8-PAGE OSCAR SPECIAL INSIDE BEST PICTURE AND BEST CINEMATOGRAPHY AWARDS
March 2019
£4.99
“PATIENCE, TALENT, LUCK AND INTUITION”
Robert Richardson interview BSC EXPO GEAR REVIEW ALFRED PIFFL OBITUARY EXCLUSIVE 4K CAMERA LISTING
SEXED Netflix meets the teenager
BSC EXPO REVIEW
The acquisition trade show
DYSFUNCTIONAL SUPERHEROES Get into The Umbrella Academy
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W E LC O M E
BRIGHT PUBLISHING LTD, BRIGHT HOUSE, 82 HIGH STREET, SAWSTON, CAMBRIDGESHIRE CB22 3HJ UK
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EDITORIAL Editor Julian Mitchell 01223 492246 julianmitchell@bright-publishing.com Features writer Chelsea Fearnley Contributor Madelyn Most Chief sub editor Beth Fletcher Senior sub editor Siobhan Godwood Sub editor Felicity Evans Junior sub editor Elisha Young ADVERTISING Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com Sales manager Krishan Parmar 01223 499462 krishanparmar@bright-publishing.com Key accounts Nicki Mills 01223 499457 nickimills@bright-publishing.com DESIGN Design director Andy Jennings Designer Lucy Woolcomb Senior designer & production manager Flo Thomas Ad production Man-Wai Wong PUBLISHING Managing directors Andy Brogden & Matt Pluck SOCIAL MEDIA Facebook @definitionmagazine Twitter @definitionmags Instagram @definitionmags
WELCOME
T
here are a few new directions that Definition are navigating at the moment. We’re all about recording the details of production, and traditionally we have concentrated on the international drama side; with good reason, due to the huge boom in this area over the last few years. But we’ve often watched with envious eyes other programme genres such as sports, reality and commercials. So from this issue on you will see more coverage in these areas. We will be cherrypicking the most interesting stories, which are usually the biggest productions – especially in sports and reality. For commercials there is also a recognition of the increasing role of film in this area. That resurgence will also explain new film-based stories and features starting very soon in the magazine. Additionally we are paying more attention to awards, which are many and varied in our industry. If you’re free of cynicism they do represent the pinnacle of performance, craft and technology. It also explains our For your consideration Oscar special in this issue and our Bafta coverage in this and last month’s issue.
MEDIA PARTNERS & SUPPORTERS OF
JULIAN MITCHELL EDITOR
Definition is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Definition is a registered trademark of Bright Publishing Ltd. The advertisements published in Definition that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted in sterling, euros and US dollars are street prices, without tax, where available or converted using the exchange rate on the day the magazine went to press.
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WHAT WOULD CHIVO DO?
© 2019 Netflix
Director and cinematographer of Roma, Alfonso Cuarón, won the 2019 BAFTA for Best Cinematography as his usual DOP, Emmanuel Lubezki or ‘Chivo’, was not available. In his acceptance speech Alfonso admitted that he got through the cinematography duties by imagining ‘what Chivo would do’. Chivo had started prepping the film and indeed Alfonso had written the film thinking of him shooting it, but unfortunately there were days added to the making of the film which made it impossible for Chivo to be part of it. “I was clear that I didn’t want to shoot on film,” says Cuarón. “I love film, but being in black & white I was afraid that it would give a nostalgic element to the look. I wanted the most contemporary tools that were available, which is the Arri Alexa 65 camera; so no grain, with amazing resolution, great dynamic range and very wide lenses.”
