Film and Digital Times - March 2007 - (Page 17)

ARRI at NAB Master Prime 14mm and 150mm ARRI Lighting ARRI/Zeiss is expected to introduce two more Master Primes at NAB: 14mm and 150mm. This makes 14 total in the set: 14, 16, 18, 21, 25, 27, 32, 35, 40, 50, 65, 75, 100 and 150mm—all T1.3. The unique thing about Master Primes is their lack of breathing: the image does not change size when racking focus. ARRIFLEX 416 Oli Laperal, Jr., of RSVP Films, predicts we’ll see more 12K and 6K HMI PAR lights using the computer-designed mirror of the ARRIMAX, which provides increased light output. I predict we’ll see more remote controlled lighting yokes. Video AKS The case labeled “AKS” holds All Kinds of Stuff. ARRI HD Camera Support and Video Accessories include all the stuff to complete a camera package: adapter plates for studio and lightweight operation, the MB-20 and MB-20 System II modular matte boxes, and follow focus system. At NAB, we should see a new quick-release base plate and dualsystem lens supports for HD lenses. The quick-release base plate lets you go quickly from tripod to handheld. A special bridge plate lets you use accessories with ARRI studio rods, and a unique centering adjustment compensates for variations in camera base-to-optical axis. ARRI’s new dual-system lens supports use snap-on hardware. The new follow focus FF5-HD is specifically designed for the gear ratio of HD lenses. ARRI accessories fit nearly every HD camera on the market. First introduced last year at NAB 2006, the 416 started shipping in January 2007. What used to be an almost predictable 18 month interval between product unveiling and delivery has now been speed ramped to a mere nine months. It is lighter, brighter (viewfinder) and quieter. With new Vision 2 film stocks from Kodak, Digital Intermediates and the Arriflex 416, Super 16 rivals the look of 35mm just a few years ago. ARRIFLEX 235 ARRIFLEX D-20 The ARRIFLEX D-20, ARRI’s single CMOS chip, 35mm format digital camera accepts all 35mm PL mount lenses, has an optical viewfinder, and is available for rental only. Bill Lovell will surely be on hand to demonstrate the D-20 with film style accessories, lenses and probably a new on-board mini monitor. ARRISCAN Digital Dailies Package The ARRISCAN film scanner has been chugging away in highend post-production facilities around the world. It scans 35mm and 16mm film at 4 fps in 2K resolution and 35mm film at 1 fps in 4K resolution. The 235 was honored with a Certificate at the Sci-Tech awards, but should, I think, have received something heavier, to paraphrase Josh Pines. It’s one of the most interesting 35mm camera ever built, because of its size, weight, versatility and design. Look for accessories, side brackets, on-board batteries and focus devices for this and the 416 from ARRI and others. At NAB , I expect ARRI will show the ARRISCAN for Digital Dailies. This includes a high speed scanning mode at 8 fps in 2K resolution (single exposure mode), with flash frame detection and frame line detection. I think we’ll also see a bunch of ARRISCANs networked together to provide real-time 4K scanning capability. Mar 2007 17

Table of Contents for the Digital Edition of Film and Digital Times - March 2007

New from Transvideo
Wizards of Wireless Focus and Remote Control
Cooke /i dataLink, Pixel Farm and Avid
Sony F23
Tiffen Steadicam Merlin and DFX Filters
Kodak Digital Ice and Arriscan
16x9 Inc 1.5x Tele Converter for HDV Camcorders
JVC PL Mount Adapter
Canon XHA1 and XHG1 Camcorders
Kata Camcorder Guards
Formatt Grads
ARRI at NAB
Lighting with Paint

Film and Digital Times - March 2007

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