Jump to content

Search the Community

Showing results for tags 'alexa'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • Cine Marketplace
    • Cameras Systems and Formats
    • Lighting for Film & Video
    • Camera Operating & Gear
    • Camera Assistant / DIT & Gear
    • Grip & Rigging
    • Visual Effects Cinematography
    • Post Production
    • Students, New Filmmakers, Film Schools and Programs
    • Lenses & Lens Accessories
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • Directors and Directing
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Business Practices & Producing
    • Camera & Lighting Equipment Resources
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Cinematography News
    • Sound
    • Off Topic
    • Accessories (Deprecated SubForum)
    • Regional Cinematography Groups

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Occupation


Location


My Gear


Specialties

  1. Digital cameras can do some amazing things nowadays considering where they were just even five years ago. One thing I sometimes struggle to understand is how these newer cameras with 13+ stops of dynamic range are actually quantizing that information in the camera body. One thing we know from linear A-to-D quantization is that your dynamic range is a function of the number of bits of the converter chip. A 14-bit ADC can store, at best (and ignoring noise for the moment), 14 stops of dynamic range. However, when we do introduce noise into the mix (sensor, transfer charge, ADC, etc.) and linearity errors, there really isn't 14 meaningful stops of dynamic range. I did a lot of research on pipeline ADCs (which I believe are the correct type used) and the best one I could find, as defined by the measured ENOB (effective number of bits), was the 16-bit ADS5560 ADC from Texas Instruments; it measured an impressive 13.5 bits. If most modern cameras, Alexa especially, are using 14-bit ADCs, how are they deriving 14 stops of dynamic range? I read that the Alexa has some dual gain architecture, but how do you simultaneously apply different gain settings to an incoming voltage without distorting the signal? A pretty good read through regarding this technology can be found at this Andor Technology Learning Academy article. Call me a little skeptical if you will. Not to pick on RED, but for the longest time, they advertised the Mysterium-X sensor as having 13.5 stops (by their own testing). Of course, many of the first sensors were used in RED One bodies, which only have 12-bit ADCs. Given that fact, how were they measuring 13.5 in the real world? Now, with respect to linear to log coding, some cameras are opting for this type of conversion before storing the data on memory cards; the Alexa and cameras that use Cineform RAW come to mind. If logarithmic coding is understood to mean that each stop gets an equal number of values, aren't the camera processors (FPGA/ASIC) merely interpolating data like crazy in the low end? Let's compare one 14-stop camera that stores data linearly and one that stores data logarithmically: In a 14-bit ADC camera, the brightest stop is represented by 8192 code values (16383-8192), the next brighest is represented by 4096 code values (8191-4096), and so on and so forth. The darkest stop (-13 below) is only represented by 2 values (1 or 0). That's not a lot of information to work with. Meanwhile, on our other camera, 14-stops would each get ~73 code values (2^10 = 1024 then divided equally by 14) if we assume there is a 14-bit to 10-bit linear-to-log transform. As you can see here, the brighter stops are more efficiently coded because we don't need ~8000 values to see a difference, but the low end gets an excess of code values when there weren't very many to begin with. So I guess my question is, is it better to do straight linear A-to-D coding off the sensor and do logarithmic operations at a later time or is it better to do logarithmic conversion in camera to save bandwidth when recording to memory cards? Panavision's solution, Panalog, can show the relationship between linear light values and logarithmic values after conversion in this graph: On a slightly related note, why do digital camera ADCs have a linear response in the first place? Why can't someone engineer one with a logarithmic response to light like film? The closest thing I've read about is the hybrid LINLOG Technology at Photon Focus which seems like a rather hackneyed approach. If any engineers want to hop in here, I'd be much obliged--or if your name is Alan Lasky, Phil Rhodes, or John Sprung; that is, anyone with a history of technical knowledge on display here. Thanks.
  2. all professional pro
  3. I will be having 2 Epic M Dragons and 1 Alexa Plus with a few months of warranty still left For Sale. If you have an interest please contact me and I will send over the information to you. Barbara@newprovido.com
