New arri camera at IBC

[Anders Holck]

A few notes:
- Bootup time will be under 10 secs.

- The evf is Lcos sequential display (like the red finder) with an ARRI LED light engine. The light engine has an internal calibration probe, so colors and contrast will be correct throughout the day. It also has a heater element for the lcos, to keep it funtional in cold tempretures. This element also heats the eyecup. The optics makes the image quite larger than the RED finder. It still has the "rainbow effect" It does seem like a really nice finder though

- Two image pipes for the HD-SDI. One clean (Single and duallink), the other customizible with LUT's and superimposed data. Both 1080p.

- The EV+ has the WRC reciever build in. Allows you to get full FIZ funtionality, in addition to wireless control of camera functions.

- All three cameras share the same 4:3 chip. The difference is the Processing power of the camera. Only the OV can readout and process the full 4:3 raster.

- The EV+ specs are subject to change, which is why they dont mention the price yet. It will be possible to upgrade the ev to the ev+

- The competitor in the Sensor reel was the F35, not the RED ONE. It did look very clean compared to the SONY. The processing for both cameras was for maximum dnamic range, so the shadows were quite bright. The F35 picture did seem to have a little to much sharpness applied.

- Connector layout was great on the mockups.

- I forgot to ask about sensor readout timing. Will be interesting to know the performance.

- the onboard recording options are under NDA. There will be a lot of third party post support according to ARRI.This will defineately decide how popular this system will get. They also had a mockup of a flashmag. One cool feature was a fuelgauge as on a battery. was a little large though.

 

[Phil Jordan]

I was impressed with the Arri EVF until I saw the new one from Red. The Arri has the rainbow issue like the original Red EVF but it is gone in the new Bomb EVF. The Arri is smaller than the original Red but the new Bomb EVF is smaller still. Design of the Red is much better. The new Arri cameras would have been great if they weren't 100K and Red didn't show Epic. Arri just looks like they are two steps behind. It was weird to go to the big empty Arri booth with all the suits there and then see Jarred and Jim in jeans with hundreds of people gathered around them standing around a table in the hall.

 

[Roberto B]

its confusing now---

some think red is in danger because of the canon 7d, and now it is in danger because of a 100 000 usd arricam?

ehehehehe

you wanted to write scarlet :biggrin:

 

[BradWright]

I think he is talking about the about the price of the new Red system.

Red has a huge head start in delivering an affordable Digital Cinema workflow. I don't see how ARRI can deliver the same kind workflow support unless the license R3D.

 

[Leo Ticheli]

There's a great deal to love about the Red camera system, especially for owner-operators like me, but I wouldn't be so quick to cast dispersions on the forthcoming Arri camera.

While the price of the Arri is certainly daunting for most of us, it's peanuts when looked at in context of overall production costs in the rental market. Those doing features and high-end spots are not deterred by a higher day-rate for a camera body; that's why 35MM cameras just one generation behind sat on the shelves while the newer models went out to play.

If the Arri does what is being touted, it may very well grab a significant part of the rental market. It's too expensive for my little production company, but not for the big boys.

Of course it's all speculation at this time, but Arri makes absolutely great stuff that just works and works and works.

Good shooting and best regards,

Leo

 

[Nova Invicta]

Typical Construction

Typical Construction

The new Arri HD camera has their typical build quality and whilst the EVF has the rainbow effect it was an early prototype. The interesting part of the camera will be the workflow which Arri say will be very different and very user friendly something SI-2K, Red & Phantom HD cameras are not (unless your just a fanboy and dont give honest opinions)
Arri know they have to appeal to a crowded market but equally they know their traditional customers and thats where this product is aimed.

 

[Stuart English]

Speculation

Speculation

...whilst the EVF has the rainbow effect it was an early prototype...

the workflow which Arri say will be very different and very user friendly something SI-2K, Red & Phantom HD cameras are not

We'll see. Competition is good. Maybe we can learn a few tricks.

 

[David Rasberry]

Red has a huge head start in delivering an affordable Digital Cinema workflow. I don't see how ARRI can deliver the same kind workflow support unless the license R3D.

Maybe they will be writing out native DPX files.

