CAMERA RENTAL Archives - Utopia

ALEXA 35 EXTREME

Nadav Leib — Sun, 29 Mar 2026 14:09:42 +0000

Continuing to innovate cine-style capture, ARRI introduces the ALEXA 35 XTREME. This new camera combines the superior image quality and reliability of the ALEXA 35 with higher frame rates up to 660 fps, the efficient ARRICORE RGB codec, longer pre-record times, and improved Wi-Fi and power usage.

ARRICORE Codec

The next-gen, RGB ARRICORE codec offers greater affordability via reduced data rates while maintaining optimal image quality. By not “baking in” sensitivity, white balance, or tint, ARRICORE provides post-production flexibility, and it is consistent with existing ALEXA 35 codecs, ensuring easy on-set and post workflows. ARRICORE offers familiar ARRI textures, metadata, MFX wrappers, and audio behavior, plus support for most third-party tools. This ARRICORE beta version will be finessed, incorporating user feedback.

Longest Pre-Record Times of Any Cine Camera

Documentary shooters and general users alike will appreciate the ALEXA 35 XTREME’s pre-record times, which are the longest of any current cine-style camera. Choose a full five minutes in 24 fps Apple Pro Res 422 HQ in HD or 30 seconds in 24 fps Apple Pro Res in high-resolution 4.6K Open Gate.

High Frame Rates to 660 fps

With frame rates up to 660 fps, the ALEXA 35 XTREME saves money and helps to streamline your production by eliminating the need to carry a separate high-speed camera body. Its new main processor provides more memory and faster speeds for capturing up to 330 fps with the full 17 stops of dynamic range and up to 660 fps within 11 stops of dynamic range.

Improved Wireless Connectivity

The ALEXA 35 XTREME’s improved wireless connectivity includes Wi-Fi 5GHz compatibility, Wi-Fi roaming in a mesh network, and auto-reconnecting to previously known networks.

4.6K Super 35 Sensor/17 Stops Dynamic Range

Key to the ALEXA 35 XTREME’s amazing image quality is a 4.6K Super 35 CMOS sensor offering 17 stops of dynamic range, which is a robust 2.5 stops greater than prior ARRI cameras. Those 2.5 stops are split between 1.5 stops at the top end, resulting in filmlike highlight roll-off, and one stop at the lower end to see even deeper into shadows without overexposing other areas. Ideal for HDR projects and any backlit setups, the ALEXA 35 XTREME’s wide dynamic range can also be a boon when tweaking your images in post.

Video Recording Formats

In-camera down-sampling and anamorphic de-squeezing enable the ALEXA 35 XTREME to offer a robust array of 19 ARRIRAW and Apple ProRes recording formats with different resolutions, data rates, aspect ratios, and other factors, suiting the camera to a range of production styles. Recording resolutions include 4.6, 4, 3.3, 3, 2.7, and 2K options.

High ISO Camera

With an EI of 160 to 6400, the ALEXA 35 XTREME offers higher sensitivity and lower noise than ever before in the ARRI lineup, even in low-light settings. An optional Enhanced Sensitivity Mode (EI 2560-6400) works with the camera’s wide dynamic range to produce nuanced images in darker environments and is ideal for impromptu or available-light capture.

REVEAL Color Science

Created with the input of both cinematographers and colorists, ARRI’s REVEAL color science employs six factors to create improved color, contrast, sensitivity, and dynamic range.

Combined with the ALEXA 35 XTREME’s impressive processing power, the debayering algorithm creates cleaner-edged images that are perfect for compositing work.
The ACE4 color engine converts RGB image data into the ARRI Wide Gamut color space (AWG4), producing more accurate colors and improving color saturation and tracking, even with subtle tones and lower light levels.
The AWG4 camera color space is larger than Rec. 2020 but bypasses “virtual” colors that are outside the human visual spectrum, providing faster grading, easier color space conversion, and compatibility with the ACES system.
A Log-C 4 tonal curve enables the ALEXA 35 XTREME’s larger 17-stop dynamic range; note that the Log-C 4 look appears darker before conversion to Rec. 709 or another color space.
The LUTs use the improved sensor, color space, and Log-C 4 to produce optimal shadow tonality, color fidelity, and color-grading base. These LUTS must be used with Log-C 4; they do not offer the manual control that some used with Log-C 3.
The ALEXA 35 XTREME offers backward compatibility for intercutting with ALEXA, ALEXA 35, ALEXA Mini, and AMIRA images, and the ALEXA Mini LF and ALEXA LF images may be processed via REVEAL to match your ALEXA 35 XTREME footage. Processed images will not offer a higher dynamic range or ARRI Textures but will have cleaner edges, better color, easier grading, and compatibility with ACES, Log-C 4, and new LUT.

ARRI Textures

Akin to digital film stocks, ARRI Textures enable you to alter the amount and character of grain in your images, and the amount of contrast at different levels of detail, which is perceived as sharpness. These textures can be very subtle, so they are best viewed on a large, high-quality HD monitor.

Same Compact Form and Interface as ALEXA 35

The ALEXA 35 XTREME’s compact, rugged form, connectors, and mechanical interfaces are the same as that of the ALEXA 35, maintaining compatibility with the same electronic and mechanical accessories.
Assistants and operators will appreciate the simple menu structure, recording to 1 or 2TB Codex Compact or Express 1TB drives, and a temperature-resistant, splash- and dust-proof housing.
Compatible accessories include lens mounts, brackets, handles, AEM-1 audio extension module, PDM-1 power distribution module, Camera Companion app, and LPS-1 Live Production System.
Updates are pending to support the new ALEXA 35 XTREME features with the CCM-1 Camera Control Module and the Hi-5 lens control system.

Versatile Lens Choices

This set comes with an LBUS PL mount and PL adapter, providing compatibility with a wide array of cine-style lenses.
Additional lens mount adapters are available separately, offering access to a vast selection of existing modern and vintage lenses in spherical, anamorphic, Super 35, and large format options.
The ALEXA 35 XTREME is compatible with all common metadata standards and can stream metadata in real time using an optional plug-in.

Interfaces

The left display is ideal for stabilizer, drone, and crane use, enabling you to view the status and change settings without having an EVF attached. You can even select the ND filter setting to show as the display “screensaver”, creating a quick visual reminder for any stop compensation needed.
Connectors: The right side of the ALEXA 35 XTREME offers a full interface, including a second EVF port, two 1.5/3/6/12G-SDI outputs with a return option on the second one, timecode in/out, and both 12 and 24V accessory output ports.
Ethernet: An Ethernet port offers real-time streaming of metadata for use in mixed-reality productions (MRP).
Audio: The ALEXA 35 XTREME’s audio options include two internal microphones like the ALEXA Mini LF, one 6-pin LEMO input, one 3.5mm headphone jack, embedded SDI audio, and compatibility with the AEM-1 audio module.

Reduced Power Consumption

The 24V ALEXA 35 XTREME camera provides a 10% power savings over the ALEXA 35 and can be powered using the included ARRI B-Mount battery adapter and separately available batteries. The versatile B-Mount system can also power both 12 and 24V accessories, saving you the weight and space required when using two separate batteries. Third-party adapters from Anton Bauer, Hawk-Woods, and CORE SWX can be used with compatible 26V batteries. The included PDM-1 Power Distribution Module can be used to add seven more accessory power ports.