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D R A M A | F O R YO U R CO N S I D E R AT I O N
FOR CONSID W O R D S & P I C T U R E S VA R I O U S
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F O R YO U R CO N S I D E R AT I O N | D R A M A
YOUR ER ATION With the other movie awards brushed under the (red) carpet, we take a look at the film and cinematography awards at this year’s Oscars
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D R A M A | S E X E D U C AT I O N
IT’S BEEN EMOTIONAL Netflix’s Sex Education is a huge production with multiple set-ups, magnetic casting and a new camera. We talk to DOP Jamie Cairney Q U E S T I O N S J U L I A N M I TC H E L L / P I C T U R E S N E T F L I X
DEFINITION: With so much episodic shooting happening, how did you want to make this show different? What was your plan or aesthetic from pre-production? JAMIE CAIRNEY: As with all my projects, I don’t start with time, money or kit; I have to be led by the script. I need to feel some kind of connection with the story and the characters and, importantly, I need to believe it. The quality of Laurie Nunn’s writing and the depth to the characters made for a quick first read and the images formed quickly. I realised straight away: I have to shoot this! The icing on the cake was that Ben Taylor would be directing, who I’ve worked with many times. Ben always pushes for the best and this is one of the reasons we get on so well. We spent a lot of time talking about
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what the look of the show would be. A key point for Ben was the idea of bringing an American high-school-film feel to the UK, but at the same time creating a sense the show could be set anywhere and at any time in the last 30 years. This led us to several references. First, John Hughes – in particular an old favourite of ours, The Breakfast Club. Hughes shaped the cast and photographed them in such a way that everyone in the audience couldn’t fail to feel a connection with all the characters on some level. It’s like the camera was the unseen member of the group of misfits; one minute you’d be laughing with them, the next, crying. It was really important for Ben that we treat the characters of Sex Education in a similar way. Another important reference for us was Dazed and Confused. Both of us always loved
this film and we watched a very clean version together that looked like it was shot yesterday. If Mr Linklater has watched our show, I hope he can see his influence! We were certainly inspired by the colour palette and costumes in his film. Finally, with production designer Sam Harley, we spent lots of time enjoying Venetia Scott’s splendid photography. DEF: How did you feel about using
the new Sony Venice? Can you tell us what you got from the Venice and how it performed? JC: Being Netflix, this show was always going to be digital. I like to think of myself as ‘format agnostic’ in that I always take time to choose the right system for the job and happily flit between film and digital cameras. Obviously, whatever system and workflow we ultimately used would
S E X E D U C AT I O N | D R A M A
It’s like the camera was the unseen member of the group of misfits
have to be approved by and adhere to the uncompromising Netflix standards. Some people bemoan this because it means they can’t use the most ubiquitous digital camera in the world, but I agree with the stance Netflix has taken – it has its eyes on the future, not the past. There were several obvious options available to me. Ben, Sam and I had already started detailed conversations regarding colour, and I knew I needed something able to handle the wide, slightly unusual gamut we were moving towards. This is where Sony stepped in: it offered me an opportunity to extensively test the Venice when there were only about three or four of them in existence! I was slightly sceptical, as I’m not a fan of the F55, but I have been very impressed with everything shot on the F65 – especially Rob Hardy’s work on Ex Machina. Sony was touting the
Venice as an evolution of the F65, so I was keen to try it. Richard Lewis and Pablo Soriano at Sony UK were incredibly generous with their time and knowledge – these guys were pivotal to the camera’s development and let me do everything I could to try and ‘break’ the camera, then I graded the results with Pablo using DaVinci Resolve. Everyone knows Pablo is the absolute master of colour and I was pleasantly surprised by how easily he achieved nice pictures with just basic primaries applied. First impressions are important, right? DEF: Can you explain how you tested
the camera?
JC: With a bit more time and work,
Pablo showed me just how good the dynamic range of the camera is. While still not as good as film, in my tests it proved to be better than other digital systems. Of most interest was the 16-bit colour reproduction, which is far superior to any other system and extremely sensitive to the nuance of the colours we were putting in front of it. Basically, it seemed to be behaving like film transparency with colour, and a bit like film negative with shadow and highlight detail. Although the camera has a 6K FullFrame sensor, I was more interested in capturing in 4K. The bonus was, in this mode, Venice allows the use of any 35mm lens out there. I didn’t need expensive and scarce large format lenses or unusual mounts. I could pick up anything PL and pop it on. This opened up all the lens options in the world and, using the X-OCN ST codec, kept the data far more manageable than any other system shooting Raw at this resolution. Further testing continued in prep, where IMAGES References came from American High School classics like The Breakfast Club
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A DV E R T I S E M E N T F E AT U R E | C A N O N
BIG FORMAT, BEAUTIFUL FILM
The Canon Cinema EOS C700 FF full-frame camera is the big brother to the C700 and – as DOP Brett Danton shows us – more than lives up to its large title
BRETT DANTON HAS BEEN CAPTURING the stories for some of the world’s most iconic brands for more than 20 years. Artistry and creativity sit at the heart of everything he does, and when he was called on an assignment for Chevrolet – to stir up excitement around the new Corvette Stingray – he knew his Canon EOS C700 FF would help him achieve that. “It was more of a beauty piece on the car,” says Danton. If you’ve not seen the commercial, picture this: the commercial opens with a vista of the Dubai desert, showing its vast emptiness. As the camera glides over its sandy peaks, it finds a road, the Corvette Stingray driving along it. The car is then followed, with interchanging perspectives, on its effortless journey through the desert.