  4. Im up to DP my third feature and we are shooting for 20 days. Its pretty ambitious for the budget but we arent doing anything super crazy - it is very much like the movie Prisoners in tone, story and cinematography. The Producer is wanting to shoot single camera, as to not have to spend money on the extra B camera, crew and post costs that come with more footage, and instead is in favor of getting more gear to make a better A camera. My initial thought was that we would need two cameras to make our days (I shot two cameras on my last feature, which was a comedy, and being able to leap frog with setup/shooting and get extra shots in when needed I felt saved us alot of time, and that is what I am pretty comfortable with. my first feature was single camera, but it was all handheld and a much much smaller scale.) This show is 100 percent sticks and dolly, some jib with occasional steadicam. Another thought was to shoot single camera mostly from a small technocrane (thinking the mini 6'-12' technocrane ,moviebird 17 or chapmans Hydrascope 15', I want to use it for interiors and my thought was anything larger might be too large for int scenes.) now I have never used a technocrane, but from what I have read and talking with my Key grip, I have heard they can save alot of time on set, and much are faster than dolly and sticks because I could get most if not all all my shots from a single setup. but they are expensive for sure.. Something to consideration is that I am working with an awesome first time director, but for his sake I thought single camera might be easier for him so he can focus on the one frame and not have his(and my own) attention shift between two cameras, so I feel the end product could benefit from single camera. And making him as comfortable as possible is high on my priority list (I normally operate, but Im choosing to get an operator so I can be with him at video village and support him the best I can) Another idea is having a remote head on a fisher 23 Jib arm on the Fisher 10 dolly in place of a technocrane like deakins does. I have my own thoughts, but in yalls opinion, how would that compare to the technocrane approach? I would love some opinions and advice! Getting a 2nd camera package and crew for it, or single camera on a small technocrane or remote head on jib? The producer is pretty open and trusts me, and I know if I make my case for either one, there is a good chance I'll get what I ask for. Thank you all so much! Chaz
  5. It seems I can no longer do this and I'm really not sure why... The button is greyed out. Anyone else experiencing this problem or know how to fix it? Currently running OS X 10.10.5.
  6. Hi you all! I just wanted to inform you that according to my tests the Double Data 's manual verification mode DOES NOT WORK AT ALL in the 1.2.1 (current version) of the software. I did not find this info easily from the web so I thought I should share it in case some users are not aware of this problem. This is just for the "Data Manage" ----> "Verify..." -function and does not affect normal transfers. It can cause you trouble however because the software does not read checksums correctly in this mode because of the bug and may show that the files are OK even if you alter them or remove all of them and just leave the first text file in place which contains the checksums from the original camera media. Because of the bug, the software actually copies checksum data from this file and adds a new text file containing these checksums which it is thinking is the checksum data of the verified files. So, if you look manually through the checksum text files they seem to be OK although they have nothing to do with the new verification round. So, it basically falsifies the checksum data in this manual verification mode and green lights all the files no matter if they are altered or not or even are in the same folder anymore. I contacted the manufacturer and they don't have any bug fix release yet but they are aware of the problem and are working on it, so it is best to not use the manual verification (Data Manage -->Verify... -function) at all with this software until they get a fixed version out. As I said, the bug does not affect any normal transfers from camera card to storage, and is only in the additional manual verification which can be used afterwards if needed. You can also trust the checksum files which the program creates during normal verified transfers.
  7. Selling an Arri Alexa Plus. It has seen moderate use and all parts in good condition. You can upgrade to the XR module and you essentially have an Alexa XT*. Located in Los Angeles if you would like to examine in person. Photos forthcoming. Included in kit: Lens Cap CCH-1 Center Camera Handle HEB-2 Handle Extension Block VMB-1 Viewfinder Mounting Bracket with Extension Arm EVF-1 ALEXA Viewfinder KC 150-S Viewfinder Cable Short KC 151-S Viewfinder Cable Medium VEB-1 Viewfinder Extension Bracket BP-9 Bridgeplate WA-1 Wedge Adaptor LB-1 Levelling Block SP-3 Shoulder Pad Gold Mount Battery Back ALEXA 24v Power Cable 3 x 64GB Sony SxS Memory Card SD Card KC 153-S ALEXA-ETH ALEXA Ethernet Cable High Speed License Anamorphic License $49k Phone 801-694-7876 or email ryleyfogg at gmail dot com with questions. *no open gate possible
  8. Hey guys i need to take a decision on this issue. I'll be renting it most of the time. I'm not sure which one is more demanded.