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Pro II Spherical VR 360 8K Camera with FarSight Monitoring

01675619232amit — Thu, 30 Jan 2025 10:59:11 +0000

Insta360 Pro II Overview

The Insta360 Pro II VR Camera with FarSight bundle from Insta360 captures 360 spherical VR videos and stills in configurations up to 8K 3D. This successor to the Insta360 Pro can record immersive 8K video while streaming in 4K and includes the FarSight remote monitoring system. Insta360 Pro II features include precise 9-axis FlowState stabilization, CrystalView monitoring on standard devices, automatic proxy file creation, and stitch-free editing in Adobe Premiere Pro.

FarSight Monitoring System

The FarSight 360° long-range monitoring system includes a transmitter and receiver for live monitoring of your capture from up to one mile away ground-to-ground or two miles ground-to-air. Wi-Fi preview is available at 30 fps up to 15′ without using FarSight. The CrystalView function converts 8K VR footage for viewing on popular 4K VR headsets and standard smartphones or monitors, expanding your potential audience.

Intuitive Processing & Recording

Save time and processing with the Insta360 Pro II’s ability to create proxy files for instant stitching and real-time editing in Adobe Premiere Pro. When you have your final cut, the Insta360 algorithm stitches together a full-resolution version. Each camera records to a microSD card while proxy files and stabilization data are captured to a full SD card. The camera features bit rates up to 120 Mb/s and records audio via four built-in mics and a 3.5mm mic input.

High-Quality Images

The Insta360 Pro II’s optical features include six selectable 200° fisheye lenses, adjustable shutter speed, and an ISO range of 100-6400. An HDR (high dynamic range) function provides natural-looking lighting even in unevenly lit settings. High-speed frame rates are available up to 120 fps, and the still mode includes raw, JPEG, burst, and time-lapse options. The Pro II captures 8K 360 videos and stills in 3D up to 30 fps and 2D up to 60 fps. Livestream 4K video while recording 8K for later use.

9-Axis Image Stabilization

Image stabilization is a vital VR component, and the Insta360 Pro II combines a 9-axis gyro with the downloadable Insta360 software for precise, customizable stabilization. A built-in GPS module provides data for Google Maps Street View and other precision-mapping applications. The Insta360 Pro II features a compact aluminum frame, two USB ports, and a hot-swap battery dock.

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BURANO 8K Digital Motion Picture Camera

01675619232amit — Thu, 29 Feb 2024 09:42:26 +0000

Designed for highly mobile, solo cine-style shooting, the Sony BURANO 8K Digital Cinema Camera offers up to 8.6K video capture in a compact, full-frame form. Unique in-camera stabilization for both E- and PL-mount lenses, Fast Hybrid Autofocus, and an easily adjustable ND filter enhance single-user capture and seamless image matching, making the CineAlta BURANO camera ideal for use as your VENICE B or C camera.

Full-Frame 8.6K CMOS Sensor

The BURANO camera’s 8.6K CMOS sensor not only matches the VENICE 8K’s exceptional imagery, but it also incorporates Sony’s renowned autofocus technology—a huge boon for single operators when facing fast-paced environments with challenging focus.
The sensor also offers both full-frame and Super35 modes, enabling you to select from a vast array of lenses to suit a variety of project types.

ARRI PL and Sony E Mounts

The BURANO is equipped with the same rugged, reliable PL- and E-mount system as the VENICE series, enabling you to select your glass from a huge selection of lenses.
The PL mount is compatible with all Super35 and full-frame PL lenses in both spherical and anamorphic versions. It also supports Cooke/I technology for frame-by-frame metadata and ZEISS eXtended Data.
The E-mount supports metadata when using Sony E-mount lenses.

Autofocus

Available with Sony E-mount lenses, the BURANO camera’s autofocus options include Fast Hybrid AF (phase-detection AF/contrast-detection AF) and Human Eye AF for accurately capturing fast-moving subjects even when you’re operating alone.

Image Stabilization

A feature unique to the BURANO is its in-camera image stabilization for both Sony E- and ARRI PL-mount lenses, a first in digital cine-style capture.
This new PL-mount lens feature provides 3-axis pitch, yaw, and roll stabilization with high, low, and off options. E-mount lenses benefit from 5-axis pitch, yaw, roll, x, and y stabilization with active, standard, and off settings.

Variable ND Filter

A built-in, electronically variable ND filter enables solo operators to quickly and easily adjust their exposure when faced with changing light levels.
This dial-type filter ranges from 0.6 to 2.1 ND for a total of seven stops.

Exceptional Latitude

The BURANO’s 8.6K sensor provides a massive 16 stops of dynamic range, producing phenomenal images with very low noise in conditions ranging from almost no light to blazing sunlight.
It also offers excellent HDR imaging (high dynamic range) with unprecedented freedom when color grading in post-production.

Dual-Base ISO

Dual-base 800/3200 ISOs enable the BURANO to excel at low-light HDR capture.
Its wide exposure latitude ranges from 6 stops over to 10 stops under 18% middle gray, for a total of 16 stops.

Versatile Frame Rates

The BURANO supports multiple resolutions and frame rates, including full-frame 8.6K at 30 fps, full-frame cropped 6K at 60 fps, Super35 5.8K, and Super35 cropped 4K at 120 fps.

Up to 8K Recording with Multiple Codec Support

Support for resolutions ranging from HD to 8.6K enables the BURANO to obtain the highest quality images for all your productions.
Supported internal recording formats include the new XAVC H, which uses the highly efficient H.265 codec to record 8K files, X-OCN LT for stunning raw images with efficient storage, and both XAVC-I and XAVC-L for UHD 4K and HD.

X-OCN 16-Bit Original Camera Negative

Ideal for even the most advanced workflows, X-OCN (extended tonal range Original Camera Negative) codecs combine 16-bit precision with moderate bit rates to produce amazing color reproduction using manageable file sizes.
X-OCN is supported for multiple resolutions and frame rates up to 8.6K 16:9 30 fps.

Viewfinder/LCD

The detachable VF/LCD combo functions as both a viewfinder and touchscreen controller for the MURANO.
A handy Home button replicates the “big six” (FPS, EI, Shutter, ND, Look, and WB) functions that will be familiar to VENICE users.

Media Type

Dual media slots on the BURANO enable it to record to CFExpress Type B cards; it also incorporates an SD card slot for utility functions only.
Sony CFexpress Type B TOUGH Series Memory Cards are now available in 960 and 1920RGB versions.

Interface, Optional Grip

The BURANO’s advanced interface includes 12G/6G/3G-SDI, 3G-SDI, and HDMI outputs, 3-pin XLR audio Inputs, timecode, genlock, and reference input/outputs, a 1000BASE-T LANC terminal, and built-in, dual-band Wi-Fi.
The interface also includes a port for linking to the new, separately available GP-VR100 Remote Control Grip.

Lightweight, Compact Form

Based around a chassis and body made of a magnesium alloy, the impressively robust yet lightweight and compact BURANO is made to withstand the harshest conditions.
Its ventilation system is completely isolated from the electronics, preventing the ingress of dust, sand, and splashes of water.
The fan runs silently and can be easily swapped out for a new unit.

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ARRIFLEX 416 Plus

01675619232amit — Mon, 08 May 2023 09:29:25 +0000

35 Format Features in a Super 16 Camera

Continuous advances in lenses, film stock and postproduction technologies have elevated the Super 16 film format to new levels of image quality and production efficiency. Super 16 is now routinely used for standard and high definition television productions, feature films, commercials and documentaries, and with stunning results.

