At IBC this year, ARRI announced several products that were expected, along with a few surprises. The ALEXA and ALEXA Plus cameras welcomed two siblings to their Digital Cinema family, and it turns out pre-production versions of these new models are already out in the field working. The ALEXA Studio has an optical viewfinder with a spinning mirror shutter like a traditional film camera. It also has a taller sensor than the other ALEXAs, with an aspect ratio of 4:3 so that anamorphic lenses can be used with proper field of view. The ALEXA M is a split-head camera, meaning that the sensor section of the camera connects to the rest of the camera (where the signal processor and recording section live) by way of a fiber cable. This allows the ALEXA M to be used in various rigs where size and weight are critical issues, such as helicopter mounts, car interiors and 3D beamsplitter rigs. The ALEXA Studio pre-production units are currently testing on real shoots in Europe, while the first ALEXA M production prototypes are starting to ship to the Cameron-Pace Group, a leader in 3D production.

…continue reading IBC 2011 Updates: ARRI

The ARRI ALEXA has become so popular that many clients are asking to use it in ways outside of the traditional Digital Cinema market. Documentary and ENG-style productions, long the playground of 2/3” cameras, are now beginning to use the ALEXA. With this demand, AbelCine has worked to adapt the camera to the style of “One Man Band,” everything-on-the-camera shooting.

Audio
The ALEXA does not have the traditional mounting points for microphones, nor does it provide power for them. Importantly, it also only accepts Line level audio, as opposed to the Mic levels that commonly come out of microphones and wireless mic receivers. To attach a standard shotgun microphone, we use the K-Tek K-SSM Short Shock Mount, which nicely isolates the microphone from the camera and allows precise positioning. The smallest professional two-channel mixer available is the Sound Devices MixPre-D.

Lensing
Super-35 lenses are large, heavy, expensive and do not have servo control handgrips for efficient operation. Fast-moving productions have come to rely on compact, high zoom-ratio lenses with built-in motorized zoom servo handgrips. The HDx35 B4/PL Optical Adapter allows these lenses to be used on the ALEXA for efficient, ENG-style shooting.

Power
Documentary-style crews are used to powering accessories off two-pin P-Tap (PowerTap) sockets commonly found on camera battery plates. The Anton Bauer QR Quad PT sandwiches between the battery plate and a battery, and provides four P-Tap sockets for power. Anton Bauer also makes the QR-Hotswap-AR, which provides mounting for two batteries as well as a topside mounting flange for attaching accessories such as wireless microphone receivers.

Cables & Mounting
Having assembled the various parts, AbelCine created some custom cables and mounting hardware to attach it all cleanly and efficiently to the ALEXA. We call this configuration the ALEXA One-Man Band Kit.

After posting our recent Element Technica F3 Riser & Shoulder Pad Kit blog video, many clients had questions on how to mount it to a tripod and adjust front-rear balance. The ET F3 Riser’s clever universal design allows it to attach to all popular mounting options. 3/8” threaded holes are available for directly attaching ARRI bridgeplates, both in the 19mm studio standard with the BP-8 and in the 15mm studio standard with the BP-9. By removing a thin shim plate on the base of the ET F3 Riser, the unit can also be mounted to the Element Technica Hybrid Bridgeplate. If you are using smaller lenses and don’t need a sliding bridgeplate system, standard tripod plates can attach directly to the ET F3 Riser. In smaller configurations, the mounting point is very close to the center of gravity, with the mounting options for the shoulder pad also quite close to the center of gravity for comfortable handheld shooting.

Watch the video above for a full explanation of the mounting options for the Element Technical F3 Riser.

ARRI has released the latest Software Update Packet (SUP), v4.0, for the ALEXA and the new ALEXA Plus cameras. All new cameras will ship with SUP v4.0 installed, and it is available as a free download from the ARRI website for all current ALEXA owners. SUP v4.0 is a substantial upgrade for the ALEXA, with several major new features and a host of useful improvements.

Key new features of SUP v4.0 include (for both ALEXA & ALEXA Plus):

Image

• ARRI Look Files to create custom looks for monitoring or recording
• Auto white balance

Operating

• Peaking function for focus check in EVF-1 and MON OUT
• EVF ZOOM adjustable target position
• False color exposure check for Log C images
• EVF ZOOM and EXP buttons are now toggle on/off
• Compare stored image from SD card with live image
• RETURN IN video

Function

• Audio playback from SxS PRO cards enabled
• SxS recording can be turned off
• More silent operation at higher ambient temperatures
• ‘Rec Low’ fan mode for silent operation in extremely hot environments

Key new features of SUP v4.0 for ALEXA Plus include:

• Master/Slave lens motor control
• 3D lens sync
• Lens Data System (LDS) info display in EVF-1 and on MON OUT
• Lens Data Archive (LDA)
• Electronic level in EVF and MON OUT

In addition to SUP v4.0, ARRI is now offering its first Paid License Feature, which is Anamorphic de-squeeze in the EVF-1 and on the MON OUT. Please contact us for information on purchasing this feature.

