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Otra noticia sobre la Alexa: Bet Rourich y su experiencia con la Arri Alexa en '88' de Jordi Mollà



"Tengo la suerte de conocer a Yoshua Berkowitz, excelente profesional que había sido el DIT para la última película de Roland Emmerich, Anonymous, la primera película rodada con Alexa. Él nos ayudó en las dudas que pudimos tener durante las pruebas y en el rodaje".


"Qué márgenes teníamos por arriba y por abajo, los colores... En general, descubrimos que Alexa tiene una latitud increíble en las altas luces. En las pruebas podíamos recuperar altas luces sobrexpuestas 3 stops. Además, los quemados resultan un paso adelante en calidad. Son las altas luces menos digitales que he visto hasta ahora"


Rodaron HD 4:4:4, cable dual link a magneto Sony SRW-1 porque en aquel momento todavía no estaba disponible la opción 2K. "Afortunadamente, a día de hoy, ya están activados los slots para tarjetas en Alexa, de modo que se puede descartar la opción magneto si se quiere. Eso convierte a Alexa en una cámara mucho más manejable y ligera, lo que la hace aún más competitiva e interesante"





Off-topic: me llena de orgullo que hayan directoras de fotografía y más si es de mi tierra, he trabajado con equipos de cámara femeninos y... es otra cosa :blush:




Solo añadir un guiño al resto del equipo de cámara:

Joan Lluró como foquista

Marta Ayuso como auxiliar de cámara

y los videoasistentes Jordi Ruiz y Sofía Pérez-Portabella

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Disponible la versión 3.0 Beta del firmware para probarlo: ALEXA Software Beta 3.0 RC2




Release Notes January 27, 2011




ARRI welcomes your participation in the public beta test phase for the release of the ALEXA Software Update Packet (SUP) 3.0. This update provides a number of important new features and numerous improvements based on the many, many suggestions we have received from customers regarding changes and new features. The most important new features are:

• In-camera playback of QuickTime clips from SxS PRO cards

• In-camera audio recording

• A new optional (smooth) viewfinder display mode • EI 3200

• Improved color processing

• False color exposure check • Single frame grabs

• HD-SDI 3G Single Link (4:2:2 up to 60 fps over one BNC cable)

• HD-SDI Variflag

• Additional frame line options

Please note that this Beta version is currently being tested in the ARRI Quality Control department for release approval and the operation of some features or functions may change before the final release version. For this reason we would ask that you consider the Beta version for evaluation purposes only.


Pues eso, que esta versión Beta del firmware es para probar todas las cosas buenas que va a traer la actualización y no se recomienda su uso comercial... aunque algún kamikaze se lance a trabajar con él :ph34r:



Edito para añadir que parece que la versión definitiva de este firmware saldrá en febrero como comentan aquí

Edited by nickeditor
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Compositor online de ARRI para personalizar las marcas de aspecto de la Alexa: ALEXA FRAME LINE COMPOSER


The ALEXA Frame Line Composer (AFLC-1) is a simple tool that enables you to easily create custom markings based on your specific requirements.

Frame lines in ALEXA are stored in the form of XML files. A standard set is provided in each camera by default. The user-generated XML file can either be individually downloaded or embedded in a .zip file with a predetermined file structure.

Files are then easily transferred to a FAT formatted SD card (maximum capacity of 4GB) that is inserted into the card slot on the camera body and uploaded by pressing MENU > MONITORING > FRAMELINES > MANAGE FRAME LINES > LOAD FRAME LINES FROM SD.

In addition the layout can be saved as a .PNG image for archival purposes or be generated as a frame leader in full resolution.

Start composing your frame lines with this intuitive tool below (Javascript must be enabled). For questions or help using the ALEXA Frame Line Composer, e-mail digitalworkflow@arri.de and an ARRI representative will address your concern.



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Generador de LUT's (curvas de previsualización) para la Alexa: LUTS GENERATOR


For viewing directly on the set and for color correction in post, look up tables (LUTs) are used. Generally speaking LUTs are used to manipulate image data. A LUT transforms a digital signal to adjust the sensitivity, gamma and provide a color correct monitoring input.

To download the proper LUT for your production, we created this page to select the appropriate LUT you need from out of the many combinations that are available. These LUTs are provided as supporting tools for production. As specific needs vary by project and 3rd party LUT formats are subject to change, we recommend that you test these LUTs before using them in production.

Please note that generating individual LUT or complete packages can take up to two minutes.

We have divided the numerous choices into four categories:



Intended to convert LOG C originated footage and normalize them for viewing through on-set devices like monitors, recorders and HD playback systems. Please note that output format will be in legal range only. This tool will generate LUT packages corresponding to all exposure index available in ALEXA.