By shooting Super 16, productions gain many of the advantages of shooting film – the film look, its unsurpassed exposure latitude, natural color reproduction, variable camera speeds, ramps, proven archivability and the fact that film is the only globally accepted standard format – at affordable production costs. The small size and light weight of Super 16 equipment has the extra benefit of easy portability for fast-paced production environments.

In response to market demand, ARRI is offering three new Super 16 cameras: the ARRIFLEX 416, 416 Plus and 416 Plus HS. Based on years of camera engineering, market research and focus groups with renowned industry professionals, the ARRIFLEX 416 cameras make features previously only found in high end 35 mm cameras available to Super 16 productions.

All three ARRIFLEX 416s are lightweight, modern Super 16 film cameras, each with a 35-style viewfinder and a mirror shutter that can be manually adjusted from 45 to 180 degrees. The 416 and 416 Plus have an amazingly low sound level similar to that of the ARRICAM. Their speed range is from 1 to 75 fps, while the 416 Plus HS runs from 1 to 150 fps. A completely new lightweight ergonomic design, integrated electronic accessories in the Plus cameras and compatibility with the same lenses and accessories used by their 35 mm siblings make the 416 cameras the most powerful, flexible and portable Super 16 cameras ever built.

I Can See Clearly Now

To capture the images you want, you have first to see them clearly. So viewfinder quality is crucial if an operator is to accurately appraise images, especially with 16 mm. The optical viewfinder on the 416 cameras makes it easy to judge focus, create a precise image composition, and work comfortably and efficiently.

The viewfinder optics have been redesigned from the ground up, incorporating fewer lens elements of higher quality and a shorter optical path. The results are significantly higher contrast, higher resolution and a brighter image. With the 416 cameras, judging focus on the set becomes a lot easier, and unpleasant surprises during dailies a lot less likely.

The 416 cameras’ viewfinder ergonomics are based on the ARRIFLEX 235 viewfinder so they share the same freedom of movement and features. The 416 viewfinder can be freely rotated, extended or flipped to the other camera side for comfortable viewing in any camera position. Image orientation can be set automatically or manually and medium or long eyepiece extensions can be used with no loss in image quality. Since the 416 cameras’ viewfinder has a large exit pupil, the operator has more freedom to move without losing the image – a great advantage when going hand held, shooting action sequences or executing complex dolly moves.

In contrast to their predecessors, the 416 cameras accept large diameter 35 format primes, including the new Master Primes, because their viewfinder is located higher above the lens mount.

Integrated Video Assist

The 416 cameras’ viewfinder is accompanied by a video assist with the same features and image quality as the highly praised ARRICAM and 435 integrated video assists (IVS). This video assist is closely integrated into the camera body to keep the overall camera size small and slim. also features some added benefits like color bars, adjustable electronic image enhancement, manual white balance and a ground fault warning.

Using the same optical layout already proven in the ARRIFLEX 235, viewfinder and video assist are independent of each other. This makes a switch from handheld to Steadicam very fast and eliminates the need for a 100% video top. Additionally, two 12V accessory outputs on the video assist can power an on-board monitor and a video transmitter at the same time.

The Sound of Silence

The 416 cameras use a completely new sound insulation design that makes the 416 and 416 Plus as quiet as an ARRICAM and allows the 416 Plus HS to record a very stable image even at higher frame rates. An inner skeleton is suspended by symmetrically positioned rubber insulators in an outer shell. The camera’s movement and other parts that create vibrations – and thus unwanted sound – are mounted to the inner skeleton. The insulators prevent any sound from the inner skeleton radiating to the outer shell. The symmetrical positioning of the insulators ensures that the flange focal distance stays constant so there is no change in depth from heat or cold.

The 416 magazine is powered by a brushless silent torque motor; there is no noisy mechanical linkage between camera and magazine. And just like the camera, the 416 magazine consists of an inner skeleton and an outer shell separated by rubber insulators, making it the quietest 16 mm magazine ever built.

When working with a truly silent sync sound camera, directors and actors can concentrate on the performance and crews can concentrate on the action. How much time has been wasted on sets dealing with camera sound problems? With a sound level of less than 20 db(A), the ARRIFLEX 416 and 416 Plus are so silent that sound recordists will be asking the same question they ask when working with the ARRICAM: is the camera really running?

Compact, Lightweight and Fast

One of the reasons cinematographers and producers with demanding schedules choose to shoot Super 16 is the faster production pace afforded by smaller and lighter equipment. A Super 16 camera fits into any location, can be mounted to almost anything and can be quickly used on the shoulder. The 416 cameras further increase this portability, while providing many of the features crews have come to expect of 35 mm cameras.

The 416 weight has been reduced by an amazing 25% in comparison to the 16SR 3, when comparing a configuration including body, viewfinder, IVS and magazine. When comparing the 416 Plus to a 16SR 3 with UMC-3, the difference is even greater. The 416 cameras’ shape has been designed to make them as compact as possible and to give them a low profile. At the same time shape and weight are perfectly balanced for comfortable shoulder operation.

A lot of thought has been put into the ergonomics of having to work quickly and safely on a film set. The new magazine, as well as the new on-board battery, can be swiftly removed with one hand. The cameras new front shape makes attaching lens accessories easier and faster.

For slow-motion sequences the 416 Plus HS runs up to 150 fps, while still using the same magazines as the 416 and 416 Plus. To avoid the clutter of extra boxes and cables, the 416 Plus and 416 Plus HS have lens motor electronics and a wireless radio directly integrated into the camera body.

Last but not least, there is the new split bridgeplate. The cameras can be removed from a zoom lens/tripod configuration in two quick steps: open the lens mount, split the bridgeplate and the camera slides off. The second assistant can then dismantle the zoom lens while the operator is already shooting handheld.

The 416 Camera System

The ARRIFLEX 416 cameras are complemented by a range of new and existing accessories that follow the same design philosophy used in the creation of the 416 body and magazines: increasing efficiency on the set.

Two handles have been designed: one for normal use, one for remote. These include such details as a flip-up tape hook and different height platforms for Steadicam and for under-slinging the camera on a remote head. Lens motors or lightweight follow focus units can be mounted on the camera left side with the help of the Left Rod Bracket LRB-2. Like the 235, the 416 cameras have extra 3/8″ attachment points with locating pin holes for twist-free attachment of accessories or extra secure rigging.

The 416 cameras are compatible with most of the accessories used by their 35 mm siblings, including the ARRI Remote Control Unit RCU-1, External Display EXD-1, Wireless Remote System, Wireless Remote Control WRC-1 & WRC-2, Universal Motor Controller UMC-3, Iris Control Unit ICU, Electronic Synchronization Unit ESU, most follow focus units and matte boxes. They have also inspired some new accessories, including the Heated Eyecup HE-5, which automatically closes its iris when the operator is not looking through the viewfinder.

Technical Data

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VENICE 2 Digital Motion Picture Camera (8K)

0504941 — Sun, 18 Sep 2022 04:35:46 +0000

Featuring an impressive 16-stop dynamic range, internal recording onto a high-speed ASX card, internal recording formats up to ProRes 4K 4444 and 422, and an interchangeable sensor with updated usability and body design, the 8K Sony VENICE 2 Digital Motion Picture Camera is a step up for DPs, camera assistants, colorists, VR, and VFX departments thanks to its high-resolution capture and filmlike imagery.