ALTERING ANGLES “I used quite an interesting piece of gear to get the different angles,” says Brett. “It’s a crane called the takeaway Russian Arm, which is from Germany, and it will mount on top of pretty much any car.” Brett used his Canon EOS C700 FF, the latest upgrade on the C700, atop the crane. “The C700 FF is a great camera and it shoots 5.9K,” says Brett. “You can shoot 5.9K Raw, or – which is what I did on the shoot – you can downscale the 5.9K to 4K using XF-AVC, which is really nice because you get the full width of the sensor, but as a 4K file. It can handle file sizes really well. I used a 256GB memory card and it gave me 72 minutes of record time.” Brett used his Canon EOS C200 for all the aerial shots. “It was nice mixing the two cameras together. I see them as an A and a B camera. The C200 is small, more compact,
so it’s great for any drone or gimbal stuff. The C700 FF is much bigger, it’s your bulletproof camera,” he says. The Canon EOS C200 and C700 FF support an easier editing workflow. “I edited all the Raw files, the C200 files and the XF-AVC files, in Adobe Premiere Pro CC,” explains Brett. “I kept it very straightforward, I didn’t bother with the proxy workflow, because the cameras enabled me to do it natively. Both files were taken to Baselight to be graded and the final piece was assembled in Flame. “It was all very simple,” he says. “I shoot a lot with my C700 FF and do my editing in Premiere, and it always reads really well.”
ABOVE Brett Danton used the Canon Cinema EOS C700 FF to shoot in 5.9K, but it can be downscaled to 4K to help with file sizes
HANDLING THE HEAT The commercial was shot in the middle of the desert in 45-degree heat. “It was
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“The cameras a local crew were using shut down. It was a good job we had Canon” pretty full-on, but it was a good test for the gear,” says Brett. “The local crew told us that they were working in the desert on another shoot, just a week before ours, and the cameras they were using shut down straightaway. They said it was a good job we had Canon.” “Timo, a member of my team, was operating the Russian Arm and placed a sensor in the crane. On one of the days, it picked up 55 degrees Celsius. It was actually while we were shooting some four-wheel drive stuff, which never made it into the commercial, because it didn’t fit into the storyline,” explains Brett. “And the sand, I mean, you’ve seen the footage, it was so fine – almost like talcum powder. We’re still trying to get it out of the tripods!” He adds: “If you’re going to test gear, going out into the desert is a good way to do it.”
C A N O N | A DV E R T I S E M E N T F E AT U R E
FULL-FRAME EFFECT Brett uses Canon prime glass. He shot most of the commercial on his C700 FF using the 35mm lens, but the aerials were shot on his C200 using the 14mm lens. “I love that lens for aerials,” he says. “It’s got very straight verticals, it doesn’t bend at all at the sides and it was great for shooting big scenery.” “I wanted to get the landscape. As much as I love tight shots and drop-out focus, I wanted to capture the feeling of being in the desert, in the middle of nowhere. That’s what the Canon prime 14mm lens got us and it works nicely with the car.”
Brett comes from a stills background and, like a lot of photographers, is a lover of the full-frame effect. “I know full-frame is a bit in vogue right now, but I do think it gives you differentiation in your imagery,” he says. “Talking mathematically, you’re supposed to be able to take a Super35 format and make it look full-frame by playing with the depth-of-field. “I used to shoot 10:8, 5:4, 1:20 35mm stills and there’s just something about that bigger format that makes the images have a beautiful look about them. I think it’s the same with motion and full-frame.”
IMAGES The full-frame format gave the background gorgeous drop-off bokeh
Brett concludes: “The full-frame format on the Canon EOS C700 FF gave the background this gorgeous drop-off bokeh and the car separated off from it nicely. It has this milky, almost dream-like look about it and it works really well for the commercial. I didn’t do much to it in post, it’s just how the file is.”