  9. Arri Alexa EV s/n 3476 For Sale $34,000 Alexa 3476 with 1275 hours High speed license Alexa EVF-1 viewfinder s/n 3757 SP-1 shoulder pad 6' power cable BP-12 set viewfinder cable short viewfinder cable medium 12v acc cable time code cable BPA-1 Leveling block Swiss tool allen driver 5X150 Wiha allen driver 3X75 anton Bauer plate Front handle extension block VEB-1 viewfinder extension bracket 5 Sony SXS cards 32gb Case (Master Cases) Contact Neal email neal@gulfcamera.com
  10. Hello all, A little back story: I just completed the first week of shooting on a 1 hour episodic television show. Our usual setup is 3 Alexa classics; "A" camera, "B" camera, and a "C" camera/steadicam. Our steadicam body has always been dedicated to that rig, and unless one of the other cameras breaks, we never really press it into service in any other capacity. This is nice, since it allows us to leave the rig mostly configured for the purpose of steadicam, and it can be built really quickly. About a week prior to prep, we found out that "they" wanted to use an Alexa mini as our "C" body this year, to be used on steadicam, and also to be converted for special use when required- handheld inside of cars, hood mounts, etc.... We were all a bit thrown off by this, since we've been using the other cameras for 4 previous seasons, and we know the setup very well. Production didn't give us any additional time to prep (we get 2 days to prep for 22 eight day episodes), and we left the rental house with an Alexa mini that really didn't work for our intended purpose. Some of our issues included the lack of a run/stop cable for preston, lack of camera control without the eyepiece attached, awkward position of the media access door which is blocked by the Arri rod-mounted anton bauer plate (BAP-1), and that the camera weighed too little overall for our steadicam operators liking. I think a lot of advantage comes from the use of the integrated Arri 3 channel handset/MDR, however it wasn't available at the time of prep, and I am not sure they will pay for an additional remote unit, when there are already two other Preston FI+Z's on the show. How are some of you handling the Alexa mini? It seems to me that it lacks a lot of the built-in functionality and ergonomics that are so nice with the other cameras in the line. Has anyone configured it for a studio camera or steadicam body with good success? Thanks in advance for any info.
  11. The great trailer for this bad boy came out yesterday and I was wondering if anyone had any info on the technical stuff for the movie. I love the look of the movie, looks like it's shot on the Alexa, but can't find any info anywhere. I know it's shot by Maryse Alberti who did The Wrestler. For those who don't know, the movie is directed by Fruitvale Station's Ryan Coogler, it's a personal project of his that he also wrote, following Adonis Johnson, an up and coming boxer, who turns out to be Apollo Creed's son, Rocky's best bud who died on the ring. Rocky becomes his trainer. The great Michael B.Jordan (Fruitvale Station, The Wire, Fantastic Four, Friday Night Lights) is playing Adonis. Here is a link: Apple: http://pdl.warnerbros.com/wbmovies/creed/trailer1/CREED_TRAILER_1_ONLINE-1080.mov YT:
  12. We have an Arri Alexa Plus 4:3 XR package available for $59,950. This was a Plus 4:3 upgraded to the XT. bvw@vidgear.com
  13. Hello everyone, I am new to this forum. I am writing to ask for help everyone. Recently (4.7.15) we have been robbed of equipment "Arri Alexa" and set lens "Ultraprime 1.9". We are a small rental house in Spain (Madrid). I pray help us locate them. The man that I carry is identified under the name of "Samir Amr" of passport Netherlands. Thanks in advance
  14. Hi all, Hope you are all well. It would be great to get some feedback on my reel. Any comments are welcome. Cinematography Reel https://vimeo.com/115711277 Kind Regards,
  15. This is a brand new Tiffen T1 IR filter meant to be used with cameras that face far red IR contamination when used with ND filters (Sony, Arri, Blackmagic Design). This filter is new and in factory condition with absolutely no defects, however the mylar bag has been cut open - the filter was never actually used or mounted in a matte box. Delivery includes the original factory packaging, including the protective cover. Local pickup is available in SoCal. $150+shipping - This is half price! PM me or reply to this thread to inquire about purchasing the filter. http://provideocoalition.com/aadams/aadams/story/tiffens_goes_into_production_on_t1_far_red_filter/ http://provideocoalition.com/aadams/story/arri_alexa_and_far_red_a_problem_thats_already_been_solved/
  16. Saw this today and noticed a lot of clipping in the highlights. Anyone have similar experiences?...
