Strength and agility through state-of-the-art materials
The ARRI Alexa Mini maintains ARRI’s famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount – also made of titanium – to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.
Versatile mounting and shooting options
The ALEXA Mini can be operated in a number of ways: by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. Light enough to be comfortably held at arm’s length in a hand rig, its compact size and extremely quiet operation also make it ideal for tight shooting conditions.
The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, the ALEXA Mini’s interchangeable lens mount can be replaced with any of those designed for the ARRI AMIRA, allowing the use of B4 video and EF mount stills lenses.
Uncompromised image quality for specialized shots
The overwhelming advantage of the ALEXA Mini is that it marries such a compact and lightweight form factor with the same unparalleled image quality that has made the ARRI ALEXA system a gold standard for the industry. Combine the Mini with any other ALEXA camera and you will have perfectly matched images, even on anamorphic productions – thanks to the 4:3 sensor and automatic de‑squeeze function. Workflows will also be identical, with options to record ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder.
Save time on set
With the ALEXA Mini, no extra time need be spent on set configuring third-party cameras previously required for specialized shots, or on wrangling the image files coming out of them. Multi-camera setups such as 360° plate shots will be made simpler and faster by the external Codex recorder, which can record image streams from up to four ALEXA Minis simultaneously. The camera’s maximum frame rate of 200 fps means it can also be used for stunning slow-motion cinematography, saving further time and money on set by doing away with the need for a separate high-speed camera.
Save time in post
In the past, productions combining small cameras from other manufacturers with an ARRI ALEXA shooting kit have encountered time-consuming difficulties in the grade, trying to match images from those cameras to ALEXA’s famously natural colorimetry and pleasing skin tones. With the ALEXA Mini these difficulties are eliminated because all images come from the same sensor and share the same color space. The ability to use CDLs and 3D LUTs in-camera for on-set color management will also reduce time and money spent in post.
Greater efficiency through integrated functions
An integrated lens motor controller allows new active lens motors to be connected directly to the titanium PL mount, so focus, iris and zoom settings can be controlled from ARRI hand units without an additional external box. Further operational settings can be made remotely when working with the ARRI WCU-4 hand unit.
Cost-saving camera and lens metadata
Integrated ARRI Lens Data System (LDS) technology brings the added value of frame‑accurate metadata about focus, iris and zoom settings. With these lens settings and exact depth‑of‑field displayed live on wireless hand units, precise adjustments can be made during a shot. The data also allows lens mapping to pre‑marked focus rings and reduces the time and expense involved in achieving complex visual effects in post.
Unsurpassed overall image quality
Like the ARRI AMIRA, the ALEXA Mini can record 4K UHD ProRes images, facilitating real-time 4K UHD output and simple pipelines for high-resolution deliverables. More important than this, however, is the fact that the Mini and all other ARRI cameras with the ALEV III sensor offer unrivalled overall image quality by focusing not just on spatial resolution, but also on other image quality parameters such as dynamic range.
How Does It Work?
Hollywood Camera inc in partnership with Bertone Visuals will be offering transcoding services at $75 an hour to all our rental clients. How does it work? Simple! Bring in your production shuttle drive containing the raw footage in 6K / 5K / 4K of your feature/commercial/etc and we will do both the transcoding and the copying of the footage for your production’s editor.
We can deliver back both Apple ProRes and Avid DNxHD in HD for your editorial department working with most common NLE software. Also, we are capable of working with Sony Raw, Arri Raw, Red Raw and Canon Raw files. Finally, if you shoot 4K raw 16 bit with our Sony CineAlta F65 cameras, we can output for 6K or 8K DPX sequences in 10 or 16bit.
Keep in mind that we have state of the art hardware to complete the job. We will finish the job in far less time than you think. No more excuses to not shoot in RAW file format! While we transcode, we embed a rec 709 LUT for your editor. Whereas if you want a light pass of color correction for your dailies, that is just 15% more on our hourly rate!
Here at Hollywood Camera we understand digital, but we have a film background. We truly want you to shoot in RAW so you will end up with frames and not with a single compressed file giving you more options to enhance your color in post. This in other words means that your footage will be constituted of frames exactly like they were during the film stock age. Most importantly your colorist will be able to do much more to enhance it during the color correction session.
Do not hesitate to give us a call at 818-972-5000 for more information or email us at email@example.com
We are excited to announce our New Year Promotion for the Canon C500 PL Package at low cost of $999 per day if rented in conjunction with either of these optics: Cooke S4i / Leica Summilux C / Angenieux Optimo 19.5-94mm / Fujinon 25-300mm T3.5.
In addition, training will be offered to the DIT for using the Canon C500 with a Codex S Raw Recorder. We will teach you the software named VFS (made by Codex) here at Hollywood Camera by Bertone Visuals. It will take approximately 3 hours. No more excuses for not shooting RAW!! You can now receive uncompressed quality like you were using film!!
Valid until February 29th 2016. Mention PROMO CODE: “Canon C500 Jan/Feb” to our rental agents via email or phone.
