Alexa file format

Learn how it works and get valuable insights from experts and their well-known projects. He explains how to put the different pieces together and why ARRI designed them the way they are. Watch the video here. They reveal tips and tricks and explain for which cameras you can use the new EF Mount. Product Manager Marc Shipman-Mueller will walk down memory lane and share how it all began, including some interesting insights into the ARRI development process.

He will also show memorable productions, products and events that have accompanied us on our way. Lens Mounts Great images derive from great lenses with their individual touch to the image. For this to happen the lens has to sit precisely where it should be, responsible for that is the lens mount. Get to know all our lens mounts and find out what makes our new LPL mount unique! Image Processing A steady look-out for image quality is key to delivering the best possible image through a given pipeline.

In this way new developments and ways to shape the DoP's vision on set can be integrated into our cameras via new software releases. ARIRAW footage recorded before such an update benefits as well as it can be re-processed through an updated pipeline. ARRI Build Quality Almost a century of experience, an obsessive attention to detail and an intimate familiarity with the conditions on set have led to generations of ARRI cameras that are robust, reliable and simple to operate - all features that our digital cameras have inherited.

Originally developed for our ALEXA camera family, it had the same height and width as a 35mm film frame. Viewfinders Our viewfinder are specifically designed to meet the needs of professional camera operators by offering an extremely fast image display, high image quality, accurate color reproduction and a number of features inherited from our optical viewfinders, including surround view.

Workflow The concept behind the term "workflow" is the digital film lab. Hence being able to view, edit and "post" footage recorded with our digital cameras. Get in touch. The go-to camera for drama series, feature films and commercials.

Show more. Best overall production value Robust and reliable Easy to operate and use on set Fast and efficient workflows. Truly cinematic.

ARRI's large-format camera system. Quotes We had an amazing 5 week shoot and the Mini LF was a revelation to me. Cinematographer Ryan Hosking.

Cinematographer Joas Burggraaf. Sebastian Blenkov on the Set of Operation Mincemeat. More news. More FAQs. Complete Wireless Video Pro Set. RAB-1 Clamp 2. Codex Compact Drive set 3x1TB.

Codex Compact Drive 1TB. Codex Compact Drive Adapter. Codex Compact Drive set 6x1TB. More info about High Density Encoding. Once the material has been composited, it can be scaled to the target format. When an exposed frame is sampled by the sensor, it is captured as a one-channel image as opposed to a regular RGB three-channel color image.

The reconstruction of the missing color components for each pixel, based on the type and position on the Bayer pattern is called de-bayering. Depending on the implementation, the following processing settings can be adjusted:. The processing version controls which color transformations are applied to the de-bayered data. Version 5. Previous versions are available to allow matching an output with previously processed footage.

Log C grading is very similar to grading of scanned film negative. It is very efficient and feels familiar to any colorist who is used to grading film. Yes you can. When viewed directly, Log C footage looks flat with desaturated colors. The clips run for about ten seconds each with 2-channel audio. Each clip is shot with the following settings if not otherwise noted: 24fps, ASA, K; shooting gamma for all clips is Log C. Each resolution is available in every project speed i.

Project speed So each project speed folder contains a similar set of six clips. Half of the reconstructed image's green values are interpolated from the surrounding photosites rather than captured, as are three-quarters of the red and three-quarters of the blue.

The output quality of the image depends on the de-bayering algorithm. Generally speaking, a simpler algorithm will process faster, but also involve a higher probability for color errors. For VFX, however, the images often are processed using the native sensor pixel count and then downscaled to e. Using this approach takes advantage of the luminance resolution, which correlates to the sensor pixel count.