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Arri Alexa camera. The Arri Alexa is a digital motion picture camera system developed by Arri. The Arri Alexa was introduced in April 2010 and was Arri's first major transition into digital cinematography, after previous efforts including the Arriflex D-20 and D-21. Alexa cameras are designed to be used in feature films, television shows and ...
The final Arri 765 uses four crystal sync motors, two in the body and two in the magazine, due to the wider and thus heavier film stock. This way it achieves less than 25 dBA at 24 fps. The Arri 765 was used for special effects shots on Alien 3 and certain scenes of Far and Away (both 1992). [ 2 ]
Arri Group (/ ˈ ær i /) (stylized as "ARRI") is a German manufacturer of motion picture film equipment. Based in Munich , the company was founded in 1917. [ 3 ] It produces professional motion picture cameras, lenses, lighting and post-production equipment.
Arriflex 435ES. Arri debuted two models of the 435 in 1995: the 435 and 435ES. The latter is suffixed ES to denote electronic shutter capabilities; this means that the shutter angle is able to be continuously electronically adjusted, even while the camera is running, and set to any angle within a specific range (11.2° to 180°) to a great deal of precision (0.1°).
[107] [108] Director of photography Newton Thomas Sigel was asked about using Arri Alexa-M cameras; he said, "For Bryan and myself, the Alexa has been almost the gateway to getting the look we like in film". Sigel added that the Arri Alexa-M camera's small size was a big advantage to the film's main unit, which carried three 3D rigs.
The Arriflex 16SR is a motion picture camera product line created by Arri, introduced in 1975. This 16SR camera series is designed for 16 mm filmmaking in Standard 16 format. 'SR' Stands for Silent Reflex. In 1982, Arri released the 16SR2, for improved function over the previous version, e.g. lower operational noise level.
Furmanski filmed Good Boys with Arri Alexa SXT and Alexa Mini cameras equipped with Arri Master Anamorphic lenses. The 2.39:1 anamorphic aspect ratio was used to achieve the wide scope of the film; Furmanski explained the Master Anamorphics were "the perfect choice: a big look, great contrast and color rendition, lovely depth and separation ...
While many cameras come with a built-in EVF, this is fixed in place and can only be used while holding the camera to the user's eye, which may not be convenient. Other cameras don't come with an EVF at all, or come with a low quality one. It is sometimes possible to get a separate, attachable EVF to use in these cases. [3]