ARRI Announce The AMIRA

 ARRI AMIRA unveiled

ARRI proudly introduces AMIRA, a versatile documentary-style camera that combines exceptional image quality and affordable CFast 2.0 workflows with an ergonomic design optimized for single-operator use and extended shoulder-mounted operation. Ready to pick up and shoot straight out of the camera bag, AMIRA is hardy enough to take anywhere and features in-camera grading with preloaded looks based on 3D LUTs, as well as 200 fps slow motion.

• 1080p or 2K
• AMIRA records Rec 709 or Log C images
• ProRes LT, 422, 422HQ or 444 codecs. Recording to in-camera CFast 2.0 flash memory cards 
• High resolution OLED eyepiece with a fold-away LCD monitor
• Dynamic range of more than 14 stops
• Up to 200fps

AMIRA Showreel from ARRI Channel on Vimeo.

Deakins shooting Bond 24 in 4k New Arri Alexa?

So with the announcement that Sam Mendes is returning to shoot 'Bond 24' after the billion dollar success of 'Skyfall'. The big question for cinematography fans is; will Roger Deakins be returning.. and will it be the Alexa again? Arri have hinted that a 4k Alexa is in the making will it be ready in time to shoot 'Bond 24'? Is bond going 4k? Maybe the Sony F65 might get a chance, so many questions but only time will tell, lets just hope its not in 3D.

Arri is making 4k Camera

ARRI’s Managing Director, Franz Kraus has confirmed that there is a 4K ARRI being developed at the moment. It seems that although they believe 4K workflow and technology is still in its infancy the demand from users is forcing their hand. With the likes of RED, Sony and even Blackmagic Designs having 4K capable cameras ready to shoot now. ARRI feels that similar to the move from film to digital it has to keep up with the pack just to survive. There is no doubt that ARRI knows that exposure latitude, color, and the feel of the image is the most important aspect of any camera

Krause also said  that ARRI had planned to release a 4K Alexa shortly after the first but test showed that the higher resolution meant a drop in latitude. Looks like they are having to work extra hard to work around this problem.

“The Alexa camera family concept had initially included a 4K-plus sensor version to be launched approximately one year after the introduction of the first Alexa. But the outcome of an intensive feasibility study more than two years ago showed that we would sacrifice dynamic range for resolution, so we decided not to proceed,” he explained.

Whatever ARRI release you can be sure it will be one of the top cinematography cameras out there, with no compromises.

ARRI XT Internal Filter Holder

ARRI Alexa XT cameras will be delivered with the Internal Filter Module (IFM) filter holder installed –  except the Alexa Studio which has its own motorized ND filter system and cannot use of the Internal Filter Module.
The filters that go into the IFM are called FSNDs. They are not included with the Alexa XT cameras, and have to be purchased separately.
The Alexa has an EI of 800. So you need ND filters when shooting in bright sunlight or when a shallow depth of field is desired. An ND filter inside the lens mount some advantages over external ND filters:
• Internal ND filters are smaller and lighter.
• They can avoid reflections you can get with multiple filters in the mattebox.
• Internal ND filters can reduce flares and narcissism (double image from reflections between the rear element of the lens and the sensor). An ND filter between the rear element and the sensor can reduce these reflections.
• An internal ND (or clear filter) protects the sensor from dirt contamination during lens changes.
The new filters used for the IFM are not the same as current external ND filters.
• An anti-reflective multi-coating, which is absent in most external filters, maintains high image contrast.
• Water white optical glass is precision polished.
• A broadband absorptive coating ensures an even attenuation of the light over the full spectrum, which is why they are called Full Spectrum Neutral Density (FSND) filters. There is no color shift at any density.
The Alexa XT Internal Filter Module is compatible with all ARRI 35 format lenses. ARRI has yet to find a lens from any manufacturer that it is not compatible. However, you never know — so the filter sets include a depth gauge to make sure a lens fits.
The FSND filters are relatively far away from the sensor, so if there  are small specs of dirt on the filter, they will not show up in the image at most common T-stops.
When using FSND filters, be sure the rental house has installed the IFM shim in Alexa’s PL mount. Using any filter between the lens and the sensor increases the flange focal distance by 1/3 the thickness of the glass, and this shim accounts for that. Once the shim is installed, you will always need some kind of filter between lens and sensor: either an  FSND or an optical clear filter, which ARRI also provides.

Arri Alexa Onboard ARRIRAW Module Overview

ARRI has announced today that existing Alexa camera owners will have the option to upgrade their cameras to internal ARRIRAW recording.

A new module developed by Codex and Arri called the XR MOdule which stands for Xtended Recording, fits neatly on the side of the camera inplace of the SXS PRO slots. The module adds only 8mm to the width of the camera so nowhere near as bulky as other ARRIRAW recorders such as the onboard Codex Recorder.

ARRI is enhancing the Alexa camera line with new Alexa XT (Xtended Technology) models.
The only camera remaining from the original line will be the original entry-level Alexa (16:9 sensor).
There will be four new XT Cameras: Alexa XT, Alexa Plus XT, Alexa Studio XT, Alexa M XT.

• They all have the XR module and new processing hardware  built-in.
• They all have a 4:3 sensor (2880 x 2160 for anamorphic 2x).
• They will have a new in-camera filter system called IFM (In-camera Filter Module). A line of high-quality ARRI IRND filters will be introduced. They work like the Clairmont in-camera filter system; a difference is that the magnets are on the filter frames, not in the camera.

