American Cinematographer - April 2010 - 92

New Products & Services
Arri Unveils Alexa Prototype By Benjamin B Arri recently unveiled a working prototype of its Alexa digital camera at the Micro Salon show of the AFC (French Association of Cinematographers) in Paris and the Hollywood Post Alliance Tech Retreat in Rancho Mirage, Calif. “We are delighted with the response we have had around the world so far regarding the concept of Alexa and, now, the working prototype,” says Stephan Schenk, general manager of Arri’s Camera & DIS Business Unit, who presented the camera with cinematographer Frank van Vught in Paris. “At Arri we endeavor to give creative professionals the tools to tell their stories, and we are confident that Alexa’s cutting-edge technology will do this perfectly.” The Alexa is Arri’s first model in its new generation of digital cameras. Compact, lightweight and robust, the Alexa is also the first camera from Arri that will feature an electronic viewfinder; based on auto-calibrating LED technology, it is designed for accurate color rendition and minimal image delay. Schenk says the Alexa offers a base sensitivity of 800 ASA, low noise and latitude “that exceeds 13 stops.” The 16:9 imaging area is similar to that of Super 35 and can be used with 35mm lenses, offering the same field of view and depth of field as 35mm film. A provision for 10-percent overscan allows the operator to see outside the frame lines in the electronic viewfinder. The Alexa offers a generous number of output signals and methods including onboard recording options and multiple live HD and ArriRaw outputs. It has dedicated buttons for record, playback, ramping and image grabs. Van Vught notes that the menu is “designed for simplicity, like an iPod.” The home screen features controls for frame rate, shutter angle, EI, LUTs and color temperature. The Alexa sensor is a single CMOS with a Bayer mask and a 3.5K pixel count. The camera electronics apply dual gain pathways, with separate amplification for the highlights and lowlights, a strategy designed to stretch the latitude and minimize noise. “In a given image area, fewer, bigger pixels will yield more sensitivity and latitude than more numerous, smaller pixels,” says ASC associate member Stephan Ukas-Bradley from Arri’s product-management team, who presented the Alexa with Arri CTO Glenn Kennel at Rancho Mirage. “Alexa’s 3.5K pixel count is determined to give the best sensitivity and latitude, while still insuring image quality at 2K projection for the finished project.” Some major announcements are still to come. “Probably the most frequently asked question refers to our storage solution,” says
92 April 2010

• SUBMISSION INFORMATION • Please e-mail New Products/Services releases to: newproducts@ascmag.com and include full contact information and product images. Photos must be TIFF or JPEG files of at least 300dpi.

Kennel. “We are really excited to unveil the workflow solutions and recording options at NAB in Las Vegas, and we invite the whole feature film and TV industry to come to our booth.” For more information, visit www.arridigital.com. Hot Rod Cameras Customizes Canon DSLRs At the urging of professional cinematographers, Hot Rod Cameras, LLC has introduced a custom modification service for the Canon 7D, 5D and 1D Mk 4 DSLR cameras. The streamlined process modifies the cameras’ standard lens mount, allowing the use of 35mm PL-mount cinema lenses. “Working with lenses designed for still photography is perhaps the biggest impediment to using HDSLR cameras on a professional set,” says cinematographer Daniel Kanes. “With the Hot Rod 7D-PL, I am able to seamlessly integrate lightweight HDSLR technology on a professional motion-picture set with several other camera systems. It’s an amazing breakthrough using pro cinema lenses on a camera of this size and capability.” For full details, including a list of compatible lenses and warranty service information, visit www.hotrodcameras.com. Panasonic Offers Full HD 3-D Camcorder Panasonic Broadcast has begun taking orders for the AG3DA1, a professional-quality, fully integrated Full HD 3-D camcorder with SD media-card recording. “The AG-3DA1 will democratize 3-D production by giving professional videographers a more affordable and simple solution for capturing immersive content, as well as provide a training tool for educators,” says John Baisley, president, Panasonic Broadcast. “As the product is positioned in a more mainstream budget category, Panasonic camcorder owners will help to accelerate the amount of 3-D content being created for distribution on new Blu-ray discs and recently announced 3-D channels like those of DirecTV.” At less than 6.6 pounds, the AG-3DA1 is equipped with dual lenses and two full 1920x1080 2.07 megapixel 3-MOS imagers to record 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p and 50p in AVCHD. It can record for up to 180 minutes on dual 32GB SD cards in Panasonic’s professional AVCHD PH mode, and offers

American Cinematographer


http://www.arridigital.com http://www.hotrodcameras.com

American Cinematographer - April 2010

Table of Contents for the Digital Edition of American Cinematographer - April 2010

