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The Most Complete Digital Camera System Ever Built the Industry’S Gold Standard

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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 “ALEXA AND THE ARRIRAW FORMAT US TO SHOOT WITH VERY LOW OFFER A MORE GENEROUS DIMENSION LIGHT LEVELS AND MAKE THE MOVIE IN TERMS OF COLOUR SPACE THAN EVEN MORE IMMERSIVE.” OTHER DIGITAL CAMERAS. I ALSO Emmanuel Lubezki ASC, AMC APPRECIATE HOW THE DYNAMIC RANGE Cinematographer CAN HOLD BRIGHT HIGHLIGHTS SO WELL.” ALEXA credits include: The Revenant, Gravity, Frankie DeMarco Birdman and Weightless Cinematographer ALEXA credits include: All is Lost Photo: Dikayl Rimmasch “THE AVENGERS WAS MY FIRST FEATURE “I LOVE WORKING WITH ALEXA — FILM WITH THE ALEXA. I WAS REALLY YOU GET GORGEOUS, REFINED IMAGES HAPPY WITH OUR IMAGES. WHAT WAS WITH THE IMMEDIACY OF SHOOTING PARTICULARLY IMPRESSIVE WAS HOW DIGITAL. I'M A STAUNCH FILM LOVER WELL IT HELD UP IN IMAX THEATERS.... AND IT'S THE ONE DIGITAL CAMERA THIS WAS A REVELATION TO ME.” THAT REPLICATES FILM'S COLOR SPACE, Seamus McGarvey ASC, BSC TEXTURE AND DYNAMIC RANGE Cinematographer BETTER THAN ANY OTHER.” ALEXA credits include: Marvel's The Avengers, Reed Morano ASC Fifty Shades of Grey and Pan Cinematographer ALEXA credits include: The Skeleton Twins, War Story and Meadowland “I’VE BEEN A CAMERAMAN FOR MORE “THE INDIAN FILM INDUSTRY HAS THAN 30 YEARS AND THIS IS THE FIRST BEEN IN LOVE WITH 35 MM FOR A LONG QUANTUM LEAP IN FILMMAKING TIME; NOW WE ARE IN LOVE WITH TECHNOLOGY I’VE SEEN SINCE ALEXA. THIS CAMERA PERFECTLY I STARTED OUT - EVERY OTHER CAPTURES THE COLOR AND VITALITY CHANGE HAS BEEN INCREMENTAL.” OF INDIAN CINEMA, WITH IMAGES AS Robert McLachlan CSC, ASC RICH AND ORGANIC AS FILM.” Cinematographer Ravi K. Chandran ISC ALEXA credits include: Game of Thrones and Cinematographer/director Ray Donovan ALEXA credits include: Yaan and Baar Baar Dekho “WE WERE THE FIRST TO USE THE “ALEXA HAS BEEN MY CHOICE FOR ALEXA ON A FEATURE AND IT EVERY PROJECT SINCE I STARTED WAS CLEAR THAT THIS CAMERA SHOOTING DIGITAL. IT SEES LIFE LIKE REPRESENTED A REVOLUTION FOR I DO AND I DON'T HAVE TO CORRECT FILMMAKING. ITS SENSITIVITY ANY NOISE OR GRAIN.” AND DYNAMIC RANGE DELIVER Yves Bélanger CSC RESULTS THAT USED TO BE Cinematographer UNTHINKABLE.” ALEXA credits include: Brooklyn, Dallas Buyers Club and Wild Anna Foerster ASC Cinematographer ALEXA credits include: Anonymous and White House Down 4 “ALEXA IS BUILT LIKE A GERMAN “NO MATTER WHAT HAPPENS WITH TANK, VERY SUPERB AND RELIABLE. DIGITAL CINEMA, ALEXA IS THE CAMERA WE NEVER HAD A PROBLEM I CAN RELY ON…I LIKE ARRIRAW AS IT WHEN SHOOTING IN DUST, WIND, GIVES ME THE GREATEST RANGE AND ICE AND FIRE. YOU CANNOT REALLY THE MOST POSSIBILITY TO ACHIEVE THE BREAK THE CAMERA.” LOOK I WANT.” Kramer Morgenthau ASC Phedon Papamichael ASC Cinematographer Cinematographer ALEXA credits include: Thor: The Dark World, ALEXA credits include: Nebraska, Monuments Men Chef and Terminator Genisys and The Huntsman: Winter's War “THE DYNAMIC RANGE AND GORGEOUS “IN TESTS ARRIRAW WON OUT OVER PALETTE OF THE ALEXA FAMILY MADE 35 MM FILM. I FELT SO SAFE WITH IT SHOOTING IN NATIVE 3D ON X-MEN: THAT I BECAME A MORE INTUITIVE DP, DAYS OF FUTURE PAST A JOY. I CANNOT FREE TO FOCUS ON ARTISTIC RATHER IMAGINE HAVING SHOT THE FILM WITH THAN TECHNICAL CONCERNS.” ANY OTHER CAMERA.” Benoît Delhomme AFC Newton Thomas Sigel ASC Cinematographer Cinematographer ALEXA credits include: A Most Wanted Man, ALEXA credits include: X-Men: Days of Future Past The Theory of Everything and Free State of Jones and Drive Photo: Rainer Hosch “I THINK ARRI CAMERAS ARE “THE ARRIRAW IMAGES FROM THE THE BEST IN THE WORLD ALEXA WERE CLEAN, RICH IN DETAIL AT THE MOMENT TO CAPTURE AND HIGHLY PLIABLE IN THE VFX SKIN TONES.” ENVIRONMENT; ESSENTIAL FOR WHAT Friede Clausz BVK WE NEEDED ON GRAVITY.” Cinematographer Tim Webber ALEXA credits include: Los Ángeles Visual effects supervisor and 24 weeks ALEXA credits include: Gravity “THE ALEXA SYSTEM IS WITHOUT DOUBT “I'D RATHER HAVE BETTER PIXELS THE FIRST DIGITAL IMAGE CAPTURE THAN MORE PIXELS.” SYSTEM TO SATISFY THE MORE Jake Morrison FEARFUL OR SKEPTICAL SECTORS OF Visual effects supervisor THE FILMMAKING COMMUNITY!” ALEXA credits include: Marvel's The Avengers, Ant-Man and Thor: The Dark World Anthony Dod Mantle ASC, BSC, DFF Cinematographer ALEXA credits include: Rush, In the Heart of the Sea, Trance and Snowden 5 AND THE WINNER IS: BEST CINEMATOGRAPHY OSCAR® AWARDED 5 YEARS IN A ROW TO ALEXA PRODUCTIONS 2016 2015 2014 3 OSCARS® 4 OSCARS® 7 OSCARS® 6 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 whenGravity (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 2012 4 OSCARS® 5 OSCARS® 7 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 New ARRI Look Management Super Flexible On-Set Monitoring • 14 carefully fine-tuned recording options • Look management - preproduction to post • High Dynamic Range (HDR) monitoring · maintain and share DP's look on set, · for on-set HDR quality control • All sensor modes in ARRIRAW and ProRes in dailies and in editing • Four independent monitoring outputs • 6 new recording formats · wide range of unique looks possible · 1x viewfinder and 3x MON OUT · 16:9 ProRes 4K UHD · new ARRI Look File contains CDL and 3D LUT · Open Gate ProRes 4K Cine • Rec 709 or Rec 2020 outputs • Look file always stored in metadata for · 6:5 ProRes 2K Anamorphic · for future-proof monitoring · live grading on set · 6:5 ProRes 4K Cine Anamorphic · automated dailies creation · 16:9 ARRIRAW 3.2K · editing with looks · Open Gate ProRes 3.4K Improved Image Quality New SXR Capture Drives New Media Bay • Optional mild ARRI Noise Reduction (ANR) • High reliability • Supports wide range of media · XR and SXR Capture Drives • Advanced defect pixel correction • High speed · SxS PRO and SxS PRO+ cards • More range for baked-in looks with 3D LUTs • High capacity · CFast 2.0 cards • ProRes 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.
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  • Jon Fauer ASC Issue 99 Feb 2020