 

[Bill Anderson]

With the speed of development and significant improvements
to gear, I think Arri is moving in the wrong direction-
including their PRICING. Their memories of last century's
golden days of elitist driven prices are getting the better of them.
Even though, as has been said, well heeled productions might
consider this, Arri seems to be heading for a niche clientele
in a time when every man and his dog are waiting to
buy into the biz. And how a film and digital combo
can get anyone excited is beyond me,
tacking a sewing machine mechanism onto a
digital camera ain't "the future". ZERO PERF is the future. ((( :

 

[Nova Invicta]

Bill you clearly dont deal with professional filming crews on a regular basis regardless of what you think a lot of people still respect Arri and the engineering of their products about the only aspect you got correct was that they have always appealed to a niche clientele they never have sold a thousand cameras in a year let alone thousands and as such products are more expensive because you dont get the economies of scale. The cameras are NOT a film & digital combo so where you got that from god only knows. I am completely taken a back sometimes by the attacts at Sony, Canon, Arri et al by some contributors to this site thinking that only one company has a right to survive whilst the others quietly go away its complete zionism.

 

[Bill Anderson]

Nova, yesterdays niche clientele for non-competetively/overpriced
gear (due to self imposed "economies of scale")
are very dangerous grounds to be treading today.
Attack"? Arri isn't that fragile, and I think, regardless
of what I say or how I feel, and whether I deal with
professional crews on a regular basis or not, their
position in the market is assured- one way or the
other: when it comes to Sony and Canon and RED-
yes, even RED, no one on these boards is a make or break player.
And you might be mistaking my beliefs as my desires; two different things.
But I will admit, I'm glad to see the back of last century's tightly
controlled monopoly and dogma. As far as cinema goes, we're
just entering the age of enlightenment. Let's see how well Arri,
and others, understand this.

 

[Nova Invicta]

Movies & the Cinema

Movies & the Cinema

The real facts about movies and the cinema are not equipment related at all they are financial. The movie industry whether independent or majors has contracted due to liquidity issues and the cost of money so the overall numbers of projects being filmed have fallen globally dramatically. The same arguement holds for commercials and TV drama less advertising lowers TV income and thus the less for programming if all thats enlightenment then your a better man than I however where I come from its called economics. As for monopoly and dogma the same film studios & TV networks exist and they control the finance & the decision making process not equipment manufacturers so your beating the wrong drum.

 

[Bill Anderson]

Nova, as far as the "real facts" behind cinema being
"financial based", that doesn't mean that a shift in equipment
(technology) paradigm won't affect these financial based "facts",
and along with it, the people who say what flies or doesn't fly.
This is how it often works: the Church (or Kodak) has absolute
power (and wealth) until a printing press (digital acquisition)
shows up on the scene; the beginning of the end for said
church's monopoly, even though the printing press played
no role in the success of their dogma. Some of the same (TV film) groups
may very well still be in power, but it's more of a power
sharing position, more of an egalitarian environment today
than it was yesterday: an environment that is rapidly
supporting and allowing more and more talented individuals
to control their own destiny. And we can thank "equipment"
for that. And in this, Jim and RED is up there with the best of them.
See David Lynch or Stanley Kubrick for an example
of (industry) suppressed voices.
There are still hurdles, but most can be overcome
with a little talent, or vision. Something that could
not be said about last century.
Yesterday's studio system was about as interested
in impartially promoting the best of what was out there,
as a pharmaceutical company is in eradicating disease.

 

[binodpradhan]

So, the Arri D21/D20 was 3k. The new cameras are 3.5k. So even though "sensitivity and contrast range are more essential" they're increasing the resolution.

As for better sensitivity and DR, that's what M-X and Monstro sensors are all about. That we can increase resolution too, is a bonus, especially as afterwards you can always trade some of that resolution for increased DR or sensitivity or lower noise. Or keep that extra resolution for when you need it.

Graeme

How does one trade res for increased DR?

 

[Nova Invicta]

Bill
I have worked in this industry for many years including working with Stanley Kubrick and David Lynch and a number of other colourful characters like Tony Kaye, Lester Bookbinder, Tim Burton etc equipment for all of them was a means to an end in creating their artistic vision and if one thing didnt work they try another.
As to your this is how it works theory in every example tablets of stone, printing, radio, cinema, TV none of these new technologies have killed the other we have more books than ever, more radio stations than ever, more TV stations than ever and more theatre screens than ever before and I see that as positive because it provides choice and artistic freedom. Im not dising ANY manufacturer they all can have a place in allowing the capture of images and by way of an example just because Rolls Royce makes expensive cars doesnt makes them a demon over Ford, Kia etc it just means there are different options and price points so why do you see Kodak or Arri as some kind of enemy?

 

[Nova Invicta]

Oh forgot to mention ask anyone doing business with the BBC if they feel its a power sharing position, or with ITV I think many creatives and filmmakers privately would say NO