MORE INFORMATION:
Visit canon.co.uk/pro
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SCHOOL FOR SCANDAL
The Umbrella Academy fits the genre that Netflix is most known for, the near future or parallel sci-fi narrative W O R D S J U L I A N M I TC H E L L / P I C T U R E S N E T F L I X
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n Definition we have followed the career of DOP Neville Kidd from his turn on BBC’s Sherlock to his Netflix work on Travelers and Altered Carbon. Now he has shared cinematography duties on The Umbrella Academy – Fargo’s Craig Wrobleski was the other DOP – currently streaming on Netflix. When we caught up with Neville he was busy shooting Steven Spielberg’s Amazing Stories in Atlanta for the new Apple streaming service that is rumoured to be arriving later this year.
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ACADEMY NEWS Steve Blackman acted as Executive Producer and writer on The Umbrella Academy and was also the show runner; continuing the Fargo connection, Steve also worked on Altered Carbon and Fargo. The new series is based on the popular, Eisner award-winning comics and graphic novels of the same name created and written by Gerard Way (My Chemical Romance), illustrated by Gabriel Bá, and published by Dark Horse Comics. The liveaction series follows the estranged members of a dysfunctional family of superheroes,
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The show was made in the huge Kipling Avenue studio, which is part of Cinespace Film Studios in Toronto The Umbrella Academy – Luther, Diego, Allison, Vanya, Klaus and Number Five – as they work together to solve their father Reginald Hargreeves’ mysterious death, while coming apart at the seams due to their divergent personalities and abilities. The show was made in the huge Kipling Avenue studio, which is part of Cinespace Studios in Toronto, where shows like Handmaid’s Tale and Titans were shot. Kipling is another post-industrial conversion, this time from an old glass factory, one of many studios in Toronto to house the huge explosion of production in the city.
BLACK HUMOUR If you have watched Fargo you’ll know that black humour wrapped up the violence, almost sanitising it, but not quite; Steve Blackman was a writer on Fargo and brings that same humour to this new show. Neville sets the scene: “Gerard Way from My Chemical Romance wrote the novel about 20 years ago and it became a cult classic in the US. Steve explained to me that they wanted to keep it very ‘Wes Anderson’ but in my head it’s more like Wes Anderson meets Battle Royale but with the Fargo dark humour. “Visually we wanted to give it that Wes Anderson spin because of the dysfunctional family angle. But we wanted to adjust that and give it our own aesthetics. It’s a VFXheavy show with one of the main characters, called Pogo, being a CG chimp. Weta Digital
was brought in to produce the chimp and it was great to work with them to get the realism of Pogo (see our Pogo panel on page 46 to find out more about the character building). It was amazing to see Pogo come alive when Weta showed us the first demo. “Weta took our lighting cues and then replicated them in post; if there was any confusion they would come back to us and ask what were we thinking at any particular scene, for instance if we wanted more light in the eyes at that point or wanted to take light away from the eyes. Any time there was any doubts you would just speak to them about it.” In planning, the Weta team described what requirements they needed from the DOPs Neville and Craig; for instance the witness cameras had to be in 4K to capture a high enough resolution. “We started on Sony F5 cameras to be run either side, giving us full-length actor shots so they could apply that to the chimp character they were making.” This was the first Netflix show that Weta had worked on. They brought their experience of working on Planet of the Apes to the character. To get this level of movie VFX expertise on Netflix shows how attractive the streaming services have become to predominately movie-only VFX houses.
ALTERED CARBON – SAME AGAIN Fresh from shooting the Netflix show Altered Carbon, Neville wanted to use the same cameras-and-lens combination. This meant
ABOVE The Umbrella Academy uses techniques of black humour mixed in with violence
that all his experimentation with the Arri Alexa 65 on that show would help with this one. “We wanted to have that same look and luckily Arri was happy to do a deal with the Alexa 65 for us to use that camera again. The great thing was that we started off using the Alexa Mini as our C camera and then the LF camera came out, so for the last half of the show we were filming with two Alexa 65s and an LF. “I think we were the first show to combine the 65s and the new LF. Arri came out and looked at what we were doing with the two cameras so it was great working in collaboration with them for what helps us with the LF; the LF is a fantastic camera as well as the 65. “It has a slightly smaller sensor than the 65 but it punches above its weight. We
IMAGES The show follows a dysfunctional family of superheroes through a series of (mis)adventures
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F E AT U R E | R O B E R T R I C H A R DS O N I N T E R V I E W
FILM ADDICT
AS HE CELEBRATES HIS LIFETIME ACHIEVEMENT AWARD FROM THE ASC WE FIND OUT WHAT MAKES ROBERT RICHARDSON TICK W O R D S M A D E LY N M O S T A N D J A N A H OJ D OVA / P I C T U R E S R O B E R T R I C H A R D S O N
O
n Saturday 9 February, 2019, the American Society of Cinematographers celebrated their 100th anniversary and presented the 33rd annual ASC awards for Outstanding Achievement in Cinematography, 2018, at the Dolby Ballroom in Hollywood, Los Angeles, California. The Lifetime Achievement Award was presented to Robert Richardson, and it was Quentin Tarantino who gave a gracious, effusive and touching introduction while presenting the award to the person he calls ‘his brother’, his soul mate, his marital partner. “We have towels in my bathroom with my initials on them and his initials on them as well,” QT giggled. As they embraced on stage, a soft voice revealing nerves and unease began.
