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Well we have a new camera player against the RED for Movi, drone and even 3D potentially. All I’ll say is its £25k, poor camera guys. What we care about is how to get sound and timecode in the bloody thing. Had the chance to play with one (and a prototype running Amira software) and here we are. Being just a body they have kept things very tight. First let me say the fans are as low as the Alexa but exposed like the RED, again because of the small body. It even goes into a “quiet mode” when recording. I was yet to get out of them if it would slowly get louder or how it prevents overheating. The timecode is like the Amira, BNC. So nice and easy for most. No talk of their own Ambient quality timecode but I’m sure they haven’t compromised, but then I am a fan of the camera so to speak. The Arri Alexa Mini Audio Settings are interesting. I picked up the prototype and it said 4 tracks on the menu, this I discovered was just the Amira menu encoded in the camera to show it working. The actual camera has a 5pin lemo as a line in stereo feed for audio and they say they will not be shipping specific cables because of the extra cost of stocking them etc… so I have made sure I have them in my sound store so people will have access to them. All in all, whether it’s 3D, drone, M or even a cheaper rig as a multi purpose unit I think we will all get along with it fine. Coming to the market this late is for a reason, proper build quality. That’s what there name stands for in the industry and I’m sure they are not in a hurrah to throw that out the window anytime soon. Till next time, Matt Price Location Sound Mixer London - See more at: http://soundrolling.com/camera-audio/arri-alexa-mini-audio-settings/#sthash.r46howsG.dpuf
Mounting a Zaxcom RX on an Arri AmiraI'm looking to find a means to mount my Zaxcom RX900 camera hop onto an Amira. I know there is a mount coming out to attach a slot in RX (SRb etc) to the battery plate, but nothing as far as I know for the Zaxcom. What I'm ideally looking for is to mount a plate via the 3 screw holes just above the XLR inputs (see pic). I believe Hawk Woods have made custom mounts in the UK, but I'm LA based and ideally need something by the end of the week. I spoke to Mike at BEC this morning and he has some great ideas for an "L" shaped plate that will attach to the standard BEC zaxcom box, and that would be an ideal solution, but it's going to take him 3 weeks. I already have saddle bags, cold shoe mounts, etc, etc, but it'd be great to find a neater solution. No luck with the usual suspects (Trew, Location, etc) here, so any ideas would be welcome!!
I just wrapped a project involving the Arri Amira Camera with Zaxcom QRX200, QRX235 and the wideband transmitters. I was not happy with the Zaxcom units at first thinking they were not as good as the old units then i was quick to realize that the issue was with the Arri Amira Camera! The camera puts out a ton of RF energy and desensitized all my receivers and my sound persons units. I was wondering if others have had this same experience. I have been digging around for some white papers but have not found any. If any of the sound shops want to borrow my arri amira to create one feel free to reach out. I am currently in the Brooklyn, NY area. Maybe there are filters i can put on the antennas that help? would love to hear your thoughts! thanks guys!
Can a digital camera tc drift WHILE rolling?
MartinTheMixer posted a topic in EquipmentHello all, my question is this. Can a digital tc camera, let's pick Red Dragon, or Weapon, tc drift after the record button has been pushed and before the stop button is pushed? So if you are on 25fps, for easier math, then frame 1 gets stamped 0, is there any way for frame 3 to get stamped something other than 74? And yes, I have searched this. If you know of a link that answers this question, please post it. Thank you. If you need to increase the roll time to an hour for discussion purposes, that's fine.
Timecode and Sync Tutorials
TimoK posted a topic in Manufacturers & DealersDear sound community, As timecode and sync technology is our passion, for many years we wanted to develop easily accessible, short-subject educational videos that break down and explain these modern production elements. Ambient University provides the information and instruction for low budget productions as well as the most sophisticated setups all around the world. Our videos about timecode and synchronization provide in-depth background information, while other videos demonstrate how to use that knowledge in the field. This video library includes step-by-step tutorial videos illustrating external timecode and sync distribution setups with the most commonly used cameras from ARRI, RED, Sony, Panasonic, Canon, etc. Our goal is to continuously develop and update the channel to provide the most comprehensive pool of knowledge on this topic – that's always available in your pocket. We hope you like it and of course are open for new video suggestions.
