Definition October 2018 - Sampler

LONE OW K

LIGHTING SPECIAL THE EVOLUTION OF CONTROL P56

October 2018

£4.99

DIRTY LIGHT HOW STRANGERS MADE HONG

KONG LOOK BAD

GRIPPING NATIONAL GEOGRAPHIC’S

AWARD WINNING FREE SOLO

EDINBURGH TV FEST REPORT MYCASEBUILDER FIILEX MATRIX II LIGHT FUJI X-T3 NEW FULL FRAME CAMERAS FOCUS ON BIG MOVES

FIRST TEST ASTERA TITAN TUBE LIGHT

New reincarnation gets the filmic look

definition_October.indd 2

01/10/2018 10:18

W E LC O M E

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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 Zena Oliani, Phil Rhodes, Adam Duckworth Senior Sub Editor Lisa Clatworthy Sub Editors Siobhan Godwood, Felicity Evans ADVERTISING Sales Director Matt Snow 01223 499453 mattsnow@bright-publishing.com Sales Manager Krishan Parmar 01223 499462 krishanparmar@bright-publishing.com Key Accounts Nicki Mills 01223 499457 nickimills@bright-publishing.com DESIGN Design Director Andy Jennings Design Manager Alan Gray Designer Lucy Woolcomb Ad Production Man-Wai Wong PUBLISHING Managing Directors Andy Brogden & Matt Pluck SOCIAL MEDIA Facebook @definitionmagazine Twitter @definitionmags Instagram @definitionmags

WELCOME

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mazingly, Definition hasn’t really looked at the subject of large-movement gear for a while. We decided to base our Gear Group on the subject but had to decide where we started and finished. If you talk to the large, non-telescopic arm guys they will say that their arms will imitate a drone, will act like a small, handheld gimbal, and with the right vehicle will give you breathtaking, stabilised footage at speed. As you can imagine, those claims are refuted by other engineering companies who evolve their machinery to achieve similar shooting situations. So what’s new? Well, you’re always going to have competition and back-chatting, but what is new is the level of engineering involved that can offer you whatever shot you can imagine and is often repeatable. There are now contactless braking systems from companies like Idea Vision, and Panther’s new S-Type dolly is a feat of supreme engineering, with its negative distance arm technology. The trackless and tracked robots are also on their way – and we even found a new one in Hungary. Perhaps, though, it’s only a matter of time before a company like DJI joins that market.

MEDIA PARTNERS & SUPPORTERS OF

JULIAN MITCHELL EDITOR

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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WE ARE NOT AMUSED

© 2018 Fox Searchlight

No, it’s not Queen Victoria, but Queen Anne: or really actress Olivia Colman in a behind-the-scenes moment.

Olivia is playing the monarch in Fox Searchlight’s The Favourite, also starring Rachel Weisz and Emma Stone, and is also currently in production playing Queen Elizabeth in The Crown Season 3.

Also pictured is the director of The Favourite, Yorgos Lanthimos, who is pointing a very small camera at Olivia and Rachel while holding his director’s monitor enabled by his favourite wireless technology, Bolt, powered by Teradek.

The film opens in the US in November and the UK next year.

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S H O OT S TO RY | D O C TO R W H O S E R I E S 1 1

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THE DOCTOR WE DESERVE

The Doctor Who of 2018 uses all the cinematic tools at her disposal, we talked to Denis Crossan, DOP of the pilot W O R D S J U L I A N M I TC H E L L / P I C T U R E S B B C

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rom the Doctor Who of grainy 16mm film through to the heavy analogue composite video of the 70s then on to soft standard definition, we’ve always been disappointed at the ‘look’ of the Doctor. But circa 2018 and we might have the look that we’ve always wanted and that’s born from the Netflix generation of production. This is our conclusion anyway from talking to pilot DOP Denis Crossan about his new aesthetic ideas, even before we have seen any footage.

