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Posts Tagged ‘ARRI’

Irix announces an 11mm T4.3 cine lens for Canon EF, Sony E, MFT and Arri PL mounts

12 Sep

Lens manufacturer Irix has launched a new 11mm T4.3 lens for Canon EF, Sony E, MFT and Arri PL camera systems.

The lens, which appears to be a cine version of its 11mm F/4 lens, is constructed with a magnesium housing with various rubber seals for weather resistance. It’s comprised of 16 elements including four high-refractive index (HR) elements, three aspherical elements and two low-dispersion (ED) elements.

The lens weighs 1.1kg (2.43lbs) and features Irix’s Magnetic Mount System, which makes it easy to attach compatible accessories, including the lens hood. Irix has also added its new Multi Start Thread focusing mechanism, which ‘allows quiet and precise focusing even under adverse weather conditions such as rain, humidity or extreme temperatures.’

Other features include a 95mm diameter front flange and Mod 0.8 standard geared rings.

The 11mm T4.3 cine lens will be offered in Arri PL, Canon EF, MFT and Sony E mounts. Pricing and availability has not yet been announced, but ‘will be available shortly.’ For more information, keep up to date on the Irix website.

Irix Cine 11mm T4.3

IRIX, known for high mechanical and optical quality, pleasantly presents the 11mm T4.3 – the second full-frame lens from its new cinematography line. Enjoy the new perspective of super panoramic film shots made with Irix Cine lens!

Irix 11mm T4.3 is the second unique lens from the new Cine line. Its extremely short focal length, rectilinear image projection and the large image circle of 43.3mm (covering the full-frame format) make it one of the most outstanding cine lenses on the market. Depending on the diagonal of the sensor, the lens can provide a moderately wide angle of view for classic wide-angle shots or super-panoramic 123-degree viewing angle in a 2.39:1 widescreen format. Irix 11mm T4.3 thanks to its unique parameters, provides a perspective not available in film optics, thus releasing creativity in creating dynamic shots.SAR

The same, but different optics
The lens optical system is based on the new optical formula, developed especially for cinematic purpose. It consists of 16 optical elements, which four are made with high refractive index (HR) glass, three other have aspherical surfaces and the last two are made with low-dispersion glass (ED). The use of the large front lens and other special glass elements provides crisp cinematic shots in a resolution up to 8K while keeping the focus “breathing” effect at the lowest level. The lens offers a large maximum T number of 4.3 which can be reduced to T22, thanks to the rounded shape of iris blades.

Functional and highly innovative
When designing the lens mechanical system of 11mm T4.3, we used newly developed technical solutions that have been successfully implemented in the Irix Cine 150mm T3.0 lens. The new Multi Start Thread focusing mechanism allows quiet and precise focusing even under adverse weather conditions such as rain, humidity or extreme temperatures. The focusing geared ring rotates 180 degrees and depending on the lens version, has a focusing scale with metric or imperial units.

Thanks to another innovative solution like the adaptive ring, the Irix Cine 11mm T4.3 ensures great ergonomics of operation both by hand and with follow focus mechanism. Moreover, despite the very short optical system layout, geared rings of focus and aperture were placed at the same height as in other Irix Cine lenses – all for better ergonomics and more intuitive use.

The exceptional functionality is a distinctive feature of all Irix products. The same applies to the Irix Cine 11mm T4.3, whose extremely compact design (weights 1,1 kg) has been also equipped with an innovative Magnetic Mount System for accessories. The MMS system allows quick and easy attachment of a variety of dedicated accessories. The lens hood included in the kit with the lens is the first element of the MMS system. The system will be expanded with further accessories in the future.

Prepared for all weather conditions
The ultra-wide field of view of the Irix 11mm T4.3 means that its natural work environment is outdoor. It’s durable magnesium housing and numerous rubber seals guarantee the safety of both the optical system and the camera sensor in every weather conditions.

Designed to work in accordance with film industry standards
The 11mm T4.3 is another lens of the Irix Cine line that proves the newest technical solutions can perfectly harmonize with well-established film industry standards. The lens has a front flange with a diameter of 95mm and geared rings in the Mod 0.8 standard, which ensures its compatibility with most cine gear accessories. Attention to maintaining the standard also applies to the family of Irix cine lenses whose geared rings are in the same position and have unified rotation angle.