Intended to convert LOG C originated footage in ProRes or HD SDI format and normalize them for systems utilized in the dailies process. Please note that output format will be in and legal range only. This tool will generate LUT packages corresponding to all exposure index available in ALEXA.



Intended to convert LOG C originated footage and convert it to specific formats most advantageous to your specific workflow. This tool will generate LUT packages corresponding to all exposure index available in ALEXA.



Intended to convert all possible ALEXA originated formats and convert them to format most advantageous to your specific workflow. This tool will generate LUT packages corresponding to all exposure index available in ALEXA.



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ARRI y Codex Digital han desarrollado un grabador digital ARRIRaw: ARRI and Codex release ARRIRaw recorder


ARRI has formed an agreement with Codex Digital - the leading developer of digital media recorders and media management systems for film and television production - to manufacture a Codex ARRIRAW recorder for use with the ARRI ALEXA and ARRIFLEX D-21 cameras. The new recorder will be marketed both by Codex and through ARRI's worldwide reseller network; ARRI and its resellers will also be selling Codex camera mounts, datapacks and transfer stations.


"We are pleased to work with ARRI in introducing this new product to the market," says Codex Digital Managing Director Marc Dando. "We have seen a huge interest in ARRIRAW from directors and cinematographers worldwide, with several movies already shooting. The Codex ARRIRAW recorder will give them confidence that there is a complete workflow available with the backing of Codex and ARRI."



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Actualización del firmware: ALEXA Software Update 4.0 released





New Features Overview


The most important new features for ALEXA and ALEXA Plus:


Custom looks through ARRI Look Files

Audio playback from SxS PRO cards

Auto white balance

Anamorphic de-squeeze in EVF-1 and on MON OUT (paid license feature)

Peaking focus check in EVF-1 and MON OUT

False color exposure check for Log C images

EVF ZOOM target position

Compare stored image from SD card with live image


Operating time counter

SD card formatting in camera

EVF ZOOM and EXP buttons are now latching

SxS recording can be turned off

More silent operation at higher ambient temperatures

'Rec Low' fan mode for silent operation in extremely hot environments

V-mount battery adapter update



The most important new features for ALEXA Plus:


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

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Pruebas de la Alexa a 120 f/s:




120 frames per second ability will be coming to the Arri Alexa late this year.

This will be at FULL HD resolution of 1920x1080 at ProRes 422HQ setting.

Even at this high frame rate, Alexa will still retain the 14stops of Dynamic Range and High sensor sensitivity that the camera has become known for.

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Más a la familia: ARRI ALEXA Studio




The Best of both Worlds


At the pinnacle of the range is the ALEXA Studio, featuring a quiet, adjustable mirror shutter and an optical viewfinder that provides a real-time, high contrast image with true colors. The Studio is a direct response to cinematographers’ requests for a camera that perfectly combines cutting edge digital image-making with traditional elements of the film cameras they have known and trusted for generations.


Another key feature of the ALEXA Studio is its 4:3 sensor, which makes it the only digital camera (aside from the ARRIFLEX D-21) to boast true anamorphic capability. Anamorphic lenses create a unique, cinematic look that has been appreciated by directors and cinematographers for over half a century, and cannot be created in post.







Small and Lightweight - Perfect for 3D, or wherever your Imagination takes You


The ALEXA M is a flexible solution consisting of a separate camera head and body; it is tailored for action and aerial photography, tight corner shots and 3D productions. Based on cutting edge ARRI technologies, the M model features the same sensor, image processing, build quality, efficient workflows and exceptional image quality that have made ALEXA such a worldwide success. The head and body of the M are connected with a fiber optic cable, which in a hybrid form can also be used for powering the head. Weighing well under 3 kg, the compact front end offers multiple mounting points and versatile maneuverability. Meanwhile the bodyprovides various options for recording images, sound and metadata, accommodating as many different workflows as the standard ALEXA.


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Aplicación gratuita para ver la metadata de ARRI Alexa: Clip-MetaView


Clip-MetaView By Florian Martin




View all metadata from a Alexa ProRes Quicktime file in a easy and searchable list. All loaded metadata is stored in a database and can be accessed later without the need to read the clips again or even have them present on the database computer.


Drag complete folder structures to the application to import multiple quicktimes.


Play clips directly in Clip-MetaView or double click any clip to open it in Quicktime Player.


Export ALEXA Look Files by just dragging from the Applications window to any folder or application or batch export multiple Look Files.



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Pedazo noticia: ARRI ALEXA in-camera recording using AVID’s DNxHD MXF file format


(7 November 2011, Munich) - ARRI announces a major new recording feature for its ALEXA camera range, offering in-camera support for Avid®’s open standard and widely adopted Avid DNxHD® codec.