The cameras will all be equipped with LDS contacts at 12 and 3 o’clock positions in the PL lens mount. The mount itself is lighter.
A new cooling fan runs even quieter than the current one. There’s a new VMB-3 viewfinder bracket that is more stable and uses two 15 mm rods as part of the design. These are in the same position as the lightweight rods, just above the lens instead of below, and ideal for attaching lens motors and other accessories.
The new cameras include an anamorphic de-squeeze and 120 fps high speed license.

Arri Alexa XT and XR - Press release

FOR IMMEDIATE RELEASE
(20th February 2013, Munich) – With the ALEXA XT cameras (Xtended Technology) ARRI is refreshing its ALEXA product line, incorporating new features inspired by feedback from professional users. The ALEXA XT, ALEXA XT M, ALEXA XT Plus and ALEXA XT Studio cameras will replace all previous models except for the original ALEXA. Owners of existing ALEXA cameras will be able to purchase individual upgrades that deliver most of the features of the XT configuration.

Faster and more affordable ARRIRAW
All ALEXA XT models come with the new XR Module, a side panel that was co-developed with Codex to replace the previous SxS Module. The result is a smaller, lighter, more affordable and cable-free camera package that records ARRIRAW, ALEXA’s highest quality image output, inside the camera. ALEXAs can now capture ARRIRAW up to 120 fps onto exceptionally fast and rugged 512 GB XR Capture Drives. In addition to ARRIRAW, ProRes or DNxHD can also be captured to the XR Capture Drive for significantly longer recording times as well as ProRes 4444 recording at 120 fps. With an SxS Adapter it is possible to record ProRes or DNxHD to a single SxS PRO card, thus protecting the inventory of existing cards. The XR Capture Drive offers a number of different paths into post, using proven Codex workflows.
 
Less weight and easier working with internal NDs
The In-camera Filter Module IFM-1 allows ALEXA XT models to be rated at the base sensitivity of EI 800 without the need for external Neutral Density (ND) filters, even in bright sunlight. Filtering behind the lens rather than in front saves time and reduces weight, reflections and operational complexity. The Precision IRND filters used with the IFM-1 are based on innovative technologies that assure highest image quality and perfect color balance at all of the eight available densities, from ND 0.3 to ND 2.4.
True anamorphic with a 4:3 sensor
For the most effective use of anamorphic lenses, each ALEXA XT model is equipped with a 4:3 sensor, the same size and shape as a Super 35 mm film frame. This is crucial for delivering the unique and cinematic widescreen look that can trace its origins back to the CinemaScope films of the 1950s. It is a look that has long been appreciated by cinematographers, directors and the viewing public. An anamorphic de-squeeze license is included with all XT cameras, as is a high speed license for filming at up to 120 fps. The 4:3 sensor will also be useful on non-anamorphic productions as it permits significant reframing of the image in post, similar to shooting 4-perforation 35 mm.
More efficient VFX through ubiquitous lens metadata
Lens metadata is invaluable for a speedy VFX post workflow, which is why all ALEXA XT models are equipped with an LDS lens mount. The ARRI Lens Data System (LDS) reads the position of all lens rings and writes them into metadata in every format ALEXA can record. Over 41 lens models have LDS built-in, including the ARRI/ZEISS Master Anamorphic, Master Prime and LDS Ultra Prime series, the Master Macro 100 and the ARRI/FUJINON Alura Lightweight Zooms. For all other lenses it is possible to store the lens table inside the ALEXA by using the Lens Data Archive feature.
Comfort and flexibility in viewfinder mounting
To provide maximum comfort for the operator, the new Viewfinder Mounting Bracket VMB-3 has a much stronger and more rigid design, partially achieved through the use of two 15 mm lightweight rods. These rods also facilitate rapid changes in camera support, i.e. from a tripod to a crane or Steadicam, since accessories such as lens motors or follow focus units can be hung from the rods rather than cluttering up the base plate. Also available as a separate accessory is the new Viewfinder Extension Bracket VEB-3, with a fold-out arm that holds the viewfinder securely in place when moving the camera.
Super silent XT Fan
ALEXA cameras are already among the quietest digital cameras, but an even quieter fan has become available and ARRI has incorporated this new fan into the ALEXA XT models, providing an extra safety margin in very quiet or very hot environments.

Future proof – upgrades for existing ALEXA cameras
The ALEXA system was designed for professional customers, providing high build and image quality, but also modular upgradability and long product cycles to ensure a solid return on investment. Having already released various upgrades, licenses, options and free-of-charge Software Update Packets, ARRI is now offering upgrades for existing ALEXAs that provide most of the functionality of the XT cameras. These upgrades include the XR Module, In-camera Filter Module IFM-1, Viewfinder Mounting Bracket VMB-3, Viewfinder Extension Bracket VEB-3, XT Fan and the anamorphic de-squeeze and high speed licenses.

Arri/Fujinon Digital Lenses

The ARRI/FUJINON Alura Zooms have been developed to accompany the ARRI ALEXA digital camera system; they are optimized for digital sensors, but also work perfectly on film.

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Seak Preview - Arri Alexa 120fps 1080p

This is a video relased by Arri, Showing the Alexa at 120fps Full HD 1080p. Even at this frame rate the Alexa still maintains a 14 stop latitude. Make sure you watch this in HD.