Irix Cinematic
The new line of Irix Cine Lenses is created in close cooperation with professional filmmakers; their ideas and suggestions were an important factor in the design process. The designers earlier experience in the field of photography led us to create new and better solutions for Irix Cine products.

Available camera mounts
The new Irix Cine 11mm T4.3 will be offered in following lens mounts: Canon EF, Sony E, MFT and Arri PL.

Price and availability
The price and availability of the Irix Cine 11mm T4.3 lens will be announced shortly.

Articles: Digital Photography Review (dpreview.com)

 
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ARRI starts certified pre-owned program for second hand cinema cameras

27 Apr

Filmmakers on a budget who prefer using second hand kit will soon have a great certified option at their disposal, as cinema camera manufacturer Arri has started a certified sales program for used Alexa bodies. The company says these pre-owned Alexa Plus and Classic models have gone through extensive servicing and testing before being put on sale, and for additional peace of mind, all of them will come with a one year warranty.

Before you get too excited, you are still going to need at least €9,900 (~$ 12,000 USD) plus tax to get yourself started… and that’s without a lens. So far the company has just eight cameras for sale, including Alexa Plus 4:3 and 16:9 models and a Classic EV, none of which are in the current production line-up.

Still, as the program grows, it will offer more affordable (if not exactly affordable) options for filmmakers with medium-deep pockets and extremely high standards.

To get ARRI’s Approved Certificate, the second hand bodies are checked, serviced, fixed and tested by the company’s service engineers. According to the website, this includes “a thorough check of parameters, including image sensor quality, recording functions, connectors, flange focal distance, audio system, and ARRI Lens Control System.” Furthermore:

The overhaul also includes an update to the latest Software Update Packet (SUP) of the respective model. Repairs are performed as required if any malfunctions are detected. Before the ARRI Certificate of Approval is issued, the equipment goes through the same Final Function Test as new cameras, ensuring it meets the high standards expected of it.

For more information, visit the pre-owned pages on the Arri website.

Press Release

Announcing the ARRI Approved Certified Pre-Owned Program

  • Selected ARRI ALEXA cameras available
  • Comprehensive check and overhaul of all components
  • All cameras subjected to final function test
  • Certified cameras come with one-year warranty

April 24, 2018; Munich, Germany – ARRI announces the introduction of the Certified Pre-Owned Program. The motion picture equipment manufacturer is now offering selected pre-owned and refurbished camera systems of the ALEXA series for sale. “We are excited to offer the ARRI Approved Certified Pre-Owned Program,” says Stephan Schenk, Managing Director of ARRI Cine Technik and General Manager of the Business Unit Camera Systems. “It’s a global initiative which adds a new tier to our products, allowing more filmmakers access to our technology. It also gives educational institutions a cost-effective way of providing high-quality equipment for their students.”

ARRI’s attention to detail and intimate knowledge of conditions on set for over one hundred years have resulted in generations of cameras that are robust, reliable, and simple to operate. Under the ARRI Approved Certified Pre-Owned Program selected ALEXA Plus and ALEXA Classic EVs undergo thorough assessments, are given thorough overhauls, and are recalibrated.

All components—starting with the sensor—are checked to confirm they are fully functioning, and that all systems work as they should. Any parts that require replacement are exchanged.

Christian Richter, Manager Certified Pre-Owned Camera Systems at ARRI, says the program delivers reliability, affordability, and dependability. “It will give more filmmakers access to tools that will enable them to capture stunning images,” he says. “They can be sure that they are not sacrificing performance for price, because the selected ALEXA cameras come directly from the manufacturer and are backed by ARRI’s warranty.”

Before the ARRI Certificate of Approval is issued, the equipment goes through the same final function test as new cameras, ensuring it meets the high standards expected of it. The ARRI approved and certified cameras are also covered by a one-year warranty.

Articles: Digital Photography Review (dpreview.com)

 
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$2,500 Sony a7S II vs $50,000 ARRI Alexa Mini: Can you tell the difference?

07 Feb

Brent Barbano—co-founder of camera rental community ShareGrid—recently took a trip to Flashbox Films in Hollywood to meet up with co-owner Will Kamp and do one of those “affordable camera vs crazy expensive camera” tests the internet seems to love (and hate) oh so much.