Amira has 5 channels of audio?
Brian Liston posted a topic in Cameras... love them, hate themI've worked on Amirs before and haven't run into this problem. It is embedding 5 tracks of audio in every clip. I have been through every setting on the camera, and made sure to turn off channels 3 and 4 and still there are blank channels being recorded. So the merges in Da Vinci are crashing. While The BM folks have actually acknowledged that they have a merge/crash problem, we don't know if the above "5 tracks" problem is the cause. However, I'm guessing it is. They said they will get back to me...eventually...after the 5 day shoot is over I'm sure... I have confirmed the 5 track in each clip issue in multiple programs (Premiere, Da Vinci and FCP-X). It happens with 4 tracks or 2 tracks enabled on the camera.
Syncing Timecode with ARRIs and a 552
xStix99x posted a topic in General DiscussionI've looked and read through many different forums and websites trying to get a straight answer, but I'm not 100% clear on what I need. Here is the situation: I have a multicam interview shoot with one ARRI Alexa and one ARRI Amira. They want timecode to be synced between cameras and the sound recorder without being tethered. I am recording on a Sound Devices 552 mixer which doesn't generate timecode. What I need is a straight forward explanation of what I need to rent to make this happen and how to set it up. Does anyone have any input? As a side note, I do NOT want to record timecode through XLR, I want to use the TA3F Connector so it timestamps the audio file. I've never had to sync timecode before, so talk to me as if I'm a complete moron in the matter. PLEASE any thoughts and references would be much appreciated.
ARRI Alexa 65
VASI posted a topic in Cameras... love them, hate themARRI Rental proudly introduces the ALEXA 65 system, available exclusively through its global network of rental facilities. Offering a complete large-format solution for high-end theatrical motion pictures, the system comprises a 65 mm digital cinema camera, custom-designed prime and zoom lenses, and fast, efficient workflow tools. The ALEXA 65 camera is a scaled-up version of an ALEXA XT, able to capture an uncompressed ARRIRAW 65 mm image of staggering intensity and definition. http://arrirentalgroup.com/alexa65
DIY Audio Cable for Arri Alexa
Cujo posted a topic in Do It YourselfReferenced in another thread in the Camera section, I am posting a pic of a DIY cable for the Arri Alexa. This is an inexpensive solution to buying a factory cable to add a wireless scratch track audio signal. You will need a 5 pin male straight connector, a 3.5mm male connector with cable, epoxy, soldering tools, a cutoff tool (Dremel, or hacksaw), and a few minutes time. I had helped make a set of these on another feature with Bud Raymond and on this particular movie, my bad-ass sound mixer, Todd Weaver and I whipped these up in record time on set one day when it was discovered that the camera rental company had failed to include them as a part of the agreed rental kit. Production made a few frantic calls and was all set to accept that there would be no scratch track for the first day of shooting. Sound team to the rescue... camera rental house to the back of the line. No soup for you ! A 90* 5-pin connector was not immediately available and we needed an instant solution... This worked and worked well. Take a straight 5 pin, remove the guts, and cut the housing to approx 1.25 inches. This length is not super critical, but try to get close. Install the guts and make your solder connections. Fill the top with epoxy (we used fast cure) and give it the required time to cure. Plug and Play It's not as pretty as a nice shiny 90* connector like I've built before, but its also way cheaper, works perfectly, and was an instant solution available on set when we needed to make it happen.