The 8.6K VENICE 2 can shoot and record 8.6K footage at 30 fps and 8.2K in either 17:9 or 16:9 at up to 60 fps. Its sensor raises the camera’s dual-range base ISO to an impressive 800/3200 for cleaner images in a variety of situations. The 8.6K sensor can be swapped with the 6K sensor from the original VENICE to allow for higher frame recording with the original camera. As with the original VENICE, the VENICE 2 comes with a removable PL Mount that supports the Cooke /i Technology lens metadata protocols, allowing you to work with cinema-style glass ranging from vintage to modern. Remove the PL Mount to reveal a Sony E-Mount, to accept native E-mount lenses. Eight integrated and motorized ND filters range from clear to eight stops of ND in one-stop increments.

Sensor

The VENICE 2 with an 8.6K sensor features a dual-range ISO setting with 800 and 3200 base settings while sharing the same color science as the original 6K sensor. The new 8.6K sensor improves on the original sensor, providing more flexibility in the image for post-production work while still intercutting well with the 6K sensor. The 6K sensor block (not included) can be swapped into the VENICE 2 in the field, avoiding a trip to a service facility. This can be useful for capturing higher frame rates.

Please note, though you can use the 6K sensor from the original VENICE in a VENICE 2, you cannot put the 8.6K VENICE 2 sensor into the original VENICE camera. Swapping sensor blocks is not a permanent change, as you can swap back and forth. No software or firmware changes are required when swapping sensors, as the camera recognizes the different sensor blocks and automatically adjusts. The sensor supports oversampling from 8.6 to 4K, or you can window in the camera to output 4K.

Internal Recording

Free yourself from an external recorder for raw and high-data-rate recording, as the VENICE 2 is capable of recording directly to AXS cards internally. Featuring two AXS card slots, you can capture X-OCN and 4K ProRes (both 17:9 and 16:9) internally and use relay recording for virtually unlimited recording time. Additionally, the VENICE 2 supports cache recording and has twice the cache memory as the original VENICE camera.

New VENICE 2 Functions

Zoom to Fit Monitoring crops the viewing outputs (VF/SDI/HDMI) to the desired aspect ratio while recording the full frame of the sensor for VFX and potential post-production reframing
Apply LUTs to your 4K or HD (6G/1.5G-SDI) output
LUT/ART/CDL file import via Ethernet/Wi-Fi
ASC-CDL values control via Ethernet/Wi-Fi allows you to have LUT and CDL values applied by the camera using either an Ethernet cable or Wi-Fi via a connected computer using a GUI; CDL values are now embedded in clip metadata
VENICE 2 supports control from an RM/RCP panel that can be used with broadcast camcorders and system cameras. When connected, ITU-R Rec. 2020 color space and HLG are selectable, and adjustment of various paint parameters is supported

Functions from VENICE

The camera features a built-in assistant-side info screen, along with a smaller basic info display screen on the operator side of the camera
Imager modes: 5.8K 17:9 and 5.4K 16:9 (no license required) / 5.8K 6:5 (needs Anamorphic License) / 7.6K 16:9, 8.2K 17:9, and 8.6K 3:2 (need Full-Frame License)
Support for the X-OCN XT recording format
De-squeeze ratios: 1.25x, 1.3x, 1.5x, and 1.8x
Cache rec function
AXS Relay rec function
Simultaneous format
Support for 6G/12G output SDI
Improved imaging assist function
Support for CBK-WA02 Wireless LAN Adapter
Improved VF menu operations and Frame Line setting
Support for CDL files
5.7K at 16:9 up to 72 fps
4K at 6:5 up to 72 fps
3.8K at 16:9 up to 110 fps
3D LUT viewable in the viewfinder
ART (Advanced Rendering Transform) file imports
Updated switching for SDI 1-4 3G-SDI level A/B
Addition of second user frame line of 9:16 and 1:1 preset
Record beep and alarm volume adjust
Ability to maintain CamID+Reel# when loading ALL file
Displaying of Genlock and TC lock status on OSD
Setting of de-squeeze on/off via the USER button
Updated RCP Call function
Record gyro information in metadata
Support for ZEISS eXtended Data from FUJINON Premista-series lenses

Super35 17:9 and 16:9

These popular imager sizes have native support in VENICE 2, and the 8K sensor makes it possible to capture 5.8K footage in 17:9 or 16:9 in Super 35mm mode, which allows you to use Super 35mm PL mount lenses.

Built-In ND Filters

The servo-controlled 8-step mechanical ND filter mechanism built into the camera chassis offers a massive ND range from Clear (no ND) and 0.3 (1/2 = 1 stop) to 2.4 (1/256 = 8 stops). The servo control also greatly increases VENICE’s flexibility when being controlled remotely on drones, cranes, or in an underwater housing.

Color Gamut

The VENICE 2 can exceed the BT.2020 color space, with a color range wider than DCI-P3. This means it can beautifully reproduce the true color of the scene in front of your lens. The camera also provides a broad palette in the grading suite, using the established workflow of Sony’s S-Log3 and ultra-wide color space, S-Gamut3. Plus, VENICE 2’s 6K and 8K sensors match colors almost perfectly, making your grading experience even better.

Dual-Base ISO Sensor

The 8.6K VENICE features dual-base ISO, which offers Base ISO3200 in addition to Base ISO800. The High Base ISO3200 excels in low-light High Dynamic Range capture, with an exposure latitude from 6 stops over to 10 stops under 18% Middle Gray, for a total of 16 stops.

No Jello Effect

The high-speed readout of the VENICE 2 sensor minimizes the Jello effect typical with CMOS sensors.

PL Mount

The VENICE 2 comes with the industry-standard PL lens mount. It is compatible with all Super35 and full-frame PL lenses, spherical and anamorphic. The removable lens mount includes contacts that support Cooke /i Technology. The camera’s lens information is recorded as metadata frame by frame.

E-Mount

Removing the PL Mount exposes the camera’s E-Mount, which allows compatibility with E-Mount lenses. This E-Mount is designed with a lever lock that eliminates the need to rotate your lens when mounting, and the lever lock secures the lens in the mount, minimizing play. Rotating of the locking collar means that in most cases, lens support rigs don’t need to be removed, which saves time during production.

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ALEXA 35

amit — Mon, 17 Dec 2018 07:54:25 +0000

ARRI once again raises the bar for digital cinema capture with the ALEXA 35, a Super35-format camera boasting a new 4:3 4.6K sensor that delivers 2.5 of additional dynamic range, improved performance in low light, and a richer, more accurate color reproduction. This ALEXA 35 Set combines the ALEXA 35 camera with a Cine License, an LBUS PL mount, a B-mount battery plate, and a BUD-1 Utility Dovetail. Compact and easy to operate, the ALEXA 35 offers MFX/ARRIRAW and MFX/Apple ProRes capture to 1 or 2TB Codex drives with resolutions up to 4.6K and frame rates up to 120p.

The ALEXA 35 expands your creative control options using the new REVEAL color science, color matching with existing ARRI cameras, and multiple Texture Files that bestow an ability to select looks akin to choosing a film stock, both during capture and in post-production. Although housed in a compact form, the ALEXA 35 camera incorporates a full feature set, including a left-side display, independent SDI outputs, audio inputs, motorized ND filters, two wireless radios, and both 12 and 24V accessory ports.

4.6K Super35 ARRI ALEV 4 CMOS Sensor

Key to the ALEXA 35’s amazing image quality is a new 4.6K Super35 CMOS sensor offering 17 stops of dynamic range, which is a robust 2.5 stops greater than prior ARRI cameras. Those 2.5 stops are split between 1.5 stops at the top end, resulting in filmlike highlight roll-off, and 1 stop at the lower end to see even deeper into shadows without overexposing other areas. Ideal for HDR projects and any backlit setups, the ALEXA 35’s wide dynamic range can also be a boon when tweaking your images in post.