So what did they test? They put the $ 2,500 Sony a7S II, an affordable filmmaking favorite, up against the $ 50,000+ ARRI Alexa Mini, a professional-grade filmmaking monster. Here’s how Brent introduces the comparison:

The Sony a7s II has been a game-changer for filmmakers and creatives across the world. Cinematographers and photographers have been creating amazing images with this mirrorless camera that can rival some of the best. So, we thought we’d put it to the test and do a side-by-side comparison of the Sony a7S II and the ARRI Alexa Mini. Can you tell the difference?

Well… can you? Check out the video above to watch the footage, or scroll through the slides in the gallery below:

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Brent and Will were obviously impressed by just how similar the final footage turned out to be, and if you’re curious how you did on this ‘test,’ you’re in luck: ShareGrid was kind enough to give DPReview readers the answer key early.

The initial plan was to update it in the video description on YouTube this Friday, but if you’ve made your picks, you can scroll down and see which slide was which down below.

Answer Key

Some of you may have noticed, others may not, but the cameras didn’t actually switch sides between shots. The Sony was always on one side, and the ARRI was always on the other. But… which was which? It turns out A was Sony, and B was ARRI:

SLIDE 1

A: Sony a7S II

B: ARRI Alexa Mini

SLIDE 2

A: Sony a7S II

B: ARRI Alexa Mini

SLIDE 3

A: Sony a7S II

B: ARRI Alexa Mini

SLIDE 4

A: Sony a7S II

B: ARRI Alexa Mini

Articles: Digital Photography Review (dpreview.com)

 
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Arri introduces Alexa LF ‘large-format’ 4K camera and LPL mount

03 Feb

Cinema camera manufacturer Arri has launched a completely new, ‘large format’ 4K system comprising a camera with a new lens mount and 16 new lenses to go with it. The Alexa LF camera uses a sensor fractionally larger than what stills shooters would consider ‘full frame’ and can record in resolutions up to 4.5K and at frame rates of 150 fps.

Arri introduced the new system today at London’s BSC Expo, and claims the new system is smaller and lighter than current full frame models. The camera’s sensor measures 36.70 x 25.54mm and uses 4448 x 3096 pixels – all of which users will be able to utilize in open gate mode. When used in 16:9 mode a 31.68 x 17.82 mm area is exposed with a full 4K resolution of 3840 x 2160 pixels. This is a 36.3mm diagonal, so is fully compatible with lenses such as Zeiss’s Compact Prime and Cinema Zoom series of lenses.

A 2.39:1 ratio mode uses 4448 x 1865 pixels and a 39.8mm diagonal.

In all of these modes the camera can shoot at up to 90fps in Arriraw, but it can manage 150fps when used in 2.39:1. Arri says the sensor has an exposure latitude of ‘14+ stops’. Newsshooter is reporting that the sensor is essentially two of its existing, 8-year-old ALEV-III sensors stitched together.

Large PL mount

A new lens mount has been introduced with the system that uses a wider throat and a shallower flange so that lenses can be made with large maximum apertures that would not be possible with the narrow throat of the PL mount. It should also allow lenses to be slightly smaller and lighter. The LPL (‘Large PL’) mount is 62mm in diameter and has a depth of 44mm, so existing PL lenses can also be mounted via an adapter. Arri says it is making the LPL available under licence to other camera manufacturers and third party lens makers.

Its own collection of Arri Signature Prime lens system will comprise 16 lenses of between 12mm and 280mm. All will have a maximum aperture of T1.8 and will be compatible with the new LDS-2 lens data protocol, which Arri says it will also license. The mount will be able to read data from LDS-1 and /i lenses.

According to the Cinema 5d website pricing will start at €76,608.37 plus tax, adding ‘if you think it’s expensive, it’s probably not aimed at you…’

For more information and more show reel samples see Arri’s Alexa LF microsite.

Press release

ARRI launches large-format camera system

The ALEXA LF camera, ARRI Signature Prime lenses and LPL lens mount together comprise an entirely new system, offering an immersive, emotionally engaging look.

At the 2018 BSC Expo in London, ARRI has unveiled a complete large-format system that meets and exceeds modern production requirements, delivering unprecedented creative freedom while also being backwards compatible with existing lenses, accessories and workflows.

Featuring a large-format sensor slightly bigger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. Filmmakers can explore a large-format aesthetic while retaining the ALEXA sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG workflows. Different sensor modes cover any deliverable requirement and versatile recording formats-including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps-provide total flexibility.

Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the new ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they render organic, emotional images, gently softening and texturizing the large format. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.

In the lead-up to the release of its new large-format system, ARRI asked a number of cinematographers to shoot with the camera and lenses in real-world situations. Among them was Dan Laustsen ASC, DFF, who is Oscar-nominated this year for his work on THE SHAPE OF WATER. After shooting with the system, Laustsen commented, “We were trying to tell a story about wideness and freedom; the ALEXA LF worked really well. The depth of field is so small, creating its own world. It’s fantastic.” Of the Signature Primes, he noted: “The lenses are lightweight and are not too sharp, but with a certain softness and very specific. With the 25 mm lens, you feel like you are there in the scene with the actors.”

The new LPL lens mount has a wider diameter and shorter flange focal depth, allowing the ARRI Signature Primes and all future large-format lenses to be small and lightweight, with a fast T-stop and pleasing bokeh-a combination of features that would not be possible with the PL lens mount. The LPL mount will also be available for other ARRI cameras and is being licensed to third-party lens and camera manufacturers.

Another cinematographer to shoot with the system prior to its release was Wang Yu, who used it to explore the atmospheric studio and creative inspirations of the celebrated Chinese artist and furniture-maker, Shao Fan. “The results got me really excited,” he says. “The camera and lens captured every tonal nuance with unmatched detail, gradation and color. I love how the out-of-focus areas are rendered, contributing to a rich and vivid overall look.”

Although the camera, lens mount and lenses are new, full compatibility with existing PL mount lenses and ALEXA accessories is a cornerstone of the system’s design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, whether Super 35 or full frame. The adapter attaches securely to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set, and offering cinematographers an unlimited lens choice.

Tom Fährmann BVK, who also got a sneak preview, chose to shoot a diverse palette of faces and skin tones against a white background, under varying portrait lighting conditions. He reports: “To me, the system embodies typical ARRI quality, but there is a new level of emotion to the images-a smoothness to the way the camera and lenses work together.”

ALEXA LF offers the same tried-and-true, versatile workflows as other ALEXA cameras. Existing ARRI Look Files can be used, and the entire range of ARRI workflow software tools will support ALEXA large-format images. Lens metadata can be recorded from LDS-1, LDS-2 or /i capable lenses.

Shooting wide open with ARRI Signature Prime lenses for shallow focus and gorgeous bokeh, French cinematographer Matias Boucard worked purely with natural light and available sources when he tried out the new system in Thailand. “The ALEXA LF camera and Signature Prime lenses are an elegant combination,” he says. “I love the lenses; they strike a wonderful balance between modernity and character.”

Articles: Digital Photography Review (dpreview.com)

 
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New Alexa large-format 4K cinema system introduced by Arri

03 Feb

Cinema camera manufacturer Arri has launched a completely new, ‘large format’ 4K system comprising a camera with a new lens mount and 16 new lenses to go with it. The Alexa LF camera uses a sensor fractionally larger than what stills shooters would consider ‘full frame’ and can record in resolutions up to 4.5K and at frame rates of 150 fps.

Arri introduced the new system today at London’s BSC Expo, and claims the new system is smaller and lighter than current full frame models. The camera’s sensor measures 36.70 x 25.54mm and uses 4448 x 3096 pixels – all of which users will be able to utilize in open gate mode. When used in 16:9 mode a 31.68 x 17.82 mm area is exposed with a full 4K resolution of 3840 x 2160 pixels. This is a 36.3mm diagonal, so is fully compatible with lenses such as Zeiss’s Compact Prime and Cinema Zoom series of lenses.

A 2.39:1 ratio mode uses 4448 x 1865 pixels and a 39.8mm diagonal.

In all of these modes the camera can shoot at up to 90fps in Arriraw, but it can manage 150fps when used in 2.39:1. Arri says the sensor has an exposure latitude of ‘14+ stops’. Newsshooter is reporting that the sensor is essentially two of its existing, 8-year-old ALEV-III sensors stitched together.

Large PL mount

A new lens mount has been introduced with the system that uses a wider throat and a shallower flange so that lenses can be made with large maximum apertures that would not be possible with the narrow throat of the PL mount. It should also allow lenses to be slightly smaller and lighter. The LPL (‘Large PL’) mount is 62mm in diameter and has a depth of 44mm, so existing PL lenses can also be mounted via an adapter. Arri says it is making the LPL available under licence to other camera manufacturers and third party lens makers.