  17. I have a Alexa EV with 1841hr for sale. Asking $38000 firm. I have pictures I can email you. This is what is included in the package. 1 x Arri Alexa Camera w/ SxS Module - High Speed 4 x SxS 32GB Cards 1 x SxS Card Reader w/ AC Adapter and USB Cable 1 x Alexa Accessory Cable 12V (ARRI KC 154-SP-S) 1 x XLR 5-Pin Audio Out - L/R Channel 3-Pin Spliter 1 x 2ft Spiral Cord 3-Pin XLR Male to 3-Pin XLR Female 1 x Alexa Ethernet Cable 10ft (AEA-1) 1 x Alexa Viewfinder Interface Cable (Short) 1 x Alexa Viewfinder Interface Cable (Medium) 1 x Alexa Base Plate (BP-13) - 15mm (also have BP-12) 1 x Alexa Port Cap 1 x Arri Alexa Electronic Viewfinder (EVF-1) 1 x Alexa EVF Mounting Bracket 1 x Alexa Center Camera Handle (CCH-1) 1 x Alexa Handle Extension Block w/ Tape Hook (HEB-2) 1 x Alexa Battery Adapter Back for V Mount (BAB-V) 1 x Alexa Base Plate Adapter (BPA-1) 1 x Leveling Block (LB-1) 1 x Shoulder Pad (SP-3) 1 x Alexa EVF Extension Bracket 1 x 12in Dovetail
  18. I'm shooting a person with images being projected on them by a Epson 8350 Digital Projector. I want to shoot at a high frames per second (120fps) or a high as I can get a way with... The problem is the viewfinder and monitors show an unwatchable bad amount of pulsing light flicker. Does any one have any advice on how to do slow motion with a projector light in the shot and on a subject to mitigate or preferably all together stop flicker/pulsing light look?
  19. Another excellent FDTimes special from Jon Fauer, this time featuring extensive interviews with Arri personnel and photos of the Arri factory. All about Amira, Alexa 65, Alexa and more. http://www.fdtimes.com/2014/11/07/arri-full-factory-tour-pdf/
  20. For sale is my personal Lomo anamorphic round front set: 35mm Lomo Anamorphic T2.4, PL-mount 50mm Lomo Anamorphic T2.4, PL-mount 75mm Lomo Anamorphic T2.4, PL-mount All lenses are optically and mechanically in perfect condition, no scratches, no fungus, have stainless PL-mounts and focus gear rings ARRI standard 32 pitch. The lenses were recently serviced and are ready for shooting. Also included: Peli case, ARRI Lens Support LS-7, front and rear caps. Price: $35,000 Contact: c.lang@langfilms.de
  21. Hello everybody, Has anyone of you made a comparative test between Alexa and Amira under the same conditions? According to Tech Specs, both cameras have exactly the same sensor. But is it possible to tell the difference between the two cameras, assuming they are using the same codec and ISO settings, the same lens and t-stop and the same lighting conditions? I´m looking forward to hear your opinions and experiences about this. Thanks, Matteo
  22. Hello! I just wanted to stop by to introduce one of my products to the forum. It's called the Intersex Plate. It's shipping now on my website: http://mediablackout.net/product/intersex-plate/ This plate allows you to do several things, including: Attach a field recorder, like the BlackMagic Hyperdeck Shuttle, to an unused battery plate on a Steadicam Attach a Teradek Bolt or Paralinx Tomahawk / Arrow-X to a camera’s unused battery plate when used on a Steadicam or Gimbal (Freefly Movi, DJI Ronin, etc.) allowing builds to stay lower Clamp two Intersex Plates together to secure accessories that have no mounting points, like a Decimator AJA Mini Converter, etc. DITs can mount the Intersex Plate to a VESA 75 compatible stand or arm on their cart as a quick disconnect to allow small to medium sized monitors to mount and unmount easily and quickly Can be use to attach a V-mount and Gold Mount battery plates to iris rods The Intersex Plate can be used for so much more! The plate can also act as a sex-changer for other plates. It has hole patterns for: Gold Mount (male or female) V-Mount V-Wedge (Element Technica) Teradek Bolt Paralinx Tomahawk / Arrow-X VESA 75 9mm On-Center 1/4-20 (Red Spacing) 1″ On-Center 10-32 (Berkey System)
  23. Hello! I'm wondering what you folks think about this. My goal is to use it sort of as a teaser on my website, in order to get producers to click through to my portfolio where I have projects in their entirety. I'm wondering if this is effective? Or maybe it looks amateurish? Or maybe the older producers out there who aren't used to ingesting media in bite size bits might have a seizure watching this? What are your thoughts?? Thanks :)
  24. We’re currently building and kitting out a studio, largely to be used for shooting products. We’re getting an Alexa, but are stumbling on our lens choice, mostly because the budget is not infinite. Our MUST HAVE primes are 35mm, and 50mm. We are looking at CP.2 super speeds – the cost is attractive, but more than that the speed is important – we often open up to f1.4 to knock the set background out of focus (rather than for exposure). I’m concerned about the performance of these lenses - I’ve not used them much - what are they like wide–open (T1.5)? We’re not looking at cinema projection here, TV or digital is where our shots will be seen, so I’m trying to be pragmatic. Am I worrying about nothing? Is there another line (other brands) of fast lenses that sits between Master Primes and CP.2 super speeds that I’m missing?
  25. Hi, This is my firts post on this forum so i would like to share with you my recent showreel: Im, 24years old cinematography student from Polish national film school in Łódź. it was shot on 35mm, arri alexa, red epic, red scarlet, sony f3 Watch, and comment :)
×
×
  • Create New...