Video of new ARRI digi cameras from ibc

[Petr Dvorak]

http://www.youtube.com/watch?v=YIPw8nLBgak
ARRI managing directors Dr. Martin Prillmann and Franz Kraus discuss and display
the new ARRI digital camera system at the IBC booth in Amsterdam.

well they look same size and concept as RED ONE
EVF, EVF plus, optical VF
entry level model is 50.000 Euro (body only?)

... ok now show us 1:1 framegrabs and quality of the footage at least at 2K projection :emote_popcorn:

 

[Joe G.]

Wow, those Arri guys must have gotten their start as funeral directors. (Hire a spokesperson, Arri!)

 

[Zakaree Sandberg]

honestly.. im sure there are ARRI fanboys who will shell out the cash for one of these..
but really, RED will continue to dominate in sales, and price.. and I have no idea why someone would get one of these arri digital cinema cameras at this point

 

[Patrick Tresch]

... (Hire a spokesperson, Arri!)

Did I hear right at 0'39''

http://www.youtube.com/watch?v=YIPw8nLBgak

...consisting of free cameras...

:hurray:

Pat

 

[Jonas Rejman]

Me too, lovezzz dze Gerrrman way of prrresentation...

It's kinda like the Leica videos, a shame they obviously think, this way of presentation is good enough.

On a second thought, those guys look like RED fanboys, being forced to give a presentation for ARRI...

Jarred, what have they done?

 

[Petr Dvorak]

funny version of Arri banner from Arri new forum :001_smile:

woof

 

[Petr Dvorak]

Wow, those Arri guys must have gotten their start as funeral directors. (Hire a spokesperson, Arri!)

... On a second thought, those guys look like RED fanboys, being forced to give a presentation for ARRI...

Jarred, what have they done?

he he :rofl:
Yea I have exactly same feeling about them.

 

[David Mullen ASC]

honestly.. im sure there are ARRI fanboys who will shell out the cash for one of these..
but really, RED will continue to dominate in sales, and price.. and I have no idea why someone would get one of these arri digital cinema cameras at this point

Well, if they were in your price range and they produced a nicer image with less noise in tungsten at higher ASA ratings, with a wider dynamic range and richer color depth, and they were more robust, overheated less often, etc. (all hypotheticals)... wouldn't that be an argument to use them???

You're merely making a comparison based on price and assuming that the performance and reliability level will be identical. And you're ignoring the rental market which may prefer sticking to ARRI for various reasons. People here said that no one would buy a Sony F35 and yet I see them and the Genesis going off the shelves at the rental markets as more and more TV series are shot on them. Every single Genesis camera at Panavision is out right now on a show.

There are people and companies with deeper pockets who don't make every decision based on what's the cheapest thing out there on the market to buy or rent.

 

[Felix K.]

On a lighter note: we Germans wörk hart to achiff sat ekcent! Thank you very much!

 

[Tom Lowe]

The camera looks really nice. I'm sure it will be popular.

But how long are these camera companies going to keep making essentially 1080p cameras? The future is clearly 4K projection at theaters. We know that. So why not make 6K cameras that can actually produce a pristine 4K? Otherwise, the only cameras capable of shooting "True 4K" will be Red DSMC 5-6K cameras, and 35mm film scanned at 6K and posted at 4K. We could see a situation where we are going "back to the future"... with only film being able to produce 4K. With the exception of Red, of course.

 

[Michael Hastings]

Well, if they were in your price range and they produced a nicer image with less noise in tungsten at higher ASA ratings, with a wider dynamic range and richer color depth, and they were more robust, overheated less often, etc. (all hypotheticals)... wouldn't that be an argument to use them???

You're merely making a comparison based on price and assuming that the performance and reliability level will be identical. And you're ignoring the rental market which may prefer sticking to ARRI for various reasons. People here said that no one would buy a Sony F35 and yet I see them and the Genesis going off the shelves at the rental markets as more and more TV series are shot on them. Every single Genesis camera at Panavision is out right now on a show.

There are people and companies with deeper pockets who don't make every decision based on what's the cheapest thing out there on the market to buy or rent.

There you go again, saying things that makes sense.:biggrin: Next you'll be telling us Obama ISN'T going to euthanize our grandmothers.

 

[Petr Dvorak]

Hope that camera will speak for itself soon and we all can talk more about quality of picture :yesnod:

 

[Stuart English]

ARRi and other new cameras.

ARRi and other new cameras.

For sure, that is the true measure.

How do the images look, what resolvable detail can you deliver, how flexibly can the camera be configured for various use cases....

 

[Petr Dvorak]

yea, we want some nice shootout

 

[David Battistella]

Wow, those Arri guys must have gotten their start as funeral directors. (Hire a spokesperson, Arri!)

Joe,

I think this is an unfair comment. I think those engineers actually speak fairly good english.

What if you had to post in german?

David

 

[Petr Dvorak]

I think that Joe is not talking about their english, verstehen. :001_rolleyes:

 

[Felix K.]

Hihi! I kind of realise why the Germans are thought of as humorless (aside from my posts).

 

[Dan Hudgins]

film vs. 4k

film vs. 4k

with only film being able to produce 4K.

Please show me a 35mm film scan that comes close to 4K at 30%MTF? I don't think there is one on ECN.

On the near 4K scans I have done on ECN the grains are 3 to 6 pixels wide about on average. Moving at 24fps your eye averages details between frames, but within a single frame there is little you can see even at 2K, 35mm film is closer to an RGB image of 1600x1200 maybe. In a print projected more like 1280x720 because the projection lens is not in focus most of the time.

4K projectors will probably not resolve a 4K checkerboard image as well, but you need 2x as many pixels as the required resolution to get a high MTF at that resolution.

If anyone has a 4K TIFF from a scanner that resolves single pixel details I would like to see it. If anyone has some 35mm trims I can scan I would like to see what pro-footage looks like, since nothing we have other than some Black and White stuff we shot on sound recording film comes out better than maybe 1.5K. Its not the scanner it uses a printing Nikkor and can resolve dust smaller than the film grains just fine...

It is good to scan and post at 4K, hence my DI system, but only to avoid aliasing artifacts and raster lines, you need 2x to 3x to avoid seeing those in the filmout, 1920x1080 is not enough if the original is sharp, it its soft then the alaising does not stand out as much.

 

[Tom Lowe]

I'm going to guess that a good 6K scan of anamorphic 35mm, say from a recent film like The Dark Knight, would look nice posted and projected at 4K.

My point was, if we know for sure that 4K is going to be the new gold standard for theater projection, then why would a company be putting out a 2K camera? The math doesn't add up. That's like shooting on SD for display on an HDTV.

 

[Jannard]

I'm going to guess that a good 6K scan of anamorphic 35mm, say from a recent film like The Dark Knight, would look nice posted and projected at 4K.

My point was, if we know for sure that 4K is going to be the new gold standard for theater projection, then why would a company be putting out a 2K camera? The math doesn't add up. That's like shooting on SD for display on an HDTV.

We believe that a 4K finish is the future. Period. Scan anamorphic film, shoot 5K Bayer, shoot 4K Bayer and uprez the 3.2K... take your pick. But it is NOT 2K or 1080P. That's our story, we're sticking to it.

Jim