Denis had worked with director Jamie Childs on an ITV drama Next Of Kin and

afterwards was asked to work on the next series of Doctor Who. “Next of Kin was very good and I really enjoyed working with Jamie,” he says. “Towards the end of it he mentioned that he was going to do the Doctor Who thing and he wondered whether I would be interested. I thought it sounded great especially with the new ideas surrounding it. I had never really watched the programme and I didn’t know much about it but when he described what he wanted to do I was definitely interested.

The idea was to change everything around along with the new woman doctor and some new characters.

“They wanted new writers and wanted to give it fresh ideas and a new lick of paint. Part of that was shooting anamorphic and supposedly having a filmic look was part of the deal. I thought it was kind of interesting and agreed to do it. Before I actually arrived in Cardiff for pre-production I didn’t have much to do with it and hoped that they were keeping all the new ideas, like the anamorphic look. I was pleasantly surprised especially when the writer Chris Chibnall said that he wanted it to be as bold and exciting as possible and for me to do as much as I could do to make it that way.”

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S H O OT S TO RY | F R E E S O LO

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F R E E S O LO | S H O OT S TO RY

Climber Alex Honnold rehearsed his moves for a year before taking on the mighty El Capitan rock face – without ropes W O R D S P H I L R H O D E S / P I C T U R E S N AT I O N A L G E O G R A P H I C

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ree Solo is a production that could hardly have been designed for anything but the big screen. The documentary, directed by Jimmy Chin and Elizabeth Chai Vasarhelyi, depicts climber Alex Honnold’s ascent of the El Capitan rock formation in Yosemite national park. Made on June 3, 2017, Honnold’s climb was the first ever without the use of safety equipment – the ‘free solo’ of the title. El Capitan is 3000 feet high, so in some ways no screen could ever be quite big enough to capture this achievement.

Jimmy is himself a hugely experienced mountain sportsman, having both climbed

and skied on Mount Everest and a host of other imposing terrain features across Africa, Asia and South America. His credits include cinematography on the 2010 documentary 180° South and direction on Everest: Shooting the Impossible and Meru, which covers an ascent of the eponymous Himalayan peak. Jimmy is, in his own words, a climber who became a filmmaker, not the other way around. “I was a climber first.

I just started to shoot a lot of climbers in my peer group... I was a photographer, then I became a filmmaker. When I first started shooting it was on transparencies – I was filming before the digital SLRs came onto the scene.”

HONNOLD Given the sheer risks involved in a production like Free Solo, it’s no surprise to find that Jimmy, Alex and the rest of their team have climbed and filmed together for years. “The upper echelon of the climbing community is pretty small,” Jimmy says. “I met [Alex] through the climbing community. He joined the North Face athletes team a little over ten years ago, and I’ve been a member of that for over 20 years. I was with him on his first international expedition to Borneo – that was the first time I shot with him.”

Although Alex made his ascent of El Capitan’s Freerider route in a hair

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S H O OT S TO RY | S T R A N G E R S

CULTURE CLASH

Shooting in Hong Kong and London gave DOP Eben Bolter two aesthetics to enhance this West/East ‘fish out of water’ story W O R D S J U L I A N M I TC H E L L / P I C T U R E S I T V

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s we found when we talked to DOP Jess Hall after he had shot the movie Ghost In The Shell, Hong Kong is a special place. Not least because it has this micro-climate that exists on the island which was something Jess wanted to feature in the look of the film. “Because it’s essentially quite tropical there and has this dense forest around it, it tends to have this trapped layer of moisture in the air. There is an ambient quality to the night light which is the neon and LED light getting trapped in this water layer. I tried to pick this up and apply it in our photography.”

For Strangers or White Dragon (as it’s called everywhere except the UK) DOP Eben Bolter used this unique moisture look

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to his advantage. Strangers is a story with roots in China and the UK and simplistic as it might seem, Eben accentuated both places to slot the viewer firmly in one or the other. “We shot for three months in Hong Kong and three months in London, it was shot as a UK block and a Hong Block with the same director and DOP but local crews.”