Incorporating Canon’s revolutionary Super 35mm 4KCMOS image sensor, the Canon C500 4K Digital Cinema Camera offers a number of contemporary high-resolution motion imaging choices. The camera delivers uncompressed 2k or HD 4:4:4 RGB video components at up to 60 progressive fps, which are externally recorded. By employing the YCbCr component-video set at 10-bit depth, the C500 extends that picture-capture rate up to 120 fps. The C500 also features a 4k imaging mode that delivers cinema-centric 4096 x 2160 format, or the TV-centric 3840 x 2160 UHDTV format (sometimes called QuadHD), available to external recorders via industry-standard SMPTO 3G-SDI serial interface for streamlines workflows.
- Canon C500 PL 2K/4K
- Codex S on board recorder to capture Canon Raw
- Codex capture drives 512GB X 4
- Codex docking station USB 3.0 (reader)
- Codex Software VFS on MacBook Retina Display
- Alphatron EVF ( SDI )
- Noga arm (short)
- SmallHD AC7 on board monitor
- Noga arm
- Cinoflex Rig
- 4 Anton Bauer batteries and a recharger
- Arri Matte Box
- Shape WLB articulated handles
- Letus master cinema series leather pillow with velcro
- O’Connor CFF-1 follow focus
- O’Connor 2575D fluid head
- O’Connor sticks with spreaders
- O’Connor baby legs with spreaders
- Low Hat Mitchell
- High Hat Mitchell
SHOTOVER, the maker of high performance stabilization platforms, recently announced the debut of the SHOTOVER U1, the world’s first professional grade unmanned aerial vehicle (UAV) for the broadcast, motion picture, law enforcement and industrial survey markets.
Further increasing functionality, the SHOTOVER U1 gimbal (U1g) can be detached from the multirotor and used as a standalone gyro-stabilized platform for mounting on motorcycles, cars, boats, cables and almost anything that moves. Buyers can choose between the U1, which includes both the multirotor and gimbal, and the U1g, which is the gimbal without the aerial component. Other U1 features include redundant flight control and battery systems, customized downlink with two HD video feeds and unparalleled stability even at full zoom. Preorders for the U1, which will begin shipping in Q1 2016, have already topped several dozen units.
The U1 builds upon SHOTOVER’s expertise in the aerial cinematography space with its industry leading SHOTOVER F1 and SHOTOVER K1 gyro-stabilized camera systems. Recent credits include Hollywood blockbusters Jurassic World, Furious 7 and Spectre; SHOTOVER has also been tapped by the BBC for filming telephoto 4K footage of wolves, bears and caribou in Canada’s remote Northwest Territories for a six-part wildlife documentary series scheduled to air in 2016.
“The SHOTOVER U1 is the first drone specifically designed for broadcasters and big budget filmmakers, allowing productions to employ the same professional grade cameras and lenses they choose for their principal photography,” said SHOTOVER president Alex Giuffrida. “Coupled with unsurpassed reliability and support, the U1 will enable cinematographers to capture breathtaking shots, including those that wouldn’t be possible with a helicopter or crane – such as from inside a waterfall – without having to sacrifice image quality.
The U1’s redundant battery system with on screen feedback of cell voltage and capacity allows the pilot to turn off a failed battery cell and get the ship home safely. And the redundant flight control system provides operators with the ability to quickly switch to a back-up flight controller if the need arises. Additional features of the U1 include a user friendly design that allows operators to easily swap cameras and lenses during a shoot, 10X more pan motor torque than other prosumer gimbals and a unique balancing system for unshakeable stability. Like all SHOTOVER systems, the U1 has no ITAR restrictions, enabling it to be shipped around the world without requiring U.S. State Department approval.
To download the spec sheet for the SHOTOVER U1, please visit: http://shotover.com/site_assets/content/U1specs_10.22.V6.pdf
SHOTOVER is a developer of high performance aerial camera systems for the motion picture and broadcast industries. The company’s line of gyro-stabilized camera platforms offer aerial cinematographers an unprecedented level of stability, control and versatility in a compact package easily configured for 2D, 3D and Ultra HD shooting with the world’s most advanced cameras and lenses. Developed in partnership with the motion picture industry’s top aerial cinematographers, SHOTOVER systems are fully user upgradeable, allowing operators to utilize new professional cameras, lenses and accessories as they come to market. SHOTOVER is online at http://www.shotover.com
This week here at Hollywood Camera Inc I had the pleasure of interviewing renowned Cinematographer and current faculty chair of the New York Film Academy cinematography department, Anthony B. Richmond A.S.C., B.S.C. Mr. Richmond will be at Hollywood Camera for the next two weeks guiding New York Film Academy students on Film/lighting workshops and preparing them for their upcoming final project.