Video Recording Formats

In-camera down-sampling and anamorphic de-squeezing enable the ALEXA 35 to offer a robust array of 19 ARRIRAW and Apple ProRes recording formats with different resolutions, data rates, aspect ratios, and other factors, suiting the camera to a range of production styles. Recording resolutions include 4.6, 4, 3.3, 3, 2.7, and 2K options.

Stray Light Suppression

Stray-light suppression technology is used in both the camera and the new ARRI PL (Hirose or LBUS) lens mounts to deliver the full contrast range from your choice of lenses while eliminating any grayish tones.

High ISO Camera

With an EI of 160 to 6400, the ALEXA 35 offers higher sensitivity and lower noise than ever before in the ARRI lineup, even in low-light settings. An optional Enhanced Sensitivity Mode (EI 2560-6400) works with the camera’s wide dynamic range to produce nuanced images in darker environments and is ideal for impromptu or available-light capture.

REVEAL Color Science

Created with the input of both cinematographers and colorists, ARRI’s REVEAL color science employs six factors to create improved color, contrast, sensitivity, and dynamic range.

A new debayering algorithm combines with the ALEXA 35’s impressive processing power to create cleaner-edged images that are perfect for compositing work.
The new ACE4 color engine converts RGB image data into the ARRI Wide Gamut color space (AWG4), producing more accurate colors and improving color saturation and tracking, even with subtle tones and lower light levels.
The AWG4 camera color space is larger than Rec. 2020 but bypasses “virtual” colors that are outside the human visual spectrum, providing faster grading, easier color space conversion, and compatibility with the ACES system.
A new Log-C 4 tonal curve enables the ALEXA 35’s larger 17-stop dynamic range; note that the Log-C 4 look appears darker before conversion to Rec. 709 or another color space.
New LUTs use the improved sensor, color space, and Log-C 4 to produce optimal shadow tonality, color fidelity, and color-grading base. These new LUTS must be used with Log-C 4; they do not offer the manual control that some used with Log-C 3.
The ALEXA 35 offers backward compatibility for intercutting with ALEXA, ALEXA Mini, and AMIRA images, and the ALEXA Mini LF and ALEXA LF images may be processed via REVEAL to match your ALEXA 35 footage. Processed images will not offer the higher dynamic range nor ARRI Textures but will have cleaner edges, better color, easier grading, and ACES, Log-C 4, and new LUT compatibility.

Versatile Lens Choices

This PL Mount Set comes with an LBUS PL mount, providing compatibility with a wide array of cine-style lenses. Additional lens mount adapters are available separately, offering access to a vast selection of existing modern and vintage lenses in spherical, anamorphic, Super35, and large format options. The ALEXA 35 is compatible with all common metadata standards and can stream metadata in real time using an optional plug-in.

Full Feature Set in a Compact Form

At 8 x 6 x 5.8″, the ALEXA 35’s compact, rugged form is similar to that of the ALEXA Mini, but it incorporates the features of the larger ALEXA camera. Assistants and operators will appreciate familiar features like a simple menu structure, recording to 1 or 2TB Codex Compact drives, and a temperature-resistant, splash- and dust-proof housing. Updates include the addition of HDR viewing with the MVF-2 viewfinder, adjustable SDI text overlay, the ability to turn individual frame lines on and off, and Info Panels that present camera information in an easy-to-read form.

Interfaces

Left display: The new left-side display is ideal for stabilizer, drone, and crane use, enabling you to view the status and change settings without having an EVF attached. You can even select the ND filter setting to show as the display “screensaver”, creating a quick visual reminder for any stop compensation needed.
Connectors: The right side of the ALEXA 35 offers a full interface, including a second EVF port, two 1.5/3/6/12G-SDI outputs with a return option on the second one, timecode in/out, and both 12 and 24V accessory output ports.
Ethernet: An Ethernet port offers real-time streaming of metadata for use in mixed reality productions (MRP).
Audio: The ALEXA 35 audio options include two internal microphones like the ALEXA Mini LF, one 6-pin LEMO input, one 3.5mm headphone jack, embedded SDI audio, and compatibility with the AEM-1 audio module.

Dedicated Accessories

Accessories in this PL Mount Set include the BUD-1 Balance Utility Dovetail and a B-Mount Battery Adapter.
Separately available electronic accessory options include the Multi Viewfinder MVF-2, the PDM-1 power distribution module, and the AEM-1 audio extension module with one AES3/AES42 and two mic/line mini-XLR inputs.

24V B-Mount Battery Power

The 24V ALEXA 35 camera can be powered using the included ARRI B-Mount battery adapter and separately available batteries. The versatile B-Mount system can also power both 12 and 24V accessories, saving you the weight and space required when using two separate batteries. Third-party adapters from Anton Bauer, Hawk-Woods, and CORE SWX can be used with compatible 26V batteries. The separately available PDM-1 Power Distribution Module can be used to add seven more accessory power ports.

ARRI Tools and Apps

Make both capture and post-production easier with the range of free tools, apps, and tutorials found on the ARRI website. Use the Camera Companion app for single or multicamera remote control, the ARRIRAW HDE Transcoder for reducing ARRIRAW file sizes, and the ARRI Reference tool to create and look at files, for SDR and HDR conversions, and to export Apple ProRes, OpenEXR, and TIFF files.

The post ALEXA 35 appeared first on Utopia.

URSA MINI PRO 12K PL-Mount

amit — Sun, 18 Oct 2020 12:08:23 +0000

Step your cine-style video recording up to 12K with the URSA Mini Pro 12K Digital Cinema Camera from Blackmagic Design. This pro video camera uses a 12,288 x 6480 12K Super35 sensor, a new color science, and up to 14 stops of dynamic range to produce extraordinarily detailed images. The URSA Mini Pro 12K records up to 80MP per frame in Blackmagic Raw and offers flexible recording options that include dual CFAST card capture and high-speed USB Type-C output. Recording rates include up to 12K60, 110 fps in 8K, and up to 220 fps in 4K Super16.

The front of the URSA Mini Pro 12K sports an interchangeable PL lens mount, enabling you to choose from an array of current and vintage pro cine lenses from multiple manufacturers.

The new Super35 sensor at the heart of the URSA Mini Pro 12K has been optimized for capturing multiple resolutions and features equal amounts of red, green, and blue pixels. Shoot at 12K for smooth oversampling or use the URSA Mini Pro 4K’s in-sensor scaling to capture 8K or 4K Raw at rates up to 110 fps without cropping or a change in your field of view. The massive 12K sensor can also be used to select shots in 8K or 4K, essentially providing a multicamera look by reframing from a single camera output.

The dual CFast or UHS-II SD card option splits the recording between two cards, enabling you to capture up to 12K or 8K raw even at higher frame rates. With Blackmagic Raw, the URSA Mini Pro 12K offers constant-quality compression rates, several constant bit-rate options for predictable file sizes. Blackmagic Raw provides outstanding resolution for compositing, keying, tracking, and more. Blackmagic Raw is also optimized to work with the URSA Mini Pro 12K’s raw files, saving the need to also create proxies.

Blackmagic’s new Generation 5 Color Science offers a new film curve, enabling the URSA Mini Pro 12K to capture more natural skin tones and a better rendering of richly saturated colors in high-contrast scenes.