As well as the weather or the microclimate it was the denseness of the skyscrapers that interested Eben. “You’ve sort of got this weird dense feeling which I know you wouldn’t be able to capture with wide shots – you’d only get a thin strip of the towers and that doesn’t give you the feeling of their looming size. So we decided that long lenses were the way to go, they

show the depth of towers on top of other towers which feels a lot more real, as if you are there. It’s so tall that you can’t really capture that from street level. With the long lens you get that oppressive feeling.” The oppressive feeling of these towers all added to the pressure on the main character, Jonah, who arrived in Hong Kong trying to make sense of the death of his wife.

Hong Kong with its exotic nature and suffocating culture might as well be another planet to him.

With the moisture in the air comes the humidity which negatively adds to the already polluted atmosphere, something Eben was happy to use for the feel of Strangers in Hong Kong. “I wanted to give

S T R A N G E R S | S H O OT S TO RY

There was a huge feeling of mixed colour and mixed light and I used those to accentuate what we called ‘dirty colour’

everything a warmth, even if it was a cloudy dull day I would put a little bit of warmth in to the highlights to make it feel sweaty and hot. There were also times we had to shoot London for Hong Kong but I was able to use the same aesthetic to bring back that heat and sweat even during the UK winter.

GHOST IN THE SHELL Again we reference Ghost in the Shell with Jess Hall’s very controlled 28-colour palette.

It was understandable for that film which was a remake of a Japanese animé to restrict and control the colour. Jess explained to us how he controlled his palette. “We were testing four-channel colour and I wasn’t getting what I wanted so we designed a six-channel unit which gave me RGBW, amber and Tungsten, and enabled me to get these subtle colours I was aiming

for. When I was getting the colours to read correctly on camera I got this device called a spectrometer which reads colour wavelengths. I’d take the RGB readings off the spectrometer and programme those into the other lights which were ARRI, LiteGear and Creamsource, so at least I’d have a starting point for this very subtle colouration that I was using.”

For Eben it was a matter of augmenting what was already there. “There was a huge feeling of mixed colour and mixed light and I used those to accentuate what we called ‘dirty colour’. We never wanted a clean skin tone ever in the show, there’s always a dirty green fluorescent light with a bit of sodium.

Even in day scenes we’d mixed the daylight coming through the windows with a practical that was slightly off daylight colours. So essentially you had two different colours hitting people’s faces, we never tried to beautify it or clean things up. Green is a big part of it, I always wanted a tinge of it – this isn’t a purple or magenta show, it’s a green show. The Police station for example at the beginning, that is a London set but I had sweaty Hong Kong sunshine coming through the windows and the practicals inside, we wanted to use daylight balanced fluorescent tubes. Instead of getting fancy film ones which are perfectly CRI colour

IMAGES DOP Eben Bolter (top right) shot Strangers for Amazon and ITV in both London and Hong Kong.

He used colour and light to create a different atmosphere for each location.

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A DV E R T I S E M E N T F E AT U R E | Z E R O D I V I S I O N

IT’S CARNAGE!

Zero Division provides wireless order amid Carnage using Boxx Atoms

SKY ONE’S NEW SHOW CARNAGE, produced by Primal Media, has stunned everyone this year with its vision of what a combination of high octane, post-apocalyptic atmosphere and epic car battles should look like.

The enormous extent of this project encompassed construction not only of the whole set of ‘gladiator-like’ arenas or the desert race track, but also the infrastructure needed to facilitate everyone and everything within the scope of this high-end contemporary production. If that’s not impressive enough, this immense compound was built in a location that’s a two-hour drive away from civilisation.

SOUTH AFRICAN DESERT To best represent the show’s original theme, the South African desert was chosen as the shoot location. This choice, in turn, created the challenge of working in extreme weather conditions in the middle of nowhere.