American Cinematographer - April 2010
Contents
Editor’s Note
President’s Desk
Letters
Short Takes
Production Slate
Down the Rabbit Hole
Weapons of Deception
The Final Frontier in 3 Dimensions
Sundance 2010: Expanded Palettes
Filmmakers’ Forum
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up
American Cinematographer - April 2010 - Intro
American Cinematographer - April 2010 - American Cinematographer - April 2010
American Cinematographer - April 2010 - Cover2
American Cinematographer - April 2010 - 1
American Cinematographer - April 2010 - 2
American Cinematographer - April 2010 - Contents
American Cinematographer - April 2010 - 4
American Cinematographer - April 2010 - 5
American Cinematographer - April 2010 - 6
American Cinematographer - April 2010 - 7
American Cinematographer - April 2010 - Editor’s Note
American Cinematographer - April 2010 - 9
American Cinematographer - April 2010 - President’s Desk
American Cinematographer - April 2010 - 11
American Cinematographer - April 2010 - Letters
American Cinematographer - April 2010 - 13
American Cinematographer - April 2010 - Short Takes
American Cinematographer - April 2010 - 15
American Cinematographer - April 2010 - 16
American Cinematographer - April 2010 - 17
American Cinematographer - April 2010 - 18
American Cinematographer - April 2010 - 19
American Cinematographer - April 2010 - Production Slate
American Cinematographer - April 2010 - 21
American Cinematographer - April 2010 - 22
American Cinematographer - April 2010 - 23
American Cinematographer - April 2010 - 24
American Cinematographer - April 2010 - 25
American Cinematographer - April 2010 - 26
American Cinematographer - April 2010 - 27
American Cinematographer - April 2010 - 28
American Cinematographer - April 2010 - 29
American Cinematographer - April 2010 - 30
American Cinematographer - April 2010 - 31
American Cinematographer - April 2010 - Down the Rabbit Hole
American Cinematographer - April 2010 - 33
American Cinematographer - April 2010 - 34
American Cinematographer - April 2010 - 35
American Cinematographer - April 2010 - 36
American Cinematographer - April 2010 - 37
American Cinematographer - April 2010 - 38
American Cinematographer - April 2010 - 39
American Cinematographer - April 2010 - 40
American Cinematographer - April 2010 - 41
American Cinematographer - April 2010 - 42
American Cinematographer - April 2010 - 43
American Cinematographer - April 2010 - 44
American Cinematographer - April 2010 - 44a
American Cinematographer - April 2010 - 44b
American Cinematographer - April 2010 - 45
American Cinematographer - April 2010 - 46
American Cinematographer - April 2010 - 47
American Cinematographer - April 2010 - Weapons of Deception
American Cinematographer - April 2010 - 49
American Cinematographer - April 2010 - 50
American Cinematographer - April 2010 - 51
American Cinematographer - April 2010 - 52
American Cinematographer - April 2010 - 53
American Cinematographer - April 2010 - 54
American Cinematographer - April 2010 - 55
American Cinematographer - April 2010 - 56
American Cinematographer - April 2010 - 57
American Cinematographer - April 2010 - 58
American Cinematographer - April 2010 - 59
American Cinematographer - April 2010 - The Final Frontier in 3 Dimensions
American Cinematographer - April 2010 - 61
American Cinematographer - April 2010 - 62
American Cinematographer - April 2010 - 63
American Cinematographer - April 2010 - 64
American Cinematographer - April 2010 - 65
American Cinematographer - April 2010 - 66
American Cinematographer - April 2010 - 67
American Cinematographer - April 2010 - 68
American Cinematographer - April 2010 - 69
American Cinematographer - April 2010 - 70
American Cinematographer - April 2010 - 71
American Cinematographer - April 2010 - Sundance 2010: Expanded Palettes
American Cinematographer - April 2010 - 73
American Cinematographer - April 2010 - 74
American Cinematographer - April 2010 - 75
American Cinematographer - April 2010 - 76
American Cinematographer - April 2010 - 77
American Cinematographer - April 2010 - 78
American Cinematographer - April 2010 - 79
American Cinematographer - April 2010 - 80
American Cinematographer - April 2010 - 81
American Cinematographer - April 2010 - 82
American Cinematographer - April 2010 - 83
American Cinematographer - April 2010 - 84
American Cinematographer - April 2010 - 85
American Cinematographer - April 2010 - 86
American Cinematographer - April 2010 - 87
American Cinematographer - April 2010 - Filmmakers’ Forum
American Cinematographer - April 2010 - 89
American Cinematographer - April 2010 - 90
American Cinematographer - April 2010 - 91
American Cinematographer - April 2010 - New Products & Services
American Cinematographer - April 2010 - 93
American Cinematographer - April 2010 - 94
American Cinematographer - April 2010 - 95
American Cinematographer - April 2010 - 96
American Cinematographer - April 2010 - 97
American Cinematographer - April 2010 - International Marketplace
American Cinematographer - April 2010 - 99
American Cinematographer - April 2010 - Ad Index
American Cinematographer - April 2010 - 101
American Cinematographer - April 2010 - Clubhouse News
American Cinematographer - April 2010 - 103
American Cinematographer - April 2010 - ASC Close-Up
American Cinematographer - April 2010 - Cover3
American Cinematographer - April 2010 - Cover4
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