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Chase Hagen

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  • Occupation
    Industry Rep
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    Western US
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    Everything ARRI
  • Specialties
    Camera Systems - All things ARRI related to our Digital Cameras, Cinema Lenses, Wireless Focus and Video systems, Mechanical Accessories, Cinematic Multicam, and Camera Stabilizer Products.

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    www.arri.com

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  1. Hello, ARRI Americas has excess stock of Small HD monitors that were purchased for CSS products shortly before our swap over to the Cine 5/7 monitors for those customers. We have inventory of brand new Small HD 503 Ultrabright and 703 Ultrabright. These are available directly from ARRI America's Inc. and not through any of our re-sellers. They are discounted to the following prices: SmallHD 503 Ultrabright - $1510.33 SmallHD 703 Ultrabright - $2923.50 These are available only for shipping within the US. (possibly Canada) Let me know if you are intrested. Thanks. Chase MON-503U_SL_01_800x.jpg.webp MON-703U_SL_01_800x.jpg.webp
  2. Heads up, Gabriel I think you are thinking of the CODEX USB-C reader not the CODEX Thunderbolt 3 dock. The USB-C reader has a read speed of up to 10Gbps but the Thunderbolt 3 dock has a read speed of 20Gbps.
  3. Yes that is definitely a good idea - that is what ARRI Rental said they already plan on doing (shimming a mount) rather than shimming each lens. Just need to be careful to mark the LPL mount that is shimmed quite obviously of course!
  4. This is a great comparison of a Supreme Prime vs a Signature Prime of the equivalent focal length (there is a slight difference in FOV as the Signature Prime is only offered in a 47mm and the Supreme is a 50mm) - both racks start about 0:45 sec in and go from the background to the foreground: They didn't do a Master Prime in there most recent round of testing in 2020 but they did do a 50mm Master Prime in their original tests in 2016 - it was done on a totally different camera (RED Dragon) and is a bit different set up but here it is:
  5. I could be wrong but I assume Master Primes were probably not considered since they are S35 lenses only and they shot LF - although Master Primes 50mm or longer will cover ALEXA LF and MINI LF Open Gate due to over-projection in the lens design. Signature Primes all have the same or less focus breathing as their Master Prime equivalents.
  6. Zeiss Supreme Primes are not ARRI lenses at all, they are 100% Zeiss lenses and yes they have a lot of breathing. ARRI Signature Primes are significantly better corrected for breathing than almost all other Large Format lenses. Master Primes are ARRI/Zeiss lenses and are specified by ARRI to have very minimal focus breathing. There is a reason why Supreme Primes cost less than Master Primes.
  7. Hi Anzer, you are very welcome. We did not offer any older LUT libraries for the ALF1 format used by the older cameras - since it is a 1D LUT there is a lot less you can do with it. We started offering other LUT's pre-loaded with the launch of AMIRA and the ALF2 format that supported 3D LUT's - these at first just a handful that were built in to the camera with names like "TV-Neutral" or TV-Warm". The only other Look File/LUT file that came loaded on every Classic ALEXA/XT camera was the "ARRI LCC" which is a low contrast 709-like rendering in addition to the "ALEXA Classic 709" - labeled in those cameras as just "709".
  8. The ALEXA (Plus & Classic) and XT families of cameras only support 1D LUTs for in camera monitoring not 3D LUTs like our newer cameras starting with the AMIRA and later which support the newer ALF2 format with the .aml extension. For older ALEXA cameras you will need to create a 1D LUT using the "ancient" ARRI LOOK CREATOR Tool that you can find buried on our website (go to the "Legacy Software" page > "ARRI Color Tool" and scroll down) - for example "ALEXA Classic 709" is a 1D LUT vs the 3D LUT used for "ARRI 709" found in the later cameras. The file extension for ALF1 files is .xml
  9. We (ARRI) have applied for a special patent related to the optical design of the positive Impression V Filters as what's unique about these behind the lens filters compared to others is that the positive Impression V Filters preserve the lens barrel scale and do not require shimming when used at T1.8 (up till about T4). This is unheard of and very much appreciated from the feedback of 1st AC's and Rental Houses alike.
  10. Hi there, Chase from ARRI here. The new Impression V Filters are unfortunately not compatible with the MINI and AMIRA due to clearance issues with the LPL Mount on those cameras. They are fully compatible with the ALEXA 35, ALEXA MINI LF, all full size ALEXA's (Classic, XT, SXT) as well as the ALEXA LF, and the ALEXA 65. If anyone has questions about them at all I would be happy to answer them. We will have these filters to show at our booth at NAB!
  11. You should take a look at the ARRI CPO (certified pre-owned) program, where all the cameras are full refurbished and re-certified by ARRI and come with the same 1-year warranty as a new camera: https://cpo.arri.com/certified_pre_owned/cpo_products/ If you see anything you like you can email me: chagen@arri.com
  12. Hello Everyone, I would like to introduce myself as a local ARRI Rep. here on the West Coast (out of the Burbank Office) working in the Technical Camera team. I just wanted to make a post that although things are a little crazy at times like these (and bit scary right) we are moving to a lot of online demo's both 1:1 for customers and in groups for our rental house customers. We have a lot of people that have more time on their hands and want to get more in depth knowledge about our gear and we want to help people stay in the "know". In these online demos we cover all sorts of topics based on whatever you as the customer are interested in. We are happily answering any questions you might have about our camera products (not just the cameras themselves but also our vast Lens portfolio but also our mechanical/electronic camera AKS) or even just listening to/discussing any feedback you might want to share with us about any of our products. We have a wealth of knowledge (w/ visual presentations) we are happy to share to help you get the most out of the tools we make. We have lots of information about topics like "Shooting Large Format", specific presentations about the ALEXA MINI LF, as well as "nitty gritty" detailed tips and tricks for getting the most of the wireless focus tools we make like the WCU-4. If anyone reading this would be interested in any 1:1 online demo sessions with myself or any of the other ARRI staff (like our Cinema Lens Specialist - Art Adams) I can point you to the right person depending on your region and interest. You can just reach out to me and let me know what you are looking for and we can set something up that works for you. I can be reached at: chagen@arri.com Thanks. - Chase Hagen
  13. I would definitely say from all he testing I have done the the original BMD 2.5K MFT/EF is a far, far better sensor than the 4K. The 4K sensor is pretty crap compared to the 2.5K sensor. the 2.5K has better ISO performance 800ISo vs 400 native, and much better dynamic range (I'd say at least a full stop). Don't let sensor size be the only thing your judging it by, yes it does not have a global shutter but it has a better rolling shutter than any Sony DSLR. With a "fast-ish" prime lens i.e. f2.8 - depth of field isn't really an issue when you have to pull your own focus however sometimes it is challenging to get wider lenses. I started with classic Canon FD lenses, for my wide I went with a 24mm FD f2.8 S.S.C. prime (~$150 today) which is easy to adapt to MFT mount or an EF 24mm f2.8 if you go with the EF version. With MAD MAX (2015) they used x10 BMD 2.5K cameras for crash cameras to match with their A-unit ARRI ALEXA's because DP John Seal found that it's sensor was the closest match the ALEXA's ALEV III Sensor.
  14. Pretty sure you must be looking at it in Log C, the camera is not noisy at all. It's the same sensor as all the other ARRI cameras and ARRI cameras are not noisy at all compared to any other camera. Did you open it in the free ARRI Color Tool you can download from their website? Did you have the ARRI to 709 LUT on it in program like Resolve?
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