Even with 12K providing almost 10 times the resolution of UHD 4K, this versatile pro cine camera offers a trio of recording options. Record to the integrated dual CFast or UHS-II SD card recorders, or use the SuperSpeed USB Type-C expansion port for recording to fast SATA and NVMe drives.

An evenly weighted, lightweight yet robust magnesium alloy design makes the URSA Mini Pro 12K perfect for either handheld work or tripod-based shots. Additional camera features include 12G-SDI input and output, a 4″ fold-out display, built-in ND filters, ergonomic controls, timecode and reference input, and 48V phantom power XLR audio. A digital slate function and lens metadata capture ease your URSA Mini Pro 12K workflow transition from capture to post.

Features

12,288 x 6480 12K Super35 sensor

14 stops of dynamic range

80MP per frame; new color science

12K images at up to 60 fps, 8K and DCI 4K up to 110 fps

8K and 4K anamorphic: up to 140 fps, Super16 4K to 220 fps

Flexible Blackmagic Raw recording options

Dual CFast and UHS-II SD card recorders

Raw compression levels up to 18:1

SuperSpeed USB Type-C expansion port for external recording

Metadata support and timecode clock

Rich Film Look with Digital Definition

The URSA Mini Pro 12K’s massive resolution gives you the immersive detail, wide dynamic range, and deep color of film combined with an incredible definition around objects that is perfect for chromakeying, VFX, and IMAX imaging. Oversampling from 12K down to 8K or 4K both improves color and eliminates aliasing for an ultra-smooth look.

Super35 12K Sensor Delivers a Cinematic View

The URSA Mini Pro 12K’s new sensor has a native resolution of 12,288 x 6480 that produces a whopping 80 MP per frame. This sensor is designed with equal representations of red, green, and blue pixels, an 800 native ISO, and 14 stops of dynamic range. In-sensor scaling provides 8K and 4K rates up to 110 fps without cropping or a change in the field of view. The 12K sensor also enables you to reframe shots in post to get an 8K or 4K multicamera look using a single camera.

Interchangeable PL Lens Mount

Delivered with a PL mount, the URSA Mini Pro 12K’s interchangeable lens mount enables you to quickly switch to a Canon-EF or Nikon-F mount, providing compatibility with a wide array of professional cinema and still lenses.

Efficient 12-Bit Raw Workflow in 12K with Blackmagic Raw

A new codec enables you to use Blackmagic Raw to edit your URSA Mini Pro 12K footage on a laptop and to edit in any resolution without needing to render before your final version.

Two Encoding Methods

Choose between Constant Quality and Constant Bitrate encoding as best suits your need. Use constant quality Q0 or Q5 options or the new Q1 and Q3 choices to lock the quality level and enable compression levels to adapt, matching the detail levels of each scene. Turn to Constant Bit Rate 5:1, 8:1, and 12:1 options or the new 18:1 choice when you prefer optimal imaging with predictable and consistent file sizes.

Generation 5 Color Science

The Gen 5 Color science’s new film curve takes advantage of the huge amounts of color data produces by the URSA Mini Pro 12K’s sensor. The result is more attractive skin tones and improved color saturation for images like neon signs and car taillights.

Flexible, High-Bandwidth Recording Options

Dual built-in CFast and UHS-II SD card slots and a SuperSpeed USB Type-C expansion port provide three methods for capturing 12K video. A “Record Raw on 2 Cards” option enables you to record across two cards simultaneously at speeds up to an impressive 900 MB/s to two CFast cards, or to 500 MB/s to two UHS-II SD cards. The third option is capturing to NVMe SSD drives via a USB Type-C 3.1 Gen 2 port at rates up to 10 Gb/s.

The post URSA MINI PRO 12K PL-Mount appeared first on Utopia.

ALEXA MINI LF

0504941 — Sun, 21 Jul 2019 11:49:07 +0000

Built around a large-format 4K version of the original ALEXA sensor, the ARRI ALEXA Mini LF camera offers native 4K recording in three sensor modes, with ARRIRAW or ProRes recording in LF Open Gate, LF 16:9, or LF 2.39:1 modes. The ALEXA Mini LF combines large-format resolution with an optimal pixel size for excellent image quality producing vivid, nuanced images with natural skin tones and smooth bokeh. The ALEXA Mini LF is designed for use with ARRI’s LPL lens mount, available separately, which has been optimized for large-format capture and is compatible with all PL-mount lenses with the use of a separately available PL-to-LPL adapter. A wider diameter and shorter flange focal depth than the original ARRI PL mount enable LPL-mount lenses to be smaller and lighter than earlier large-format optics.

Large-format sensor in an ALEXA Mini body

The ALEXA Mini LF is a hybrid of the ALEXA Mini and the ALEXA LF, as it retains the same LF sensor but has the form factor of the Mini. The new exterior has a left-side media bay with two rows of connectors on the back and a slot to insert 1TB Codex media. It also features six user buttons, three more than the Mini, to configure to your preference. It also features extra 12 and 24V power outputs and a black burst/tri-level input. The audio input connector is now 6-pin, so it doesn’t conflict with the 5-pin timecode port.

The Mini LF offers an array of recording format choices in MXF ARRIRAW and MXF ProRes, recording to 1TB Codex capture drives. With a base sensitivity of EI 800, 16-bit processing, and a dynamic range of 14-plus stops, your footage is effectively future-proofed for compatibility with HDR displays. Frame rates up to 90 fps produce smooth slow motion and enable capture for higher-clarity HFR (High Frame Rate) projects.

The wireless connectivity of the ALEXA SXT is built into the ALEXA Mini LF, providing Wi-Fi and compatibility with ARRI ECS lens/camera control systems. An internal Large-Format Full-Spectrum Neutral Density (LF FSND) filter system features 0.6, 1.2, and 1.8 filters. Additional ALEXA Mini LF features include compatibility with existing ARRI Look files and workflow, clip playback in both MXF ARRIRAW or MXF ProRes, and 2-channel, 6-pin XLR audio input.

Additional new features

Three internal, motorized large-format FSND filters: ND 0.6, 1.2 and 1.8
New dedicated, regulated 12 V and 24 V accessory power outputs
New SYNC IN and improved AUDIO connectors
Two built-in microphones
Six user buttons on camera’s left side
One LOCK button each for camera and viewfinder
Additional external WiFi antenna
Easier access to media, VF and TC connectors

Sensor

The ALEXA Mini LF uses the same sensor as the ALEXA LF. This is the ALEV 3 A2X sensor, which has the same photosite size and type as the Super 35 ARRI digital cameras. It has 4448 x 3096 photosites (yes, it is therefore a 4.5K sensor) and measures 36.70 x 25.54 mm.

Recording Formats and Frame Rates

The ALEXA Mini LF supports the same recording formats as the ALEXA LF. Recording formats and maximum frame rates of both cameras are shown in the table below.

Recording Media

The ALEXA Mini LF uses the new, small and cost-effective Codex Compact Drive 1 TB.
The Compact Drive has been specifically designed for the small form factor of the ALEXA Mini LF, using new flash technology in a miniaturized tough casing. The ALEXA LF Mini accepts Compact Drives directly, without the need for an adapter. ALEXA LF or ALEXA SXT W do not support the Compact Drive.
The Compact Drive 1 TB contains one industrial SSD and both ARRIRAW and Apple ProRes recording can utilize the drive’s full recording capacity of 960 GB. The drive will be formatted by the ALEXA Mini LF in the UDF format for ARRIRAW and ProRes. Therefore, both ARRIRAW and ProRes can be recorded onto the same media without reformatting or switching drives. The drive offers sustained write rates of up to 8 Gb/s.