The ability to record native Avid DNxHD, as MXF files in-camera, creates a unique proposition for the 35 mm digital capture industry and is another first for the ALEXA camera system. The combination of ARRI ALEXA quality and mission-critical reliability with Avid’s respected codec and editing technology delivers a powerful, uncomplicated workflow into the film and broadcast TV market, building on ALEXA’s position as the first choice digital camera for capture and postproduction.


As a benefit to cinematic productions, ALEXA cameras record ARRIRAW uncompressed 3K images that preserve the true 35 mm ‘digital negative’ for mastering and feature archival. Expanding ALEXA’s parallel recording capability to include native support for Avid DNxHD eliminates a transcoding step for the dailies generated by the Avid editing system and creates a more streamlined editorial workflow with seamless final conformance back to the archived ARRIRAW digital negative.


Neil Fanthom, ARRI’s head of digital camera strategy, comments, “The Avid editorial environment is an important cornerstone of the broadcast and motion picture postproduction industry, and ARRI is very pleased to be able to provide Avid DNxHD MFX file-based recording within the ALEXA camera for Avid-centric productions. This further confirms our commitment to add significant ongoing value to the ALEXA camera family, in this case by allowing customers to choose which workflow suits their own capture and postproduction requirements. No other camera in this industry fulfils such diverse workflow needs.”


Angus Mackay, pro video segment marketing manager at Avid, says, “The Avid Media Composer family of non-linear editing systems, featuring the high quality, low bandwidth SMPTE standard Avid DNxHD codec, are the industry’s first choice for professional editorial. By providing native Avid DNxHD recording with the ALEXA camera, ARRI is allowing producers to use high quality ALEXA cameras and quickly and easily view dailies, and begin editorial, without the need to transcode or re-wrap footage. Media Composer version 6 now offers the Avid DNxHD444 codec, which will permit customers to preserve the high color information in ALEXA footage while still having a low bit rate codec suitable for editorial. This is great news for ARRI and Avid customers, who will benefit from the advantages in quality, speed and streamlined workflows.”


The Avid DNxHD recording function for ALEXA will be distributed as a cost-effective, downloadable software upgrade during January 2012 and is now entering Beta phase testing with selected broadcast productions. Avid DNxHD codec data rates of up to 145Mbit/s (bit depth 8 bit) and 220MBit/s (bit depth 10 bit) will be supported in the initial release. Avid’s highest quality version of the codec, Avid DNxHD 444, will record at 440Mbit/s at 10 bit depth and will be provided as an upgrade for all adopting customers later on during the first quarter of 2012.



¡Uh ha! Ahora que teníamos ProRes en Avid llega también DNxHD en .mxf B)


¡Es el mundo al revés! ¡Las cámaras se adaptan a los codecs de los editores de video! :lol:

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Sobre la integración de la ARRI Alexa en cinta HDCam SR en el flujo de trabajo con Nucoda Film Master DI y Nucoda Compose: Los secretos de la postproducción de la exitosa ‘Juego de Tronos (Game of thrones)’


Image Systems, anteriormente Digital Vision, ha anunciado que su solución para gradación y acabado Nucoda Film Master DI y la herramienta para edición, procesamiento, formateo y acabado Nucoda Compose se han empleado por la postproductora dublinesa Screen Scene en la primera temporada de la exitosa serie de HBO Juego de Tronos (Game of Thrones). La serie, aclamada por crítica y audiencia, presenta la historia de siete familias de nobles que luchan por el control de la mítica tierra de Poniente.


Protagonizada por Sean Bean (Eddard Stark) los diez capítulos de 60 minutos se rodaron el pasado verano en localizaciones de toda Europa y en los estudios en Belfast. Screen Scene pantalla se involucró en el proyecto cuando los productores de HBO comenzaron las pruebas de cámara entre ARRI Alexa y las propuestas de 35 mm.


Gary Curran, colorista en Screen Scene, ha reconocido que el equipo llevó a cabo “pruebas exhaustivas comparando las opciones de película frente a la Alexa. La productora estaba dispuesta a intentar la captura digital, pero no querían comprometer la alta calidad a la que están acostumbrados. Dos de los directores de fotografía, Alik Sakharov y Pontecorvo Marco, llevaron a cabo durante un par de días en nuestras instalaciones pruebas de gradación y exposición para analizar cómo reaccionarían las diferentes opciones. Todo este material se procesaba en Nucoda Film Master. Los ejecutivos chequearon en Screen Scene los diferentes tests de gradación, optando finalmente por Alexa. La facilidad de integración entre Nucoda Film Master y la ARRI Alexa fue clave en la decisión final”.



