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  1. Arri has announced 4 new Zoom Lenses in its high quality Signature range. All the lenses open up to a fast T2.8 consistently and are a perfect match to the Arri Signature Primes. The lenses are 16-32, 24-75, 45-135 and 65-300mm. Arri has also announced a 1.7x Tele Convertor which is matched to the 65-300mm T2.8 making it 110-510mm T4.9. The Arri Signature Zoom Extended 1.7x can also be used with the Arri Signature Prime 280mm making it 480mm T4.9. The Arri Signature Prime and Signature Zoom Range comes with an LPL Mount for Arri Alexa LF.
  2. A list of cameras with PL Mount. Still WIP. List of Cameras with PL Mount by DesiCreative on Scribd
  3. SXT W - A Fully Wireless Camera In a move that will increase efficiency on set, ARRI has integrated a high-quality and low-latency HD video transmitter and WiFi into the new ALEXA SXT W model ("W" for Wireless). Based on the popular ALEXA SXT Plus, the SXT W will replace the SXT Plus and Studio models. As always, there are attractive upgrade options for existing owners of ALEXA SXT EV and ALEXA SXT Plus cameras. The new hardware will be accompanied by software upgrade SXT SUP 2.0, which adds improved HDR monitoring, support for current SxS PRO+ and CFast 2.0 cards, quicker frame grabs, various WCU-4 and lens motor features, and other refinements. Having a video transmitter built into the ALEXA SXT W makes the camera smaller and lighter than it would be with an external transmitter. It also means fewer cables around the camera and fewer associated problems, since cable failure is by far the most common technical hitch on set. Camera setup and power-up will be quicker, and productions will be able to move faster. Interference between different radio frequencies can be a time-consuming issue for camera crews. The ARRI Wireless Video System eliminates this issue because it works harmoniously with ALEXA SXT W’s other radio-based offerings: the WiFi and the ECS, ARRI’s proprietary camera and lens control system. In addition, the integrated WiFi radio opens up a whole range of options, starting with wireless look control on set and continuing with wireless camera remote control using the ALEXA Web Remote. Other exciting WiFi options are currently under development. The introduction of a built-in wireless video transmitter is a significant upgrade for the ALEXA SXT and reflects ARRI’s commitment to continually improve the SXT platform with additional functionality. A fully wireless camera Integrated wireless video Integrated WiFi Integrated ARRI ECS wireless camera/lens control Interference-free operation of video, WiFi and ECS radios Replaces SXT Plus and Studio SXT W is based on popular ALEXA SXT Plus "W" stands for Wireless Integrated wireless video Smaller & lighter than with external transmitter No cable problems Faster setup Productions move faster Integrated WiFi Wireless look control Wireless camera control More features in development ARRI is committed to the SXT platform Attractive upgrades available This device has not been authorized yet as required by the rules of the Federal Communications Commission. This device is not, and may not be, offered for sale or lease, or sold or leased in the USA, until authorization is obtained
  4. ARRI announces the new ALEXA Mini, a versatile additional tool in the ARRI ALEXA camera range that combines a compact and lightweight form factor with the same unparalleled image quality that has made the ALEXA system a gold standard for the industry. Designed for specialized shot-making, the ALEXA Mini perfectly complements a full ALEXA shooting kit and allows crews to eliminate the complications of working with third-party cameras by keeping everything within a single system that is trusted all over the world. Equipped with a 4:3 sensor, automatic de-squeeze mode for anamorphic productions and frame rates of 0.75-200 fps, the ALEXA Mini records ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder that can record image streams from up to four ALEXA Minis simultaneously -- a compelling option for multi-camera setups such as 360° plate shots. Images from the ALEXA Mini will perfectly match those from all other ALEXA cameras, making the final grade easier and quicker.
  5. AMIRA features the same sensor and exceptional image quality as the ARRI ALEXA, recording superior HD 1080 or 2K pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural color rendering, breathtaking skin tones and speeds of up to 200 fps, AMIRA will deliver beautiful, life-like images in any situation. AMIRA records Rec 709 or Log C images using ProRes LT, 422, 422HQ or 444 codecs. By recording to in-camera CFast 2.0 flash memory cards with super-quick data rates, the route into postproduction is made as simple as possible. CFast 2.0 is an open format, easily accessible to anyone and delivering a fantastic price-performance ratio through incredible transfer speeds, long recording times and compatibility with standard IT tools. Costs per GB are brought right down and higher-than-broadcast-quality image pipelines are made available even to low budget productions. More here..