New MVF-2 Viewfinder

Offering simultaneous use of its high-resolution OLDED viewfinder and its 4″ flip-out monitor, the MVF-2 is truly a multi functional unit. Two control dials (one on each surface of the monitor) enable the MVF-2 to be used on either side of the camera, providing the operator or assistant control as best suits your shot. Both the OLED EVF and the monitor feature upgrades from the MVF-1, including the ability to detach the eyepiece from the monitor unit.

HD OLED display, color science and ARRICAM eyepiece like ALEXA LF EVF-2
Optimal judgement of focus, dynamic range and color
Stable color balance through temperature-controlled display
Large 4” flip-out monitor shows image or camera menu
Three operation modes: single operator, crew or remote
New flexible and reliable CoaXPress VF cable, up to 10 m/33 ft

Dimensions

The ALEXA Mini LF (left) has the same dimensions and the same mounting points as the ALEXA Mini (right), except for the media bay on the camera left side. Our current prototypes weigh in at 2.6 Kg for the camera body with LPL lens mount and 800 g for the MVF-2 viewfinder.

Power

The ALEXA Mini LF has a voltage input range from 11 V to 34 V. Therefore, it can be easily powered by any 14.4 V on-board battery as well as by 24 V on-board batteries.
The ALEXA Mini LF has a power draw slightly higher than the ALEXA Mini, we estimate currently at around 65 W when recording ARRIRAW at 24 fps with the MVF-2 viewfinder connected. Note: electronic accessories will increase power draw based on the accessories’ power draw.

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URSA MINI PRO 4.6K G2

0504941 — Tue, 02 Jul 2019 11:37:44 +0000

Upping the electronics and recording capabilities of its Mini Pro predecessor, the Blackmagic Design‘s URSA Mini Pro 4.6K G2 Digital Cinema Camera brings expanded control set and even more functionality. The G2 introduces an updated Super 35 4.6K sensor featuring 15 stops of dynamic range at 3200 ISO, high frame rate recording up to 300 fps, and additional recording functionality.

First, the addition of external camera controls allows menus to be accessed to change exposure settings, activate slow/fast motion, or engage focus assist or other functions. The exterior of the camera also gains a monochrome LCD panel which displays essential shooting data at a glance. Another welcome pro feature is the built-in ND (neutral density) filter wheel. The four-position wheel switches between two, four, and six stops of neutral density, plus a clear filter for no exposure reduction.

Behind the display, two SD card slots beside the CFast 2.0 slots enable more affordable media to be used for less intensive recording formats. The G2 introduces a USB-C expansion port so you can record directly to external drives. The default electronic EF lens mount is user-interchangeable and adjustable to ensure proper flange focal distance.

At the heart of the camera is Blackmagic Design’s acclaimed Super 35mm 4.6K sensor block, known for its ability to capture cinematic images with subtle gradients and large dynamic range rated at 15 stops. The G2 can now capture Blackmagic RAW footage in film and extended modes which makes it more versatile to meet your production needs. Probably the most impressive update with the G2 is the ability to capture 4.6K footage at 120 fps, 4K DCI at 150 fps, or even 1080p footage at 300 fps which is well suited for fast-action shooting.

Like the URSA Mini, the URSA Mini Pro G2 can record high-resolution raw sensor data in CinemaDNG format onto CFast 2.0 or SD memory cards at up to 60 fps. The raw files preserve the full dynamic range and color tonality output from the sensor, so you can have greater control over the look in post-production. However, data-heavy uncompressed raw files aren’t always easy to deal with on set so in addition to uncompressed raw recording, the URSA Mini Pro provides compressed raw recording at 3:1 and 4:1 compression ratios to save space while retaining post-production flexibility.

If raw capture is not necessary for your production, the URSA Mini Pro G2 offers ready-to-edit industry standard Apple ProRes files in many different flavors within the 444 and 422 chroma subsampling variations depending on your workflow. The 4.6K, 4K, 3K, 2K, and HD recording resolutions can be captured as ProRes files either using the “Film” dynamic range for a flatter image for grading in post-production, or “Video” dynamic range for a finished look right out of the camera. ProRes can be recorded to either CFast 2.0 or UHS-II SD cards (SD cards top out at UHD 4K; please check the Blackmagic Design website for updated card compatibility and limitations).

Since the form factor of the original URSA Mini has been adhered to, the ergonomic benefits have remained as well. With separately available accessories like the VCT shoulder pad, side handgrip, broadcast battery plate, and EVF, the camera can be kitted out for comfortable shooting over extended periods. For studio-style shooting, the same shoulder pad is compatible with 15mm LWS rods for mounting lens supports for long lenses, follow focuses, lens drive motors, matte boxes, and more.

Built-In ND Filters

The URSA Mini Pro G2 features high-quality neutral density (ND) filters that let you quickly reduce the amount of light entering the camera. The clear, 2-, 4-, and 6-stop filters have been specifically designed to match the color science of the URSA Mini Pro G2 to maintain consistent image quality with minimal color shift. The ND filters conveniently let you use different combinations of aperture and shutter angle to achieve shallower depth of field, or specific levels of motion blur, in a wider range of situations. Additionally, the internal IR filters have been designed to filter both optical and infrared wavelengths evenly to eliminate IR contamination of the images that can be brought about by standard ND filter. A precision mechanism holds the filters and quickly moves them into place when the ND filter dial is turned. Furthermore, the current filter settings can be displayed as an ND number, stop reduction, or fraction on the LCD.

External Control Section: Using a design inspired by classic broadcast cameras, the URSA Mini Pro G2 features a wide array of tactile physical controls with direct access to the most important camera settings. The controls are laid out in a logical order that makes them easy to remember so you’ll be able to adjust camera settings, apply ND filters, and change frame rates without having to look at the buttons, dive into on-screen menus, or take the camera off your shoulder.

External LCD Status Display

The status display is a high-visibility black-and-white LCD screen designed to be easily seen even in bright light. The status display shows record timecode, locked timecode, and reference timecode along with the current shooting frame rate, shutter angle, aperture, white balance, ISO, and iris. It also features a battery indicator, card recording status, and audio meters for monitoring levels. The screen’s backlight can be turned on when you’re shooting in dimly lit locations, and off when you’re shooting outdoors and in bright light to increase contrast, making it easy to read under nearly any shooting condition.

Advanced Image Processing

The URSA Mini Pro 4.6K G2 also uses Blackmagic Design Generation 4 Color Science for superior imaging that results in extremely accurate skin tones and lifelike colors that rival those of cameras costing tens of thousands of dollars more. Blackmagic RAW images are encoded using a custom nonlinear 12-bit space designed to provide the maximum amount of color data and dynamic range. With Blackmagic RAW, customers can choose compression levels up to 12:1 and still get professional-quality images that can be used for feature films, documentaries, and broadcast programming. These formats can be recorded onto CFast or SD cards, as well as direct to flash disks using the USB-C expansion port.

CFast 2.0 and SD Media Support

Two of each CFast 2.0 and SD slots are available for recording media. High-end workflows that require 4K or 4.6K raw recording and high frame rate shooting will take full advantage of the high-bandwidth CFast 2.0 cards. Raw HD and 4K ProRes material can be recorded onto convenient and relatively inexpensive SD cards compatible with the UHS-II standard. Since two of each slot are available, you can keep recording, regardless of format choice.

