro attachments, or it can fit easily into a sound recordist’s bag. The right-hand side also features several 3/8-inch UNC and 1/4-inch UNC threaded bushes. The rear of the unit has Lemo connections for DC power (nine to 36V), timecode in and out, data (for connection to third-party equipment like Sound Devices recorders), and a BNC output switchable to LTC, WordClock or genlock). On the left of the unit are a couple of Ethernet ports and USB 2.0. More on the Ethernet later, but
THE :PULSE MINI BASE STATION CAN FIT EASILY INTO A SOUND RECORDIST’S BAG LEFT The UltraSync ONE can be used as a timecode master or slave. AUGUST 2018 DEFINITION
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4K CAMERA LISTINGS
DEFINITION’S 4K CAMERA LIST
We’ve decided to take the brakes off the list as far as capture resolution is concerned. Now our starting point is 4K; after that the sky’s the limit
ARRI ALEXA LF 90FPS
14 + STOPS
LPL MOUNT
4448x3096
ARRI ALEXA MINI SxS / SXR
ARRI’s long awaited large format camera arrives with a package of camera, new lens mount and new Signature lenses. Expect plenty of use by Netflix. Sensor tech is still the ALEV-III technology with big photosites.
SPECIFICATION
200FPS
14 STOPS
PL MOUNT
2880x1620
SxS
New features include the EXT Sync function, which allows sensors and operational parameters of up to 15 ALEXA Minis to be synchronised to a master ALEXA Mini. Slaves can assume parameters like frame rate, shutter angle or ND setup of the master.
SPECIFICATION
SENSOR – FORMAT AND SIZE
CMOS, 36.70x25.54 mm - 4448x3096, ø 44.71 mm
SENSOR – FORMAT AND SIZE
CMOS, 16:9 (1.78:1), 23.8x13.4mm – S35
FRAME RATES
ARRIRAW: 0.75 - 90fps ProRes: 0.75 – 60fps
FRAME RATES
Up to 200fps in ProRes
LATITUDE (STOPS)
14+
LATITUDE (STOPS)
14
LENS MOUNT
LPL with PL-to-LPL adapter
LENS MOUNT
PL, EF, B4 w/ Hirose connector
EXPOSURE INDEX
EI 800
DIGITAL SAMPLING
2880x1620, uncompressed ARRIRAW/1920x1080
RECORDED BIT DEPTH FORMAT AND TIME
16 bit linear ALEXA Wide Gamut/Log C colour space. Output colour spaces: Log C, Rec 709 or Rec 2020
RECORDED BIT DEPTH FORMAT AND TIME
3.2K: 3200x1800; 4K UHD: 3840x2160 (up-sampled from 3.2K); 4:3 2.8K: 2880x2160 (up to 2944x2160)
RECORDING RESOLUTIONS
Sensor modes – LF Open Gate 4448x3096; LF 16:9 3840x2160; LF 2.39:1 4448x1856
WEIGHT (KG)
2.3 (camera body with titanium PL lens mount)
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4K CAMERA LISTINGS
ARRI ALEXA SXT EV 120FPS
14 STOPS
PL MOUNT
2880x2160
ARRI ALEXA SXT W
SxS/SXR
SXT ALEXAs get the sensor from ALEXA, the electronics from the A65 and the colour management from AMIRA. In-camera rec is ProRes 4K UHD/CINE. A direct response to requests for cutting-edge digital capture with traditional elements of the film cameras.
SPECIFICATION
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120FPS
> 14 STOPS
PL MOUNT
2880x1620
SxS
Based on the ALEXA SXT Plus, the SXT W has replaced the SXT Plus and Studio models with an industrial version of the Amimon chipset for wireless transmission. ARRI has ruggedised the W mainly for feature work.
SPECIFICATION
SENSOR – FORMAT AND SIZE
16:9 or 4:3 sensor mode. 4:3 output only for ARRIRAW and ProRes 2K recording
SENSOR – FORMAT AND SIZE
16:9 or 4:3 sensor mode. 4:3 output only available for ARRIRAW and ProRes 2K recording
FRAME RATES
At 16:9 – 0.75-120fps/60fps max when recording 2K ProRes/speeds adjustable with 1/1000fps precision
FRAME RATES
At 16:9 – 0.75–120fps/60fps max when recording 2K ProRes/speeds
LATITUDE (STOPS)
14+
LATITUDE (STOPS)
+14
LENS MOUNT
54 mm stainless steel LDS PL mount
LENS MOUNT
PL
DIGITAL SAMPLING
2880x2160 uncompressed ARRIRAW
DIGITAL SAMPLING
2880x1620, Uncompressed ARRIRAW/1920x1080
RECORDED BIT DEPTH FORMAT AND TIME
SxS PRO 64GB; SxS PRO+ 64GB; SxS PRO+ 128GB; LEXAR 3600x CFast 2.0 cards 256GB; XR Capture Drives 512GB; SXR Capture Drives 1TB & 2TB
RECORDED BIT DEPTH FORMAT AND TIME
16-bit linear internal image processing in full ALEXA Wide Gamut/Log C colour space. Target output colour spaces: Log C, Rec. 709 or Rec. 2020
WEIGHT (KG)
6.5 (SXT EV body with PL mount)
ARRI ALEXA 65 60FPS
> 14 STOPS
XPL MOUNT
5120x2880
ARRI AMIRA SXR/XR
With a sensor larger than a 5-perf 65mm film frame, ALEXA 65 heralded the start of large format. Now shooting as a main production camera for Netflix, Amazon and the rest. Only available exclusively through their global network of rental facilities.
SPECIFICATION
200FPS
14 STOPS
PL MOUNT
2880x1620
CFAST
Amira is now split up into standard, advanced and premium. Features include in-camera grading with preloaded 3D LUTs, as well as 200fps slow motion. From reportage and corporate films to TV drama and low-budget movies. Multicam mode too.
SPECIFICATION
SENSOR – FORMAT AND SIZE
ARRI A3X CMOS sensor, 54.12x25.58mm active image area. Open Gate aspect ratio of 2.11:1 (6560x3100)
SENSOR – FORMAT AND SIZE
Single CMOS, 16:9 (1.78:1), 28.17x18.3mm – 35 format
FRAME RATES
Capable of recording 20-60fps (open gate) using new SXR media. XR drives allow 27fps
FRAME RATES
Up to 200fps in ProRes
LATITUDE (STOPS)
14+
LATITUDE (STOPS)
14
LENS MOUNT
ARRI XPL mount with Lens Data System (LDS)
LENS MOUNT
PL, B4 mount w/ Hirose connector
DIGITAL SAMPLING
1.78 crop mode (5-perf 65mm): 5120x2880 and 1.50:1 crop mode – 4320x2880
DIGITAL SAMPLING
2880x1620, uncompressed ARRIRAW/1920x1080
RECORDED BIT DEPTH FORMAT AND TIME
Codex SXR Capture Drive 2000 GByte capacity Max. frame rate capability: 60 fps (Open Gate) Recording time: 43 minutes at 24 fps
RECORDED BIT DEPTH FORMAT AND TIME
HD 1920x1080, 2K 2048x1152, 3.2K ProRes 3200x1800 4K UHD 3840x2160
WEIGHT (KG)
10.5
WEIGHT (KG)
4.1 (camera body with PL lens mount)
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AUGUST 2018 DEFINITION