Flujo de trabajo


El flujo de trabajo proporcionó una entrega sin fisuras de los materiales. La SAN Rorke de Screen Digest estaba lincada a un sistema Avid DS para el acabado en línea a través de fibra. El material 4:4:4 procedente de la Alexa se capturaba en cinta SR, recibiéndose en Screen Scene las EDL, cargaban las cintas y obtenían los ficheros como archivos DPX a la red Rorke. A continuación, comprobaban el material en Nucoda Compose, entregando las EDL a Curran quien volvía a re-lincar el mismo material devolviéndolo a la SAN para su gradación final.




Otra fuente: Coloring Game Of Thrones

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Antes lo digo antes actualizan: ALEXA / ALEXA Plus Software Update Packet 5.0





We are proud to announce the release of our latest software update for the ARRI ALEXA camera system. This Software Update Packet (SUP) provides a number of exciting new features and improvements for both ALEXA and ALEXA Plus models, based on our own R&D as well as feedback from film and television professionals working with ALEXA in the field. Epitomizing ARRI’s ongoing commitment to future-proofing the system platform and delivering lasting value to our customers, this SUP further enhances ALEXA’s versatility and usefulness. [...]


New Features Overview

SUP 5.0 is a major update that enables the High Speed license for ALEXA cameras. Here is an overview of the most important new features in SUP 5.0. Each feature is described in detail further down.


The most important new features for ALEXA and ALEXA Plus


• Enables High Speed license

• 60 fps ARRIRAW over 3G Dual Link

• 60 fps HD-SDI 4:4:4 over 3G Dual Link

• ProRes 4444 with 60 fps when using SxS PRO 64 GB cards

• Horizontal Image Mirroring (3D)

• ARRI Look Files for playback of QuickTime/ProRes Log C files

• Reel & clip number on MON OUT

• Secure camera display dimming

• New default frameline names

• Active look indication

• Dual record error handling

• Open Camera Access (OCA) initiative


The most important new features for ALEXA Plus


• Support for Lens Data Display for Focus Puller (LDD-FP)

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Paseo por la fábrica de ARRI: ARRI Alexa Factory Tour


ARRI ALEXA Factory Tour - Spanish Translation


Recorrido por ARRI, la fábrica de ALEXA


Acompáñenos en un recorrido de 24 páginas por ARRI junto al Director de Fotografía Jon Fauer desde el concepto hasta la construcción de una cámara ALEXA. No sólo para DPs: contiene información vital para ACs, ADs, Directores, Productores, Estudios, Compañías de Producción, empresas de alquiler de equipos y estudiantes.


Visite la fábrica de la calle Türkenstrasse en Munich para ver cómo se construye en ARRI la más moderna cámara de cine digital.


Allí encontrará a su Director Ejecutivo, el Dr. Martin Prillmann, a Stephan Schenk, Director General de la Unidad Comercial de Cámaras, a Marc Shipman-Mueller Director de Producción, y a muchos de los rostros conocidos en los mismos lugares donde vimos construir otras cámaras ARRI anteriormente.


Walter Trauninger, Director General de la Unidad Comercial (previamente Director de Proyecto de ARRIFLEX 435 y ARRICAM) nos lleva por un recorrido a través de la fábrica de la calle Türkenstrasse en Munich.


Una interesante entrevista en profundidad con su Director Ejecutivo Franz Kraus sobre los orígenes de ALEXA, cómo ha evolucionado y hacia donde se encamina, todo bellamente ilustrado con fotos e imágenes del interior de la cámara.



Podéis descargar el pdf de aquí

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Actualización del firmware: ALEXA / ALEXA Plus Software Update Packet 6.0




New Features Overview


SUP 6.0 is an update that enables the DNxHD license key for ALEXA and ALEXA Plus cameras. Here is an overview of the features in SUP 6.0. Each feature is described in detail further down.


New features for ALEXA and ALEXA Plus

• Enables DNxHD license (paid option)

• SMTPE color bars in REC OUT and MON OUT, 1Khz audio tone on HD-SDI outputs and headphones • New User Button option: Display of False Color index on GUI

• New User Button option: Auto White Balance • New User Button option: Turn Anamorphic de-squeeze on and off separately for EVF and MON OUT

• Icons in electronic viewfinder for: Smooth Mode active.

• Icons in electronic viewfinder and MON OUT for: ARRI Look File active (since SUP 5.0).


Update Recommendation

As this update contains important new features and improves stability, we highly recommend for all ALEXA owners to update to this Software Update Packet.



Should you encounter any issues, please email your feedback to service@arri.de and our engineers will evaluate the issue and use your feedback to continuously improve the functionality and quality of the software.



Even though we do not recommend it, it is possible to downgrade back to 5.0 from a camera that has SUP 6.0 installed. Before and after the downgrade a 'reset to factory settings’ should be performed.

We do not recommend downgrading to versions lower than 4.0

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