Its own collection of Arri Signature Prime lens system will comprise 16 lenses of between 12mm and 280mm. All will have a maximum aperture of T1.8 and will be compatible with the new LDS-2 lens data protocol, which Arri says it will also license. The mount will be able to read data from LDS-1 and /i lenses.

According to the Cinema 5d website pricing will start at €76,608.37 plus tax, adding ‘if you think it’s expensive, it’s probably not aimed at you…’

For more information and more show reel samples see Arri’s Alexa LF microsite.

Press release

ARRI launches large-format camera system

The ALEXA LF camera, ARRI Signature Prime lenses and LPL lens mount together comprise an entirely new system, offering an immersive, emotionally engaging look.

At the 2018 BSC Expo in London, ARRI has unveiled a complete large-format system that meets and exceeds modern production requirements, delivering unprecedented creative freedom while also being backwards compatible with existing lenses, accessories and workflows.

Featuring a large-format sensor slightly bigger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. Filmmakers can explore a large-format aesthetic while retaining the ALEXA sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG workflows. Different sensor modes cover any deliverable requirement and versatile recording formats-including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps-provide total flexibility.

Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the new ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they render organic, emotional images, gently softening and texturizing the large format. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.

In the lead-up to the release of its new large-format system, ARRI asked a number of cinematographers to shoot with the camera and lenses in real-world situations. Among them was Dan Laustsen ASC, DFF, who is Oscar-nominated this year for his work on THE SHAPE OF WATER. After shooting with the system, Laustsen commented, “We were trying to tell a story about wideness and freedom; the ALEXA LF worked really well. The depth of field is so small, creating its own world. It’s fantastic.” Of the Signature Primes, he noted: “The lenses are lightweight and are not too sharp, but with a certain softness and very specific. With the 25 mm lens, you feel like you are there in the scene with the actors.”

The new LPL lens mount has a wider diameter and shorter flange focal depth, allowing the ARRI Signature Primes and all future large-format lenses to be small and lightweight, with a fast T-stop and pleasing bokeh-a combination of features that would not be possible with the PL lens mount. The LPL mount will also be available for other ARRI cameras and is being licensed to third-party lens and camera manufacturers.

Another cinematographer to shoot with the system prior to its release was Wang Yu, who used it to explore the atmospheric studio and creative inspirations of the celebrated Chinese artist and furniture-maker, Shao Fan. “The results got me really excited,” he says. “The camera and lens captured every tonal nuance with unmatched detail, gradation and color. I love how the out-of-focus areas are rendered, contributing to a rich and vivid overall look.”

Although the camera, lens mount and lenses are new, full compatibility with existing PL mount lenses and ALEXA accessories is a cornerstone of the system’s design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, whether Super 35 or full frame. The adapter attaches securely to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set, and offering cinematographers an unlimited lens choice.

Tom Fährmann BVK, who also got a sneak preview, chose to shoot a diverse palette of faces and skin tones against a white background, under varying portrait lighting conditions. He reports: “To me, the system embodies typical ARRI quality, but there is a new level of emotion to the images-a smoothness to the way the camera and lenses work together.”

ALEXA LF offers the same tried-and-true, versatile workflows as other ALEXA cameras. Existing ARRI Look Files can be used, and the entire range of ARRI workflow software tools will support ALEXA large-format images. Lens metadata can be recorded from LDS-1, LDS-2 or /i capable lenses.

Shooting wide open with ARRI Signature Prime lenses for shallow focus and gorgeous bokeh, French cinematographer Matias Boucard worked purely with natural light and available sources when he tried out the new system in Thailand. “The ALEXA LF camera and Signature Prime lenses are an elegant combination,” he says. “I love the lenses; they strike a wonderful balance between modernity and character.”

Articles: Digital Photography Review (dpreview.com)

 
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$80,000 vs $3,000: Arri Alexa vs Canon 80D video shootout

26 Sep

These days, capturing professional-looking video no longer requires Hollywood-sized budgets. But does that mean that there’s no longer much advantage to Hollywood-quality gear? Let’s find out. Gene of the YouTube channel Potato Jet pegged his Canon 80D setup against an Arri Alexa setup that costs upwards of $ 80,000 and filmed several scenes with both cameras rigged up side-by-side.