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“It has taken many decades to stand before you now. The journey is as much about survival as it is about success. I stand here with 100 years of history and 33 years of celebration for what many of you in this audience call work, some call craft and some call art. For 100 years this distinguished body has helped make it possible for dreamers like me to have a profession, to be part of its growth, and to share with fellow artists the joys and benefits of living and working in a magnificent and creative profession. My life has been crowded with the kindness of so many people. I speak about both those you would recognize and the memories of those long gone but not forgotten. It is not possible to name all those who ghost with us – or have taught us by example – or who live amongst us and push us to create at a higher
R O B E R T R I C H A R DS O N I N T E R V I E W | F E AT U R E
level – but they are here with us. I wish to dedicate this award to those before and those who are here and those who will lead us in the future. This is an unexpected and a treasured award that needs to be shared with you and with them. I also wish to thank my lovely family who are here tonight – my four daughters, Kanchan, Maya, BB, Madeleine and my ex-wife Monona who have all supported me through both the good, the bad and the sometimes ugly. I have been fortunate to have worked with an incredible crew throughout my career, thank you Chris Centrella, Ian Kincaid and Gregor Tavenner for a lifetime of support, and I have been blessed with working with great directors – one of whom just spoke – thank you Quentin for your love and your brilliance – I treasure our relationship. As Godard once said, art attracts us only by what it reveals of our most secret self. Thank you ASC for such a distinguished honour.”
LEFT Robert and Scorsese on the set of Hugo; BELOW Robert with a crane, his favourite piece of gear; RIGHT with Scorsese and Jagger
THREE IS THE MAGIC NUMBER Of the three cinematographers in the entire world to receive three Academy Awards in their career, Richardson is the only American. His first Oscar was in 1992 for JFK with director Oliver Stone, the second
and third were both with director Martin Scorsese, in 2004 for The Aviator, and in 2012 for Hugo. Only Italy’s Vittorio Storaro and Mexico’s Emmanuel Lubezki have received such honour and distinction. Richardson said he is very proud of his latest film with Matthew Heineman about the life of Marie Colvin. On 31 January 2019, the Assad regime was found liable for war correspondent Marie Colvin’s targeted death in a landmark $300 million US lawsuit. Richardson collaborated with documentary director Matthew Heineman in 2018 on A Private War, his fictionalised version of the life and times of Marie Colvin that won critical acclaim. He expresses deep sadness “that it didn’t get much airplay. The audiences simply did not turn up. I can not fathom why. I sense that A Private War has more of a European sensibility. That, in these dark times, a US audience is not interested in that which is difficult to watch.”
UPBRINGING Richardson describes his childhood as an idyllic world ‘of land and sea’ growing up in Cape Cod, Massachusetts, where he enjoyed ‘freedom and adventure’ at the family-
I stand here with 100 years of history and 33 years of celebration for what many of you in this audience call work
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USER REVIEW | SONNET EGFX
OUTSOURCE YOUR POWER PRICE £380/$380
Attaching external GPUs to Thunderbolt 3-laden computers is exciting the big renderers – and for good reason W O R D S J U L I A N M I TC H E L L
ver since we can remember, post houses wanted to present to their clients a kind of ‘thin client’ arrangement where the workstations were minimised and all that could be seen was a screen and a keyboard. The cloud has seduced many into thinking that rendering in the cloud is the answer, but it’s not for all jobs. You can even get workstations in the cloud, but many believe rendering on the premises is just as important. Imagine grading a 4K HDR job relying on cloud access – you’d be waiting a while for your media to appear. Recently, Apple confirmed that its macOS 10.13.4 beta now supports a hot plug-in of eGPUs. This means no more difficulties in attaching hugely efficient GPUs to its computers – even the correct model name of the external GPU will be recognised. That announcement set companies, such as Sonnet, on to developing breakaway or breakout cages that would use Thunderbolt 3 to feed Macs and Windows machines
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“WORKING WITH THE EGFX 650 IS EASIER STILL IF YOUR AMD CARD HAS BEEN PRE-INSTALLED” with a huge leap in GPU power – post’s vision of a smaller computer footprint looked nearer than before.
