Topics

Arri LF

Geoff Boyle
 

So, LF, large format.
Sensor slightly bigger than FF, 4448*3096 open gate, 4448*1856 & 3840*2160 especially for Netflix.
New lens mount LPL with a 44 back focus instead of 52. An adaptor with full LDS & /I connection for PL.
Up to 90fps open gate and 150fps in 2.39 mode.
Apart from that it's an SXTW.

New lenses as well but they're going in glass.

cheers
Geoff

Toby Oliver <tobyoliver@...>
 

Yes it all looks good BUT - 

Seems there is no 4K 2x Anamorphic mode, only if you use some special large format anamorphic lenses, which are more like 1.25x squeeze.

So it means I still can’t use an Alexa if I want to shoot regular anamorphic on a Netflix production.


TOBY OLIVER, ACS

Director of Photography

Los Angeles
(currently in New Orleans)


www.tobyoliver.com

IMDB: http://www.imdb.com/name/nm0002947

On Feb 2, 2018, at 4:54 AM, Geoff Boyle <geoff@...> wrote:

So, LF, large format.
Sensor slightly bigger than FF, 4448*3096 open gate, 4448*1856 & 3840*2160 especially for Netflix.
New lens mount LPL with a 44 back focus instead of 52. An adaptor with full LDS & /I connection for PL.
Up to 90fps open gate and 150fps in 2.39 mode.
Apart from that it's an SXTW.

New lenses as well but they're going in glass.

cheers
Geoff

Sean Emer
 

And yet you'd think the Netflix suits who are disallowing sub-4K content would be more worried about the optical imperfections of anamorphic lenses, since you can actually notice those compared to 3.2K upres'd...

Lorenzo Levrini
 



And yet you'd think the Netflix suits who are disallowing sub-4K content would be more worried about the optical imperfections of anamorphic lenses, since you can actually notice those compared to 3.2K upres'd...
_._,_._,_

Come on! You don’t think they’re really looking at real resolving power? They just care about numbers. 


Mike Sippel <msippel@...>
 

“And yet you'd think the Netflix suits who are disallowing sub-4K content would be more worried about the optical imperfections of anamorphic lenses, since you can actually notice those compared to 3.2K upres'd... “

 

The only reason they care is to avoid opening themselves up to lawsuits from customers claiming they’re passing off non-UHD-originated content off as UHD content and charging a premium for it.  To my understanding it’s essentially a CYA legal measure.  Because, you know, there are people in the litigious US who would sue over it if someone told them they could get money by doing so.

 

Also: depending on who you ask those imperfections are a feature, not a bug.

 

Mike Sippel

Son of a lawyer

Arri Rental

Atlanta, GA, USA

 

 

Mike Sippel

Senior Field Support Technician

 

ARRI Rental
3980 Dekalb Technology Pkwy #800
Atlanta, GA 30340
Phone: (678) 248-5432
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Sean Emer
 

Maybe I should sue Netflix for giving me 4K content shot in 4:2:2. I want all the color resolution too!

--
Sean Emer
Cinematographer - LA

Michael Brennan
 

Come on! You don’t think they’re really looking at real resolving power? They just care about numbers.
If I were spending hundreds of millions of dollars a year, building a library I’d be thinking about 2k originated material being compromised in the distant future, not only of ubiquitous 4k distribution, but also of 8k in 10-15 years.

Extra cost of shooting 4k is a reasonable business decision on a multi million dollar production for Netflix.

I’d be doing my utmost to reduce incidences of optical flaws and improve the 4k product.

As an avid iMax theatre goer, there is a lot of soft shots in cinema release, perhaps it’s those crew that consider 4k is a waste of time and money, at same time can’t even get 2k sharp for the big screen?

Thankfully ARRI have added a 4k monitoring output, this will help educate more folks on set regarding DoF, I’m guessing that ARRI’s new lens range will be largely flaw free and up to the job!

1st class focus pullers should raise their rates.


Mike Brennan
DP
Melbourne

Tom Turley
 

At the Arri event now. Everything I saw suggested that yes 2x anamorphic would be possible at 4K.

Tom Turley
London
------------------------------
= Tom Turley
= tom@filmtom
= 07900432114
= www.tomtdop.com

Aleksei Vanamois
 

That's right Toby. OpenGate cropped to 4:3 would leave you with a resolution and image circle similar to a S35 4:3 Alexa. Makes the Venice look appealing, which is also a third of the size.

I'm glad that the new sensor is 16bit and fully accommodates HDR.

We're now basically creating motion pictures that have the same tone and colour capability as our DSLR stills.


Aleksei
****Who will remember to sign his posts in the future***

Mark Kenfield
 

So it can't do a 4:3 crop at the full height of the sensor (25.7mm I think I heard)?

Cheers,

Mark Kenfield
Cinematographer
Melbourne

0400 044 500

On 3 February 2018 at 10:23, Aleksei Vanamois <alex@...> wrote:

That's right Toby. OpenGate cropped to 4:3 would leave you with a resolution and image circle similar to a S35 4:3 Alexa. Makes the Venice look appealing, which is also a third of the size.