Unlike his previous (very popuplar) iPhone 7 vs Arri Alexa video, this one is a bit more of a fair fight—the sensor area used to shoot most formats on the Arri is much closer in size to the 80D sensor than the iPhone, and one of the cameras isn’t a freaking smartphone.

Of course, the difference between the footage is still immediately obvious—who would have guessed an $ 80K setup would shoot better footage than a $ 3,000 setup?—but the side-by-side comparison is fun and interesting to watch all the same. That’s because Gene doesn’t just point out the differences in the dynamic range and quality of the video from the two cameras, he outlines the pros and cons of using a small light-weight DSLR like the 80D vs a cinematic powerhouse like the Arri Alexa.

Check out the full comparison for yourself up top, and if you want to see more from Gene or consider yourself an amateur filmmaker, definitely subscribe to Potato Jet.

Articles: Digital Photography Review (dpreview.com)

 
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Arri repurposes internal filter tech to create a line of heavy-weight ND filters

24 Aug

Cinema equipment powerhouse Arri has introduced a new line of full spectrum neutral density filters that are designed to be used in front of the lens. The company says it has drawn on its expertise creating internal filtration systems for its ALEXA Mini and the AMIRA movie cameras to produce the new line of eight strengths that range in optical density from 0.3 to 2.4 (1 to 8 stops).

Arri says it has used coatings to reflect infrared wavelengths, which should help maintain a neutral color balance and good contrast, and that the filters are made with Schott B270i glass for its purity and even, parallel surfaces. With new technologies such as high resolution capture and output, as well as HDR viewing, better quality filters are required at the shooting stage, says Arri.

These filters will be available in 6.6 x 6.6in/167.6mm x 167.6mm and 4 x 5.65/101.6mm x 143.5mm sizes will weigh a solid 0.609lbs/276.6g and 0.316lbs/143.5g respectively. No prices have been released yet, but these should be some of the best ND filters on the market when they do launch.

For more information, see the specs below or visit the Arri website.

Manufacturer Information

Full Spectrum Neutral Density Filter

The new ARRI Full Spectrum ND filter serves as the front line of image control. A natural succession to ARRI’s high quality products, this external FSND filter not only provides protection but has a palpable effect on image quality.

Due to the increasing standards of modern deliverables, current industry image quality demands such as Ultra HD, High Dynamic Range, and Wide Color Gamut, and an increase in customer and end-user demand for external filters of the highest quality, ARRI was inspired to create their own FSND external filter. ARRI is already very familiar with premium filters; the ALEXA Mini and the AMIRA cameras come equipped with an internal FSND filter that is highly respected in the industry and purely color neutral. Now, the unsurpassed dynamic range of ARRI’s camera sensors do not have to be diminished or distorted by external filters of lesser quality.

Main Features:

  • Renowned Full Spectrum ND Filters from ALEXA Mini and AMIRA now as front filters
  • Highest contrast and truest color transmittance for HDR capture
  • Multiple layers of coating for easy cleaning and prolonged filter life
  • Long-lasting CORDURA® pouches lined with MICRODEAR® anti-static cleaning cloth
  • Fast inventory tracking through unique, laser-engraved barcodes

Additional Features:

  • Optical quality, Schott B270i glass with completely flat and parallel surfaces for image sharpness
  • Anti-reflective coating for contrast and top HDR deliverables
  • Hard coating for prolonged filter life
  • Hydrophobic and oleophobic coating for easy and fast cleaning
  • C-Shaped, black edge prevents chipping and reflection
  • Anti-static premium pouch for safe storage
  • Engraved, unique barcode for fast inventory tracking and proof of ownership
  • Purely color neutral for true image capture

Articles: Digital Photography Review (dpreview.com)

 
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ARRI announces the ALEXA Mini 4K UHD, a lightweight carbon fiber cinema camera

24 Feb

We don’t normally write about thirty-thousand-dollar cinema camera, but the ARRI ALEXA Mini caught our eye. This digital motion picture camera packs a whole lot of firepower into a super compact, carbon-fiber body. The specs also foreshadow what me might expect in future consumer-level cameras, in terms of video capabilities. Read more

Articles: Digital Photography Review (dpreview.com)

 
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