ARRI / Ikegami - Introduce the HDK-97
VASI posted a topic in Cameras... love them, hate themIkegami and ARRI Introduce the HDK-97 ARRI Broadcast Production Camera with Digital Cinema Image Quality A powerful marriage of technology between two recognized industry leaders, the HDK-97ARRI is a broadcast-style production camera with digital cinema characteristics. In a significant development, the HDK-97ARRI makes it possible to employ a large format sensor in multiple camera operation. The result is a “best of both worlds” image acquisition system ideal for use in multi-camera studio and field applications, including conventional broadcast camera operation and classic video operator control of multiple cameras. Broadcasters and content producers will benefit from the unprecedented combination of features in the HDK-97ARRI, jointly developed by the highly experienced engineering teams of Ikegami and ARRI. Centered around ARRI’s Super 35mm CMOS sensor with its associated support circuitry, the system provides such cinematic qualities as natural color rendering, exceptional dynamic range and progressive framerates like 23.98p. Meanwhile, broadcast-grade distribution is enabled with the latest in Ikegami technology, via fiber transmission using up to 2 km SMPTE hybrid fiber/copper camera cable. The HDK-97ARRI offers a unique convergence of attributes, designed with the latest innovations from both companies. The ARRI large-format front end is famed for its film-like, organic look characterized by extended, clean highlights, an extremely low noise floor, natural skin tones, excellent color separation, and a cinematic depth-of-field. Employing large pixels and a custom-designed read-out architecture, this critically acclaimed 35 mm CMOS sensor demonstrates exceptional dynamic range. In addition, ARRI’s stainless steel lens mount system ensures super stable flange focal depth between lens and sensor. Ikegami maximizes this high performance system for broadcasters, by seamlessly integrating it with a docking style camera head from its successful Unicam HD camera series. Powered by Ikegami’s latest 3G FPGA-based DSP, the HDK-97ARRI provides complete real time control of all gray scale, color, and detail functions. A new 3G transmission system transports video from camera head to CCU, as well as 3G transmission from CCU to camera head supporting Return video in HD, two channels of prompter video in SD, and (when using the CCU-970M) one channel of prompter video in HD. Other signals transported via the camera cable include two channels of intercom, two channels of program audio, two channels of microphone audio, genlock phase control, camera control, and external auxiliary data. Meanwhile, Ikegami’s powerful 200-series remote control system enables video operators to manage multiple cameras using OCP, MCP, network hubs, and more. Additional features of the HDK-97ARRI include: - Operation in standard and 3G formats, including 1080/23.98psf 4:4:4 - Custom and Cine Gamma - Continuously variable ECC (electronic color temperature correction) - 2-inch, 7-inch, and 9-inch viewfinders available for studio and field applications - Electrical lens interface for PL lenses with servo iris (and servo zoom and focus) - Wide range of ARRI and vendor accessories “ARRI is proud to be collaborating with Ikegami, a company that has been a genuine leader in the field of professional television imaging since the earliest days of video,” says Franz Kraus, Managing Director, ARRI. “The collaboration represents a great opportunity for both partners; but more importantly, combining the high dynamic range and cinematic aesthetic of our 35 mm sensor with a docking-style broadcast camera system will create new opportunities for customers. With the best technologies from both worlds now available to them, we look forward to seeing how customers increase the production value of their broadcast output by using this exciting new camera.” "Ikegami is very honored to collaborate with ARRI, a magnificent manufacturer with a deep history,” says Naoki Kashimura, Director of the Board, Product Strategy and Marketing, Ikegami. “There are many common traits between ARRI and Ikegami – including our outlook and approaches to manufacturing – that make for great synergies within our collaboration. This camera achieves the best marriage of ARRI's refined front-end, in which the highest levels of know-how for the digital cinema market has been attained, and Ikegami's back-end, which is known throughout the broadcast market for its real time video processing technology. We strongly believe that the HDK-97ARRI is a top-end camera system, one which will be recognized as groundbreaking throughout the world of broadcasting." http://www.creativeplanetnetwork.com/digital-cinematography/news/ikegami-and-arri-introduce-hdk-97arri-broadcast-production-camera-digital-cinema-image-quality/62278