It was vital that the equipment could handle exposure to extreme conditions, but in addition it also needed to be fully operational and capable of working under such circumstances, all day every day.

The epic smash-ups, so greatly captured by the show, required a complex network of safety procedures to ensure everyone was

protected during those fantastic battles.

One essential aspect was having a live wireless camera feed from inside all six cars to monitor the drivers’ safety. The image from inside the cars was sent live to the gallery where both the director and the health and safety officer could see exactly what was happening inside the vehicle at any given point to ensure the safety of all involved.

WIRELESS VIDEO TRANSMISSION WITH BOXX TV The show’s director Richard van’t Riet, who has more than three decades of experience working on such shows as Stand Up To Cancer, A League of Their Own, Bigheads, Beat The Star, The Cube, The Voice and Deal or No Deal, needed to find a very reliable yet straightforward and versatile wireless video transmission solution to ensure the best prospect of success on the shoot. Looking at the list of challenges for the wireless element of the project, and having worked with a range of products by Boxx TV over the years, Richard decided to use a Boxx system again.

The extreme conditions of the South African desert, amplified by the interiors of the battle cars with no air conditioning meant that microwave links installed inside

“Zero Division supplied seven Boxx Atom wireless video transmission systems”

IMAGES Each team in the show had to construct their own vehicle, so the Boxx Atom set-up needed to be easy to move from vehicle to vehicle and straightforward to set up.

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Z E R O D I V I S I O N | A DV E R T I S E M E N T F E AT U R E

the vehicles needed to handle temperatures of at least 60˚C. Boxx Atom transmitters worked flawlessly throughout even the most protracted filming schedules. Small but essential touches such as the ability to regulate fan cooling speed allowed the Boxx Atom transmitters to deliver over and above what could reasonably be expected of any wireless system.

As every team crafted their own unique vehicle, battle car design differences required various individualised fast deployment methods as only a specific number of contestants would battle at the same time. Therefore the configuration needed to be able to move continuously between the vehicles throughout any given day. It was clear that the wireless solution needed to be simple to use and easy to install. This particular set-up could only be classified in one way, mission-critical, multi-camera wireless. In that regard, to make things a tad more challenging, the solution needed to incorporate the ability to operate concurrently for up to seven wireless cameras so that the various feeds could be seen instantly and at the same time.

ZERO DIVISION London-based hire company Zero Division managed to comfortably meet all requirements by providing a system designed from the ground up, to tackle all of the above. Zero Division supplied seven Boxx Atom wireless video transmission systems, a wireless telemetry solution and professional RF engineering services to match.

The Steadicam was another element essential to the production and needed to be able to roam around the whole compound freely without signal loss.

Such manoeuvrability with simultaneous monitoring and camera control capability required support by a reliable and robust wireless signal.

WIRELESS RIGS IN-CAR Many things have already been said about those practical yet very spectacular automobiles, and rightly so. The cars came in a variety of sizes, construction and installation options. Due to the small form factor of Boxx Atom transmitters and their overall simplistic design, the whole wireless rig could be moved from car to car within a

matter of minutes. Furthermore, minimal system configuration meant that, once a rig was moved, all that remained was to manually change the channel by pressing the single button on the transmitter.

The operation and performance of this solution proved to be essential to filming a competition comprising many participants working together in real time.

All of the above and much more has contributed to a very successful production and a now-viral Saturday Sky One series.

Zero Division is extremely proud to be able to say that they took part in the making of this groundbreaking show. Staying at the forefront of wireless video transmission, the company uses only the most reliable and robust solutions and wireless transmission systems – and Boxx TV’s Boxx Atom systems were up to the challenge.