  6. Gluetools has this amazing Arri RAW toolkit. ARRIRAW Made Easy The ARRIRAW Toolkit allows you to easily work with your ARRIRAW(.ari) footage. With the ARRIRAW QuickTime component, finder is fully aware of ARRIRAW files and includes support for Spotlight, Previews, and basic QuickTime Playback. Other applications that are QuickTime aware, will also work with ARRIRAW file format. Demo Features Supports all models of Alexa cameras. Reads ARRIRAW (.ari) files with a Water Mark (A Red Bar through the image.) Final Cut Pro import panels for ARRIRAW limited to importing a single clip. Final Cut Pro import panel is limited to importing a single ARRIRAW Clip. ARRIRAW Time Code is Fixed to 24 fps in the demo version. ARRIRAW Time Code time is Fixed to 09:09:09:00 Supports QuickTime 7.6.6 under MacOSX 10.8.3 Mountain Lion and MacOSX 10.7.5 Lion ARRIRAW QuickTime Component ARRIRAW is fully supported through QuickTime, which will preform all of the importing, playback, debayer, Exposure, ASA and color correction functions to the movie. All applications that use QuickTime can access all aspects of the ARRIRAW files. Applications including Final Cut Pro, Avid Media Composer, Compressor, can import and play these files without any sort of conversion or preprocessing steps. For the ease of portability with other users, you can quickly and easily convert an ARRIRAW image sequence to any other QuickTime movie format. ARRIRAW Time Code Time code is loaded right into any QuickTime application that supports time code tracks. Reel names (time code track labels) can also be added for applications such as Final Cut Pro. During export from Compressor, time code from the ARRIRAW image sequences can be baked into your destination media. ARRIRAW Metadata Many hardware and software vendors offer the ability to embed Metadata information directly into the ARRIRAW frames. A feature of these components is to retrieve these bits of information and make them available to your tools or applications. Final Cut Studio support is provided by the ARRIRAW Toolkit. With this package, Final Cut Studio will be able to embed the Metadata from the ARRIRAW footage, and preserve it inside your project files. ARRIRAW Spotlight Plugins The Spotlight Plugins enable your system to see inside the ARRIRAW image header. The Finder can extract specific information from ARRIRAW files when it does a "Get Info." You can search for time code, frame rates, encoding information or even "shot notes" from the "project" field. Simple shell scripts can also take advantage of the spotlight services and sift through frames for specific data. ARRIRAW Anamorphic Need to change the aspect ratio of your footage? The ARRIRAW Toolkit has the ability to unsqueeze your imagery using a number of popular aspect ratios, without modifying the original. Preset Ratios include 1.78, 2.0, 2.35 or you can choose your own aspect ratio by entering a custom value.
  7. Sophisticated high speed electronics allow ALEXA to record 15 minutes of ProRes 4444 or 20 minutes of ProRes 422 (HQ) as QuickTime files onto a 32GB SxS card that slots directly into both the camera and computers such as Apple’s MacBook Pro. By utilizing codecs used natively by Apple’s Final Cut Pro, ALEXA offers the most streamlined and cost effective workflow possible. To begin editing, the memory card simply needs to be removed from the camera and plugged into a laptop. It couldn’t be easier. Shoot > Edit workflows Several different recording and workflow options are possible within the Shoot > Edit concept developed for ALEXA. The workflow experts at ARRI Media will help you decide on and set up the best pipeline for your production. Straight on-line workflow The high performance of the Apple ProRes codecs gives productions utilizing an HD workflow the freedom to transfer final quality images from the camera into post faster than real time and begin editing without even leaving the set. Recording to SxS cards in such a ubiquitous format represents a tapeless, file-based pipeline that is simple, fast and effective. Off-line/on-line workflow Productions that choose the highest possible image quality by recording uncompressed HD or ARRIRAW still benefit from the efficiencies of the Shoot > Edit concept. The Apple QuickTime proxy allows rushes to be viewed and off-line editing to begin instantly; it shares the same timecode and metadata as the on-line files, and is created directly in the camera. For FCP, the workflow is pretty simple: 1. Copy the entire footage, including the index.xml file onto a hard drive (preferably a RAID or a very high speed/high performance drive) which is connected to the FCP. 2. Import the xml file into FCP. Use the File -> Import -> XML function for this. You should get a dialogue box asking for destination information. Specify your destination. 3. Now you should see a Bin in FCP with the camera name, and all clips under this. You can now start editing.
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