Anthony B. Richmond, A.S.C. and B.S.C. is an accomplished Cinematographer whose career spans well over five decades. His most recent credits include: Good Luck Chuck; The Comebacks; Shade; Havana Nights; Legally Blond; Ravenous; Men Of Honor; The Sweetest Thing; Someone Like You; Just Friends; John Tucker Must Die; Autopsy; Sex and Lies in Sin City; The Rocker; Alvin the Squeakquel; Coffee Town; as well as The Assets for Peter Medak.
Born and raised in London, Richmond literally worked his way up through the ranks to his current position of Director of Photography. He began at the age of 16 as a messenger with Associate British Cinemas and later with Pathe-News, where he was promoted to the camera department. He next worked as Assistant Cameraman on such films as: Call Me Bwana; From Russia with Love; Devil-Ship Pirates; The Gorgan; A Funny Thing Happened On The Way To The Forum; Truffaut’s Fahrenheit 451 and David Leans’s Dr. Zhivago.
Richmond served as focus-puller on Casino Royale and on Far From the Madding Crowd for Director John Schlesinger – whom he also later served as Cinematographer of the documentary Israel: A Right To Live made just days after the Six-Day War. Shortly after wards, Richmond began to work as Director of Photography on feature films; his first in 1967 Only When I Larf directed by Basil Dearden.
This award-winning Cinematographer has had numerous collaborations with Director Nicolas Roeg, lensing five of his films: Don’t Look Now – for which Richmond won the prestigious BAFTA award; The Man Who Fell To Earth; Bad Timing; Heart Of Darkness; and Full Body Massage for Showtime. Some of Richmond’s other credits include: The Sandlot; Candyman; Stardust for Michael Apted; Playing God; Dirty Dancing: Havana Nights; Rough Riders for John Milius; Silver Bears for Ivan Passer, That’s Life and Sunset for Blake Edwards; The Eagle Has Landed for John Sturges; and The Greek Tycoon for J. Lee Thompson. He also served as DP on Tony Goldwin’s directorial debut Walk On The Moon, Sean Penn’s directorial debut Indian Runner, and Anjelica Houston’s directorial debut Bastard Out Of Carolina, and collaborated again with her on: Agnes Brown and Riding The Bus With My Sister.
Richmond was also responsible for photography on the seminal British music scene of the late 60’s. He shot the Rolling Stones classic, Sympathy For The Devil for Jean-Luc Godard, with which he then collaborated with Michael Lindsey Hogg on The Rolling Stones Rock And Roll Circus and the Beatles Let It Be. His other rock and roll credits include: the Who’s The Kids Are Alright, as well as the Documentary Glastonbury Fayre.
Most recently in 2015, Richmond has been brought on board as New York Film Academy’s faculty chair of the cinematography department. Anthony has taught the next generation of Cinematographers and frequently collaborates with Vendors and the outside community to development lasting relationships between his students and industry professionals. He relishes mentoring aspiring filmmakers and looks forward to meeting with students to discuss their needs on upcoming projects.
In addition, as an accomplished Cinematographer, Anthony is a member of the Academy Motion Picture Arts & Sciences (A.M.P.A.S), British Academy of Film & Television Arts (B.A.F.T.A), American Society of Cinematographers (A.S.C), and British Society of Cinematographers (B.S.C).
After Interviewing A.S.C., B.S.C. Anthony Richmond, it was fascinating to hear how much knowledge, experience, and success Richmond has had throughout his established career. From starting in the camera department in 1959 and working his way up to his current success, Richmond is a prime example to all aspiring cinematographers that diligence and determination certainly goes a long way. Lastly, I asked Richmond what advice he would give to aspiring cinematographers. Mr. Richmond stated that taking chances, keep shooting, and learning from your mistakes is the remedy for success.
The Arri AMIRA takes the ALEXA’s sensor and puts it in a lightweight and compact body, designed to let you pick it up and start shooting. Since the AMIRA’s sensor is the same as that of the ALEXA, you’ll get 14 stops of dynamic range, fantastic skin-tone rendition, a native ISO of 800, and EI range from 160 to 3200.
Recording in ProRes formats up to 4:4:4 in HD and 2K modes with frame rates up to 200fps, the AMIRA also includes all the standard frame rates of the ALEXA, in addition to some interlaced frame rates (59.94i and 50i), which are necessary for some broadcast applications. All recording is done to CFast 2.0 cards, which are fast and affordable. The camera features an internal motorized ND filter wheel with 0.6, 1.2, and 2.1 ND filters.
The AMIRA Premium is the highest-end of the AMIRA varieties, with the ability to shoot 4K UHD 3840×2160, 2K 4444 ProRes, up to 200 fps, and in Log C installed in-camera.
Same sensor and image quality as the ARRI ALEXA
Records HD 1080 or 2K
Dynamic range of more than 14 stops, low noise, beautiful skintone and natural color rendering
Records Rec 709 or Log C images using ProRes LT, 422, 422HQ or 444 codecs
Speeds of up to 200 fps
Single-user ergonomics – perfect shoulder balance
Build-in ND filters
High-res OLED eyepiece and fold-away LCD monitor
Comes with a number of preloaded 3D Lut-based looks
Rugged and reliable build