MORE INFORMATION:

www.zerouk.com

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TALK TO THE HAND F E AT U R E | L I G H T CO N T R O L

DESIGNING LIGHTING BY HAND OR TOUCH ON A SMART DEVICE IS THE NEW CLEVER WAY TO WORK – SO LEARN AN APP, OR YOU MIGHT GET LEFT BEHIND W O R D S J U L I A N M I TC H E L L / P I C T U R E S B B C

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L I G H T CO N T R O L | F E AT U R E

r

Gaffe

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U S E R R E V I E W | F U J I F I L M X-T 3

THE SENSIBLE ALTERNATIVE PRICE £1349/$17 76

Fujifilm’s new APS-C size X-T3 is a lighter, cheaper option than its full-frame rivals W O R D S & P I C T U R E S A DA M D U C K W O R T H

ith the recent glut of full-frame camera announcements, it would be easy to dismiss anything apart from a camera sporting a 35mm sensor as not up to professional work. Most of the serious camera companies now offer full-frame in DSLR and mirrorless versions, and are keen to point out the advantages of the bigger sensor, such as great low-light performance, ultimate resolution and a shallow depth-of-field thanks to using longer lenses.

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ABOVE The X-T3 follows the same cool retro stylings as its X Series stablemates.

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They are obviously far less keen to point out that an APS-C camera can be smaller, lighter, far cheaper and can largely replicate the waferthin depth-of-field with fast glass.

And the reality of the modern market is that very few pros consistently have to deliver files that will be printed out in huge sizes, so the ultimate image quality is not really an issue. For that, Fujifilm offer the relatively affordable medium format GFX series anyway.

That leaves Fujifilm as flying the flag for the original benefits of

mirrorless cameras, which is about being small, portable, affordable and packed with features to aid the photographer in both stills and video. And while the newcomers are offering a small selection of lenses, Fuji already has 34 on the market and it’s growing all the time.

EVOLUTION The latest iteration is the new APS-C sized X-T3, which follows the Fujifilm X Series philosophy of distinctly retro controls on a rugged and weatherproof metal camera, but one

F UJ I F I L M X-T 3 | U S E R R E V I E W

S PECI FI C ATI O N S SENSOR TYPE/SIZE 26.1 MEGAPIXELS X-TRANS BSI CMOS, APS-C IMAGE STABILISER NONE ISO RANGE 160-12,800 - EXPANDABLE 8051,200 AUTOFOCUS POINTS 425 PHASE DETECT/ CONTRAST-DETECT SHUTTER SPEEDS 4SEC - 1/32,000SEC SHUTTER TYPE FOCAL PLANE MECHANICAL, PLUS ELECTRONIC that’s packed with the latest tech to help the pro do their job.

By the admission of Fujifilm’s product planning chief Makuto Oishi, it has taken four generations to finally get a camera that is a great all-rounder. Makuto admits the first-generation X-Pro1 of 2012 was an ideal street camera thanks to its rangefinder style operation, the 2014 X-T1 packed in more resolution and was ideal for landscapes. Two years later came the X-T2 with faster operation that could finally handle commercial work or even sport, with good video. But it had a few quirks, such as having to use the battery grip to use a headphone socket.

And now comes the X-T3 – finally, a great all-rounder with the bugs ironed out. It’s an affordable camera that can be used for all types of pro work, including action, and also sets new standards for capturing high-quality video with incredible spec. It may look like a clone of the X-T2 but has more resolution from an all-new sensor, is faster in terms of file processing (with the knock-on effect of quicker autofocus and frame rates), has the viewfinder of the flagship X-H1 – and video spec that outperforms it handsomely. Thanks to a new sensor and processor that’s triple the speed of the old one, the X-T3 outperforms the flagship in just about all areas, except for that the reinforced lens mount and the T-series still doesn’t have in-body stabilisation. To give it that would have made it bigger and more expensive.