    Jon Fauer ASC Issue 99 Feb 2020

    Jon Fauer ASC www.fdtimes.com Feb 2020 Issue 99 Technique and Technology, Art and Food in Motion Picture Production Worldwide Photo of Claire Mathon AFC by Ariane Damain Vergallo www.fdtimes.com Art, Technique and Technology On Paper, Online, and now on iPad Film and Digital Times is the guide to technique and technology, tools and how-tos for Cinematographers, Photographers, Directors, Producers, Studio Executives, Camera Assistants, Camera Operators, Grips, Gaffers, Crews, Rental Houses, and Manufacturers. Subscribe It’s written, edited, and published by Jon Fauer, ASC, an award-winning Cinematographer and Director. He is the author of 14 bestselling books—over 120,000 in print—famous for their user-friendly way Online: of explaining things. With inside-the-industry “secrets-of the-pros” www.fdtimes.com/subscribe information, Film and Digital Times is delivered to you by subscription or invitation, online or on paper. We don’t take ads and are supported by readers and sponsors. Call, Mail or Fax: © 2020 Film and Digital Times, Inc. by Jon Fauer Direct Phone: 1-570-567-1224 Toll-Free (USA): 1-800-796-7431 subscribe Fax: 1-724-510-0172 Film and Digital Times Subscriptions www.fdtimes.com PO Box 922 Subscribe online, call, mail or fax: Williamsport, PA 17703 Direct Phone: 1-570-567-1224 USA Toll-Free (USA): 1-800-796-7431 1 Year Print and Digital, USA 6 issues $ 49.95 1 Year Print and Digital, Canada 6 issues $ 59.95 Fax: 1-724-510-0172 1 Year Print and Digital, Worldwide 6 issues $ 69.95 1 Year Digital (PDF) $ 29.95 1 year iPad/iPhone App upgrade + $ 9.99 Film and Digital Times (normally 29.99) Get FDTimes on Apple Newsstand with iPad App when you order On Paper, Online, and On iPad a Print or Digital Subscription (above) Total $ __________ Print + Digital Subscriptions Film and Digital Times Print + Digital subscriptions continue to Payment Method (please check one): include digital (PDF) access to current and all back issues online.