4.6K Super 35 Sensor

With an effective resolution of 4608 x 2592, the sensor housed inside the URSA Mini Pro G2 can capture motion pictures that have greater-than 4K resolution with a filmlike 15 stops of dynamic range at a very high 3200 ISO. A wide exposure latitude allows for greater control in post, enabling highlight recovery while keeping the shadows clean from artifacting.

The URSA Mini Pro G2 can record the entire sensor at up to 60 fps to fit television or other workflows which require higher frame rates. Using a smaller portion of the sensor, the URSA Mini Pro G2 can also record slow-motion footage at up to 300 fps in 1080p resolution. When recording high frame rates, the URSA Mini Pro G2 will conform captured footage to the set standard frame rate, resulting in smooth footage that doesn’t require post-processing before editing.

Touchscreen Control

In addition to more traditional button-driven menus and the bevy of external controls, the URSA Mini Pro G2 features a fold-out 4″ capacitive touchscreen LCD monitor. Using the easily navigable touchscreen menu, you can see and change all camera settings, view timecode, scopes, audio levels, and focus peaking, as well as add shot metadata with an onscreen keyboard.

Professional Connections

The URSA Mini G2 features multiple connections such as 12G-SDI out, HD-SDI monitoring out, two LANC inputs, balanced XLR audio with phantom power, timecode in, and reference input. On the front right side of the camera, the 4-pin XLR DC and HD-SDI monitoring output are located in the perfect position for connecting to an optional viewfinder or on set monitor. The 12G-SDI output handles up to 2160p60 using a single BNC cable and switches to 6G-SDI or HD-SDI depending on the shooting format

Quality Sound Recording

With high-quality built-in microphones and professional audio recording features, you don’t have to carry around extra sound equipment. You can use the built-in stereo microphone to record natural location sound or connect professional microphones using the two XLR mic inputs. The XLR connections have 48V of switchable phantom power so you can plug shotgun mics or wireless lavalier mics for capturing more detail. You can quickly adjust levels using the physical knobs while monitoring the audio using the onscreen audio meters and headphones.

The post URSA MINI PRO 4.6K G2 appeared first on Utopia.

VENICE

amit — Tue, 13 Nov 2018 12:30:39 +0000

VENICE,

Next generation camera with forward thinking full frame sensor, phenomenal color science and user-friendly operation.

Reliable partner for creativity

VENICE is a cinema camera created by and for the cinematographer. It’s equipped with a newly developed full-frame image sensor meeting the needs of the film industry in pushing the boundaries of large format image capture with exceptional picture quality.

Beautiful image

Satisfied with the current condition? With the wide latitude and gamut recorded by the VENICE, freedom of expression is significantly expanded in grading and based on established workflow.

Simple and intuitive

Usability and reliability of the camera is one of the major concerns for operators especially in tough or time critical filming conditions. With a user-friendly design, clear and simple menu navigation, and a highly durable, reliable construction, using VENICE you can simply concentrate on filming, and not the camera.

Full-Frame sensor for cinema

VENICE features an all-new Full-Frame sensor with the classic 36 x 24mm dimensions that have been a staple of photography for over 100 years. Designed exclusively for high-end cinematography, this sensor can capture images up to a maximum resolution of 6048 x 4032.

Switchable imager modes mean VENICE can support an unprecedented number of cinematic aspect ratios for complete creative freedom:

Full width 36 mm 6K

In full-frame, you can use the full 6048 pixel width of the sensor for 6K imager modes such as 3:2, 2.39:1*, 1.85:1, 17:9 and 16.9*. Equivalent to 4-perforation motion picture film, these 6K modes allow for extra shallow depth of field, super-wide shooting and other creative effects.

Super35 anamorphic 4K

For super wide screen productions, VENICE offers two full height 2x squeeze anamorphic imager modes that include 6:5 and 4:3 recording modes for 12:5 (known as 2.39:1) and 8:3 (2.66:1) scenes respectively.

High Resolution Magnification
High resolution content requires highly precise focus. VENICE offers up to 4.0x Dot-by-Dot magnification of the viewfinder image for superb focus accuracy.

Surround View (Look Around)
Camera operators always appreciate a warning when mic booms or other distractions
threaten to enter the frame. Using Surround View mode, the viewfinder and on-set monitors can display a 5% margin around area being recorded.

NOTE: Surround View is available on 3.8K 16:9, 4K 17:9 and 4K 4:3 imager modes on VF, SDI 3/4 and HD Monitor outputs. Maximum supported frame rates are up to 29.97fps (project) and 48fps (variable).

High/Low Key
This powerful tool makes it easy to attain perfect exposure settings. Simply press the assigned button to cycle from Normal Exposure to 64 EI (Base ISO 500) to 320 EI (Base ISO 2500) and back to Normal on your VF and Monitor.

User 3D LUTs
Customise VENICE to deliver the precise look you desire. Install up to 16 user-generated LUTs (Look Up Tables) or 33 cube files.

Recording time by AXS-A512S48/S24

Depending on the recording clip numbers the time may be shorter than the description

Recording time by SxS Pro+ memory media 128GB

Depending on the recording clip numbers the time may be shorter than the description

The post VENICE appeared first on Utopia.

CAMERA RENTAL Archives - Utopia

ALEXA 35 EXTREME

Pro II Spherical VR 360 8K Camera with FarSight Monitoring

Insta360 Pro II Overview

FarSight Monitoring System

Intuitive Processing & Recording

High-Quality Images

9-Axis Image Stabilization

BURANO 8K Digital Motion Picture Camera

Full-Frame 8.6K CMOS Sensor

ARRI PL and Sony E Mounts

Autofocus

Image Stabilization

Variable ND Filter

Exceptional Latitude

Dual-Base ISO

Versatile Frame Rates

Up to 8K Recording with Multiple Codec Support

X-OCN 16-Bit Original Camera Negative

Viewfinder/LCD

Media Type

Interface, Optional Grip

Lightweight, Compact Form

ARRIFLEX 416 Plus

35 Format Features in a Super 16 Camera

I Can See Clearly Now

Integrated Video Assist

The Sound of Silence

Compact, Lightweight and Fast

The 416 Camera System

Technical Data

VENICE 2 Digital Motion Picture Camera (8K)

Sensor

ALEXA 35

4.6K Super35 ARRI ALEV 4 CMOS Sensor

Video Recording Formats

Stray Light Suppression

High ISO Camera

REVEAL Color Science

Versatile Lens Choices

Full Feature Set in a Compact Form

Interfaces

Dedicated Accessories

24V B-Mount Battery Power

ARRI Tools and Apps

URSA MINI PRO 12K PL-Mount

Features

Rich Film Look with Digital Definition

Super35 12K Sensor Delivers a Cinematic View

Interchangeable PL Lens Mount

Efficient 12-Bit Raw Workflow in 12K with Blackmagic Raw

Two Encoding Methods

Generation 5 Color Science

Flexible, High-Bandwidth Recording Options

ALEXA MINI LF

Large-format sensor in an ALEXA Mini body

Additional new features

Sensor

Recording Formats and Frame Rates

Recording Media

New MVF-2 Viewfinder

Dimensions

Power

URSA MINI PRO 4.6K G2

External Control Section

External LCD Status Display

Advanced Image Processing

CFast 2.0 and SD Media Support

4.6K Super 35 Sensor

Touchscreen Control

Professional Connections

Quality Sound Recording

VENICE

VENICE,

Next generation camera with forward thinking full frame sensor, phenomenal color science and user-friendly operation.

Reliable partner for creativity

Beautiful image

Simple and intuitive

Full-Frame sensor for cinema

Full width 36 mm 6K