LEFT The Sonnet eGFX 650 can host some powerful cards
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SONNET EGFX 650 Sonnet’s Thunderbolt 3 to PCIe expansion chassis can host some mighty powerful cards in its PCIe full-length card slot. AMD cards, such as the latest 9100, but also more specific cards for pro video and audio, such as Red’s Rocket-X and Avid’s Pro Tools | HDX, the breakaway box’s single Thunderbolt 3 connection gives you a huge 2750 MB/s of available bandwidth to work with. Depending on the model of your Mac, you can have more than one breakaway model connected to your system. For instance, the new iMac Pro has four Thunderbolt 3 ports and is already configurable to host AMD’s Radeon Pro Vega 64. In fact, Sonnet was showing on its stand at last year’s NAB that two of its eGFX 650s, both with
AMD WX9100s on board, were accelerating the iMac by a factor of three times. A similar eGFX 650, again with the AMD 9100, was accelerating a normal MacBook Pro computer by a factor of seven times.
PICK YOUR CARD Working with the eGFX 650 is quite easy, and easier still if your AMD card has been pre-installed. The enclosure will power your card, and with its 87W of power will more than power your laptop. There is a huge and very silent fan to cool your power-hungry card, as well. As usual, Sonnet is very quick to respond to this growing outsource GPU market. You may have to source your card yourself as there are fluctuations in the GPU card market, so look around for your favourite. The eGFX enclosure itself is £380 and also around $380, and it works superbly well. Just make sure you have the correct OS version loaded on your device.
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4 K C A M E R A LI S T I N G S
DEFINITION’S 4K CAMERA LIST We’ve decided to take the brakes off the list as far as capture resolution is concerned. Now our starting point is 4K; after that the sky’s the limit
ARRI ALEXA LF 90FPS
14 + STOPS
LPL MOUNT
4448X3096
ARRI ALEXA MINI
SXS/SXR
ARRI’s long awaited large format camera arrives with a package of camera, new lens mount and new Signature lenses. Expect plenty of use by Netflix. Sensor tech is still the ALEV-III technology with big photosites.
SPECIFICATION
200FPS
14 STOPS
PL MOUNT
2880X1620
SXS
New features include the EXT Sync function, which allows sensors and operational parameters of up to 15 ALEXA Minis to be synchronised to a master ALEXA Mini. Slaves can assume parameters like frame rate, shutter angle or ND setup of the master.
SPECIFICATION
SENSOR – FORMAT AND SIZE
CMOS, 36.70x25.54 mm - 4448x3096, ø 44.71 mm
SENSOR – FORMAT AND SIZE
CMOS, 16:9 (1.78:1), 23.8x13.4mm – S35
FRAME RATES
ARRIRAW: 0.75 - 90fps ProRes: 0.75 – 60fps
FRAME RATES
Up to 200fps in ProRes
LATITUDE (STOPS)
14+
LATITUDE (STOPS)
14
LENS MOUNT
LPL with PL-to-LPL adapter
LENS MOUNT
PL, EF, B4 w/ Hirose connector
EXPOSURE INDEX
EI 800
DIGITAL SAMPLING
2880x1620, uncompressed ARRIRAW/1920x1080
RECORDED BIT DEPTH FORMAT AND TIME
16 bit linear ALEXA Wide Gamut/Log C colour space. Output colour spaces: Log C, Rec 709 or Rec 2020
RECORDED BIT DEPTH FORMAT AND TIME
3.2K: 3200x1800; 4K UHD: 3840x2160 (up-sampled from 3.2K); 4:3 2.8K: 2880x2160 (up to 2944x2160)
RECORDING RESOLUTIONS
Sensor modes – LF Open Gate 4448x3096; LF 16:9 3840x2160; LF 2.39:1 4448x1856
WEIGHT (KG)
2.3 (camera body with titanium PL lens mount)
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4 K C A M E R A LI S T I N G S
ARRI ALEXA SXT EV 120FPS
14 STOPS
PL MOUNT
2880X2160
ARRI ALEXA SXT W
SXS/SXR
120FPS
> 14 STOPS
PL MOUNT
2880X1620
SXS
SXT ALEXAs get the sensor from ALEXA, the electronics from the A65 and the colour management from AMIRA. In-camera rec is ProRes 4K UHD/CINE. A direct response to requests for cutting-edge digital capture with traditional elements of the film cameras.
