1. Insert your SxS card into your MacBook Pro’s ExpressCard34 slot. If you have a computer without an ExpressCard reader, then use the Sony SBAC-US10 SxS Memory Card Reader. The card will show up in your finder as ARRI UDF. UDF stands for Universal Disk Format, which is an open file system.

2. Copy your footage onto a hard disk (preferably a redundant array). The files are named with Camera Name, Reel, Scene and Take numbers. Make sure to copy all clips AND the index.xml file. I recommend making a separate folder for each card copied.

3. Import the index.xml file into Final Cut Pro. Use the File -> Import -> XML function to do this.

Final Cut will pop up a dialog asking for some information. Set your destination to whatever your project name is (my project is called “Alexa”) and click OK.

Now all of your clips should appear in the bin. Notice they are under a folder named after the Camera Name and Reel info.

Repeat Step 3 for each card and you should have all of your footage imported in no time. Now you can start editing!

The Cinedeck’s monitor offers functions such as waveform, vectorscope, false-color exposure meter, audio meters, pixel-to-pixel zoom for focus, grid and frameline overlays, etc. All this in a package about the same size of a standard on-board LCD.

Watch the video for more on the Cinedeck Extreme and to see it mounted to the new ARRI ALEXA Digital Cinema camera.

Arri has announced a new line of digital cameras at IBC 2009. The A-EV, A-EV Plus, and A-OV Plus (EV stands for electronic viewfinder and OV stands for optical viewfinder). These cameras all share the same 3.5K ALEV III CMOS Sensor which is designed to provide 12.1 f-stops of dynamic range (tested with the new Arri Dynamic Range Test Chart), and support 1-60fps image capture. Unlike the Arri D-21, all of these cameras will have on-board HD recording, and the ‘plus’ models support uncompressed recording as well. The EV models will utilize Arri’s first electronic viewfinder, which has F-LCOS 1280×720 screen. Jon Fauer at Film & Digital Times has posted a great article on the new cameras – view it here: Arri Blue. Read more about the new cameras at Arridigital.com/Teaser

Update: In the video I use a Tiffen 72-77mm filter step up ring on the Canon lens. This ring is normally used to put a 77mm screw on filter on a 72mm lens, but in this kit we are using it as a step-up ring. The outer diameter of the Tiffen ring is 80mm, so it fits perfectly with the Arri step-down rings.

Arri has officially released their new 6×6 compact mattebox, the MB28. It is similar to the MB20-II in design, and is far more compact, lightweight, and less expensive than the supermax MB14.

The MB28 features three 6.6×6.6 trays.  The front two rotate together, and the rear rotates independently. Top and side flags are included, as well as a swingaway arm for 19mm or 15mm studio rods and full clearance on even the Optimo 24-290.

ARRI decided to really go for broke with their new WLCS; it has performance options beyond that of their competition, yet they’ve dropped the price point below them. This is ARRI showing that they really want to play in this arena, and they really deliver.

The basic system includes a new two-channel controller (WCU-3), a new receiver unit (UMC-3A), and a pair of the new strongest-on-the-market lens motors (CLM-3). (Yes, a set of cables is included as well.) The idea is to use this kit to control focus and iris on a lens, but of course one could choose to attach it to a zoom as well. The system can be expanded to include a third-channel zoom controller as well, and a nice feature is that the zoom controller can function attached to or detached from the main controller. So it can be clamped to a tripod pan arm or handed to the DP to separately control the zoom.

The system is extremely easy to use – I figured out most of the functions in a few minutes by reading off the small built-in LCD panel and scrolling through the simple menu using a jog wheel on the unit’s base. All of the channels are simultaneously self-calibrating at the touch of the “CAL” button. Record / Stop control is executed via a big ARRI Green “RUN” button. Other functions are equally intuitive and there are many of them. The logic and robustness in design is classic ARRI. Inexpensive camcorder batteries are used to power the hand unit. The economy of lower cost products is all new for ARRI, but even here there is an ARRI difference.

Visit Abel’s Booth C8537 at NAB to see these Arri matteboxes and accessories.