To download SUP v4.0, ALEXA owners must login after completing a one-time registration on the ARRI website. The file can then be downloaded to an SD card for uploading into the camera. Also available for download are an updated user manual, release notes for SUP v4.0, a White Paper on ARRI Look Files, and a White Paper on ALEXA Anamorphic De-squeeze.

The Sony PMW-F3 is a camera that begs to be accessorized. It can shoot with 35PL lenses, which means a follow focus and mattebox. If a large zoom is used, support is called for as well. Since the F3 can output very high quality HD-SDI, a camera-mounted recorder is desirable. An on-board monitor or accessory viewfinder needs accessory power, so an extra battery mount would be nice. Additional provision for handheld operation is also helpful.

AbelCine worked directly with Element Technica to develop the F3 Riser & Shoulder Pad Kit. This complete solution, which accepts lightweight 15mm support rods, includes ARRI rosettes for mounting handgrips and an adjustable shoulder pad. It also acts as a spacer for use with Element Technica Hybrid Bridgeplate or ARRI standard 15mm or 19mm studio bridgeplates, such as the ARRI BP-8 or BP-9. An optional Universal 15mm Lightweight Rod Bracket allows rods to extend behind the camera for mounting additional accessories. The unique design of the riser means that proper balance can be achieved both for tripod as well as shoulder-mounted use.

Other accessories shown in the video that are not part of the kit include Zacuto 15mm Rods, Vocas Handgrip Kit, AJA KiPro Mini, Zacuto Zwiss Plate, Anton Bauer QRC-Dual PT Battery Mount, and the Berkey F3 Top Mount Cheese Plate and F3 Extension Plate.

ARRI has just completed extensive testing on the new ALEXA Firmware 4.0, due to be released in early July. It includes so many new features that ARRI has decided to release a Beta version to all ALEXA owners a few weeks in advance of the official release date. This will allow ARRI to receive valuable feedback on the performance of the 4.0 upgrade from its growing ALEXA install base prior to the firmware’s official release.

Here are the key features of the ALEXA 4.0 Beta firmware.

For ALEXA and ALEXA Plus:

- Custom looks through ARRI Look Files

- Audio playback from SxS PRO cards

- SxS recording can be turned off

- Auto white balance

- Peaking focus check in EVF-1 and MON OUT

- False color exposure check for Log C images

- EVF ZOOM position centered or in top part of image

- EVF ZOOM and EXP buttons are now toggles

- HD-SDI Rec start/stop flag recording (without requiring SxS card to be inserted)

- Quieter “Rec Low” fan operation at higher ambient temperatures

- RETURN IN video enabled

- Compare stored image from SD card with live image

…continue reading ARRI ALEXA Firmware 4.0 Beta Release

The latest Digital Cinema cameras are sophisticated computers that draw considerable power. Filmmakers then pile on lots of camera accessories that can also pull a hefty load. As standard power solutions were limited, AbelCine created a line of power solutions to answer any need.

Designed and manufactured by AbelCine and introduced at NAB 2011, the UniBob Universal Power Breakout Box is designed to answer both the power draw and distribution needs for Digital Cinema production crews. The UniBob is a compact unit (about the size of a Dionic 90 battery) and can mount directly to a standard 3-peg Anton Bauer-style battery mount or attach directly using an Accessory Mounting Kit.

The UniBob takes in power via a large Lemo-8 connector, which can deliver in excess of 300w each of both 28v and 14.4v power simultaneously. There are three 28v outputs and three 14.4v outputs. In addition to the Anton Bauer 3-peg battery mount (14.4v), the UniBob has two Phantom-standard Fischer-4 ports for 14.4v power, two ARRI-standard Fischer-3 ports for 28v accessory power, and one large Fischer-3 port for 28v power to directly feed a camera or other large-draw device.

There are numerous devices available to send power to the UniBob. AbelCine commissioned Frezzi to build the Universal Juicebox AC Power Supply. The Universal Juicebox can output in excess of 300w of both 13.5v and 28v power simultaneously. In addition to the dual-voltage Lemo-8 port, outputs include 3x XLR-4 (13.5v) and two XLR-3 (28v). All outputs and both voltages are available at all times. The unit has auto-ranging voltage, meaning that it can be used in electrical systems throughout the world. Anton Bauer makes the DT-500 AC Power Supply, which has a Lemo-8 to supply 300w of 14.4v and 200w of 28v simultaneously.

…continue reading AbelCine Digital Cinema Power Solutions