Based on the ALEXA SXT Plus, the SXT W has replaced the SXT Plus and Studio models with an industrial version of the Amimon chipset for wireless transmission. ARRI has ruggedised the W mainly for feature work.
SPECIFICATION
SPECIFICATION
SENSOR – FORMAT AND SIZE
16:9 or 4:3 sensor mode. 4:3 output only for ARRIRAW and ProRes 2K recording
SENSOR – FORMAT AND SIZE
16:9 or 4:3 sensor mode. 4:3 output only available for ARRIRAW and ProRes 2K recording
FRAME RATES
At 16:9 – 0.75-120fps/60fps max when recording 2K ProRes/ speeds adjustable with 1/1000fps precision
FRAME RATES
At 16:9 – 0.75–120fps/60fps max when recording 2K ProRes/speeds
LATITUDE (STOPS)
14+
LATITUDE (STOPS)
+14
LENS MOUNT
PL
LENS MOUNT
54 mm stainless steel LDS PL mount
DIGITAL SAMPLING
2880x2160 uncompressed ARRIRAW
DIGITAL SAMPLING
2880x1620, Uncompressed ARRIRAW/1920x1080
RECORDED BIT DEPTH FORMAT AND TIME
SxS PRO 64GB; SxS PRO+ 64GB; SxS PRO+ 128GB; LEXAR 3600x CFast 2.0 cards 256GB; XR Capture Drives 512GB; SXR Capture Drives 1TB & 2TB
RECORDED BIT DEPTH FORMAT AND TIME
16-bit linear internal image processing in full ALEXA Wide Gamut/Log C colour space. Target output colour spaces: Log C, Rec. 709 or Rec. 2020
WEIGHT (KG)
6.5 (SXT EV body with PL mount)
ARRI ALEXA 65 60FPS
> 14 STOPS
XPL MOUNT
6560X3100
ARRI AMIRA
SXR/XR
With a sensor larger than a 5-perf 65mm film frame, ALEXA 65 heralded the start of large-format. Now shooting as a main production camera for Netflix, Amazon and the rest. Only available exclusively through Arri’s global network of rental facilities.
SPECIFICATION
200FPS
14 STOPS
PL MOUNT
2880X1620
CFAST
Amira is now split up into standard, advanced and premium. Features include in-camera grading with preloaded 3D LUTs, as well as 200fps slow motion. From reportage and corporate films to TV drama and low-budget movies. Multicam mode too.
SPECIFICATION
SENSOR – FORMAT AND SIZE
ARRI A3X CMOS sensor, 54.12x25.58mm active image area open gate aspect ratio of 2.11:1 (6560x3100)
SENSOR – FORMAT AND SIZE
Single CMOS, 16:9 (1.78:1), 28.17x18.3mm – 35 format
FRAME RATES
Capable of recording 20-60fps (open gate) using new SXR media. XR drives allow 27fps
FRAME RATES
Up to 200fps in ProRes
LATITUDE (STOPS)
14+
LATITUDE (STOPS)
14
LENS MOUNT
XPL (LDS); LPL; MAXI PL; PL
LENS MOUNT
PL, B4 mount w/ Hirose connector
Crop modes – 1.78 Crop Mode (5-perf 65 mm): 5120x2880 /1.50 Crop Mode (8-perf 35 mm): 4320x2880/LF open gate: 4448x3096/4K UHD: 3840x2160 (SUP 3.0 update)
DIGITAL SAMPLING
2880x1620, uncompressed ARRIRAW/1920x1080
DIGITAL SAMPLING
RECORDED BIT DEPTH FORMAT AND TIME
HD 1920x1080, 2K 2048x1152, 3.2K ProRes 3200x1800 4K UHD 3840x2160
RECORDED BIT DEPTH FORMAT AND TIME
Codex SXR Capture Drive 2000 GByte capacity Max. frame rate capability: 60fps (open gate). Recording time: 43 minutes at 24fps
WEIGHT (KG)
4.1 (camera body with PL lens mount)
M A R C H 20 1 9 | D E F I N I T I O N
59