American Cinematographer - December 2014 - 94

New Products & Services
Arri Unveils Alexa 65
Arri Rental has unveiled
the Alexa 65 camera
system, a scaled-up version
of the Alexa XT with a
sensor larger than a 5-perf
65mm film frame, enabling
the capture of uncompressed ArriRaw 65mm
imagery.
ASC associate Franz
Kraus, Arri's managing director, says, "Following the success of
the Alexa, we wanted to build a camera for the most demanding applications in filmmaking, and envisioned a true 65mmformat camera [that would share] as many of the technology
and imaging attributes of Alexa as possible. The dynamic range
and colorimetry are retained, but to these is added a far greater
capacity for capturing fine detail."
The Alexa 65 system incorporates custom-designed
prime and zoom lenses, and fast and efficient workflow tools.
Utilizing high-performance optics from Hasselblad, the 50110mm Zoom 65 and the eight Prime 65 lenses (ranging from
24mm to 300mm) are housed in robust lens barrels co-developed with IB/E Optics. Equipped with Arri's Lens Data System,
the lenses allow frame-accurate metadata about focus, iris and
zoom settings to be recorded with the image stream, aiding
both on-set shooting and visual-effects tasks in post.
Additionally, Arri Rental has worked closely with Codex
during the development of the Alexa 65 in order to create a
seamless new workflow that is unique to the camera and is
capable of processing full-resolution ArriRaw 65mm-format
images while concurrently generating high-quality ProRes
4:4:4:4 HD dailies masters in real time.
The Alexa 65 system is available exclusively through Arri
Rental's global network of rental facilities. For more information, visit www.arrirentalgroup.com.
Codex Records Alexa
65 Footage
Codex has collaborated
with Arri to develop the
recording and workflow
system for Arri's Alexa 65
large-format digital-camera
system. The result of the close
collaboration is a high-performance, built-in camera
recorder as well as an on-set
94

December 2014

* 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.

and near-set data-management system, the Vault Lab 65, to
deliver a streamlined camera-to-post workflow.
The Alexa 65 camera incorporates a Codex recording
engine, similar to the system that is built into the Alexa XT
camera. Existing Alexa XR Capture Drives support recording
from the Alexa 65 at up to 24 fps, and a 512GB media card will
record around 10 minutes in full open-gate mode. Next-generation Capture Drives developed by Codex will offer 2TB of
recording capacity and be capable of 20 Gb/s data rates,
enabling recording times over 45 minutes.
The Vault Lab 65 includes an enhanced Codex Vault S,
GPU processing and 8TB solid-state Transfer Drives to support
around three hours of open-gate Alexa 65 footage. Housed on
a Codex on-set cart, the Codex Vault S creates safety copies and
allows for playback, image review and color correction. The
Codex Vault XL, which includes 24 processing cores, is used
near set for dailies, editorial deliverables, camera original archive
to LTO, look creation, syncing sound and other postproduction
work. Codex 8TB Transfer Drives are used to transport data
between on-set and near-set or production and post. The Vault
XL also supports high-speed networking and file-transfer to
allow for integration with other production workflows.
For additional information, visit www.codexdigital.com.
Hive Redesigns Wasp Par
Hive Lighting has redesigned its
flagship product, the Wasp Plasma
Par, to make it more versatile, lightweight and cost-effective while still
delivering the same high output and
low power draw.
The redesigned Wasp Plasma
Par features a tight, powerful 10degree beam and can work in a
modular, customizable system. With
each Par running off of just 276
watts, it is possible to plug as many as
12 lamps into house power without the need for generators or
extra cabling; a 6-Light Killer Maxi, which incorporates the
redesigned Wasp Plasma Par, produces an output equivalent to
a 4,000-watt HMI and plugs into a single wall socket.
Each Wasp Plasma Par and Killer Maxi array features
Hive's Daylight Dial, which offers fully tunable color temperature
from 4,800K-7,000K. The dial is calibrated to prevent any
green/magenta shift with virtually no dimming, and offers the
ability to shift all the way to a deep-blue moonlight look.
For additional flexibility, the Wasp Par can be combined
with a variety of standard accessories, including lenses and soft

American Cinematographer


http://www.codexdigital.com http://www.arrirentalgroup.com

American Cinematographer - December 2014

Table of Contents for the Digital Edition of American Cinematographer - December 2014

Contents
American Cinematographer - December 2014 - Cover1
American Cinematographer - December 2014 - Cover2
American Cinematographer - December 2014 - 1
American Cinematographer - December 2014 - 2
American Cinematographer - December 2014 - Contents
American Cinematographer - December 2014 - 4
American Cinematographer - December 2014 - 5
American Cinematographer - December 2014 - 6
American Cinematographer - December 2014 - 7
American Cinematographer - December 2014 - 8
American Cinematographer - December 2014 - 9
American Cinematographer - December 2014 - 10
American Cinematographer - December 2014 - 11
American Cinematographer - December 2014 - 12
American Cinematographer - December 2014 - 13
American Cinematographer - December 2014 - 14
American Cinematographer - December 2014 - 15
American Cinematographer - December 2014 - 16
American Cinematographer - December 2014 - 17
American Cinematographer - December 2014 - 18
American Cinematographer - December 2014 - 19
American Cinematographer - December 2014 - 20
American Cinematographer - December 2014 - 21
American Cinematographer - December 2014 - 22
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American Cinematographer - December 2014 - 24
American Cinematographer - December 2014 - 25
American Cinematographer - December 2014 - 26
American Cinematographer - December 2014 - 27
American Cinematographer - December 2014 - 28
American Cinematographer - December 2014 - 29
American Cinematographer - December 2014 - 30
American Cinematographer - December 2014 - 31
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American Cinematographer - December 2014 - 33
American Cinematographer - December 2014 - 34
American Cinematographer - December 2014 - 35
American Cinematographer - December 2014 - 36
American Cinematographer - December 2014 - 37
American Cinematographer - December 2014 - 38
American Cinematographer - December 2014 - 39
American Cinematographer - December 2014 - 40
American Cinematographer - December 2014 - 41
American Cinematographer - December 2014 - 42
American Cinematographer - December 2014 - 43
American Cinematographer - December 2014 - 44
American Cinematographer - December 2014 - 45
American Cinematographer - December 2014 - 46
American Cinematographer - December 2014 - 47
American Cinematographer - December 2014 - 48
American Cinematographer - December 2014 - 49
American Cinematographer - December 2014 - 50
American Cinematographer - December 2014 - 51
American Cinematographer - December 2014 - 52
American Cinematographer - December 2014 - 53
American Cinematographer - December 2014 - 54
American Cinematographer - December 2014 - 55
American Cinematographer - December 2014 - 56
American Cinematographer - December 2014 - 57
American Cinematographer - December 2014 - 58
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American Cinematographer - December 2014 - 60
American Cinematographer - December 2014 - 61
American Cinematographer - December 2014 - 62
American Cinematographer - December 2014 - 63
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American Cinematographer - December 2014 - 65
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American Cinematographer - December 2014 - 67
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American Cinematographer - December 2014 - Cover3
American Cinematographer - December 2014 - Cover4
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