It may look and handle like an improved X-T2 but it’s actually hugely different inside, with a brand new 26.1-megapixel BSI X-Trans CMOS sensor that can shoot at up

MAX FRAME RATE 30FPS WITH 1.25X CROP ELECTRONIC SHUTTER, 11FPS MECHANICAL SHUTTER LCD 3IN 1.04MILLION DOTS, ARTICULATING TOUCHSCREEN VIDEO FUNCTIONALITY DCI 4K AT 24/30/60P UP TO 400MBPS, FULL HD AT 24/30/60/120P UP TO 200MBPS. MOV, ALL-INTRA/LONG GOP. F-LOG, HYBRID LOG GAMMA TO COME VIA FIRMWARE UPDATE. 4:2:2 10-BIT VIA HDMI TO EXTERNAL RECORDER INTERFACE BLUETOOTH, USB-C, MICRO HDMI STORAGE 2X SD UHS-II CARD SLOTS DIMENSIONS (WXHXD) 132.5X92.8X58.8MM WEIGHT 593G (INCLUDING BATTERY AND CARD)

to 30fps, thanks to the electronic shutter – albeit with a 1.25x crop.

Used with no crop it maxes out at 20fps; change to the mechanical shutter and it still rattles through images at 11fps. It can also record 4K video at 60p to give half-speed slowmotion, something that’s become the new industry standard but one that not many cameras can do yet.

FINE FEATURES The native base ISO is down to 160 from 200, and there are Fuji’s Film Simulation modes such as Acros, Classic Chrome and Eterna.

Using these also generates a Raw file so you still have full control afterwards.

The autofocus system has had a big boost in performance, with total coverage across the frame of speedy phase-detection AF points, plus face and eye detection, too. The EVF has a

BELOW Previous Fuji users, not to mention those familiar with traditional SLRs, will find the X-T3 intuitive to use.

100fps refresh rate when set in boost mode and there is no viewfinder blackout during high-speed continuous shooting – something that has blighted many mirrorless cameras for years, making them largely unusable for sport.

The two-way tilting LCD is touchscreen enabled, and the EVF dioptre adjustment wheel is lockable to avoid accidentally being moved.

The touchscreen can be used as an AF touchpad and there are options for choosing which parts of the screen are active, to prevent your nose accidentally pushing on the screen and changing the focus point when you’re using the viewfinder.

Fuji spent a lot of time fine-tuning the controls, with several dials slightly enlarged for an easier grip and buttons modified for a more solid feel. There’s also a new mode where you can

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4 K C A M E R A LI S T I N G S

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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4 K C A M E R A LI S T I N G S

ARRI ALEXA SXT EV 120FPS

14 STOPS

PL MOUNT

2880X2160

ARRI ALEXA SXT W

SXS/SXR

120FPS

> 14 STOPS

PL MOUNT

2880X1620

SXS

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.

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

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

PL

LENS MOUNT

54 mm stainless steel LDS PL mount

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

6560X3100

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 Arri’s global network of rental facilities.

SPECIFICATION

14 STOPS

200FPS

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

XPL (LDS); LPL; MAXI PL; PL

LENS MOUNT

PL, B4 mount w/ Hirose connector

Crop modes – 1.78 Crop Mode (5-perf 65 mm): 5120x2880 /1.50 Crop Mode (8-perf 35 mm): 4320x2880/LF open gate: 4448x3096/4K UHD: 3840x2160 (SUP 3.0 update)

DIGITAL SAMPLING

2880x1620, uncompressed ARRIRAW/1920x1080

DIGITAL SAMPLING

RECORDED BIT DEPTH FORMAT AND TIME

HD 1920x1080, 2K 2048x1152, 3.2K ProRes 3200x1800 4K UHD 3840x2160

RECORDED BIT DEPTH FORMAT AND TIME

Codex SXR Capture Drive 2000 GByte capacity Max. frame rate capability: 60fps (open gate). Recording time: 43 minutes at 24fps

WEIGHT (KG)

4.1 (camera body with PL lens mount)

O C TO B E R 20 1 8 | D E F I N I T I O N

75