I'm glad that the new sensor is 16bit and fully accommodates HDR.

We're now basically creating motion pictures that have the same tone and colour capability as our DSLR stills.


Aleksei
****Who will remember to sign his posts in the future***

_._,_._,_

Merritt Mullen
 

Not quite -- if max recording height is 3096 pixels in Open Gate on the LF, then a 1.20 : 1 sensor area (for a 2.40 image once unsqueezed by 2X) would be 3715 pixels wide. Of course, UHD is 3840 pixels wide so it's not far off from 3715 pixels but I'm not sure Netflix would approve.

David Mullen, ASC
Los Angeles

On Feb 2, 2018, at 3:04 PM, Tom Turley via Cml.News <turleytw=googlemail.com@...> wrote:

At the Arri event now. Everything I saw suggested that yes 2x anamorphic would be possible at 4K.

Tom Turley
London

Merritt Mullen
 

I'd add that Open Gate height is 25.54mm on the LF, so a 1.20 : 1 area would be 30.85 x 25.54mm -- 35mm cine 2X anamorphics were designed originally to cover a 21 x 17.5mm projection area so I'm not sure all of them would cover this larger area.

David Mullen, ASC
Los Angeles

On Feb 2, 2018, at 8:09 PM, Merritt Mullen <mdmullen1@...> wrote:

Not quite -- if max recording height is 3096 pixels in Open Gate on the LF, then a 1.20 : 1 sensor area (for a 2.40 image once unsqueezed by 2X) would be 3715 pixels wide. Of course, UHD is 3840 pixels wide so it's not far off from 3715 pixels but I'm not sure Netflix would approve.

Sean Emer
 

Are there large format anamorphic sets in existence? I've not used any beyond Kowa/Lomo.

On Fri, Feb 2, 2018 at 8:13 PM, Merritt Mullen <mdmullen1@...> wrote:
I'd add that Open Gate height is 25.54mm on the LF, so a 1.20 : 1 area would be 30.85 x 25.54mm -- 35mm cine 2X anamorphics were designed originally to cover a 21 x 17.5mm projection area so I'm not sure all of them would cover this larger area.

David Mullen, ASC
Los Angeles

On Feb 2, 2018, at 8:09 PM, Merritt Mullen <mdmullen1@...> wrote:

Not quite -- if max recording height is 3096 pixels in Open Gate on the LF, then a 1.20 : 1 sensor area (for a 2.40 image once unsqueezed by 2X) would be 3715 pixels wide. Of course, UHD is 3840 pixels wide so it's not far off from 3715 pixels but I'm not sure Netflix would approve.




--
Sean Emer
Cinematographer - LA
732.539.6409

daveblackham@...
 

Please can any one confirm the Alexa LF camera body retains all the physical connectors that are on the SXT plus or SXT W and is the body otherwise identical to SXT W excepting for lens mount.

thanks

Dave Blackham
Esprit

Geoff Boyle
 

Yes 😁

cheers
Geoff


From: cml-general@... <cml-general@...> on behalf of daveblackham@... <daveblackham@...>
Sent: Saturday, February 3, 2018 9:43:43 AM
To: cml-general@...
Subject: Re: [general] Arri LF
 
Please can any one confirm the Alexa LF camera body retains all the physical connectors that are on the SXT plus or SXT W and is the body otherwise identical to SXT W excepting for lens mount.

thanks

Dave Blackham
Esprit

Michel Suissa
 

Dave,

While the LF body is physically minimally longer, it is otherwise nearly identical to the SXT W, including connectivity. 

Michel Suissa
Studio-B&H

Shipman-Mueller, Marc
 

Nearly identical, but not entirely. We changed the (by now useless) LDD connector at the back for a fourth RS 24 V accessory power connector. And two of the SDI outputs are now UHD instead of HD. Body is 12 mm longer and 12 mm wider to accommodate a bigger fan for more cooling. More data = more heat = more cooling. And, of course, a new lens mount. LPL (Large Positive Lock) instead of PL.

 

Marc

 



Marc Shipman-Mueller
Product Manager Camera Systems

ARRI
Arnold & Richter Cine Technik GmbH & Co. Betriebs KG
Leuchtenburgstr.32, 14165 Berlin
www.arri.com
Tel.: +49 30 8119-5223
Fax: +49 30 8119-5225
Email: msmueller@...

From: <cml-general@...> on behalf of "michel@..." <michel@...>
Reply-To: "cml
-general@..." <cml-general@...>
Date: Saturday 3 February 2018 at 15:18
To: "cml-general@..." <cml-general@...>
Subject: Re: [general] Arri LF

 

Dave,

While the LF body is physically minimally longer, it is otherwise nearly identical to the SXT W, including connectivity. 

Michel Suissa
Studio-B&H


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R Buckingham
 


On 4 Feb 2018, at 3:56 AM, Shipman-Mueller, Marc <msmueller@...> wrote:

Nearly identical, but not entirely. We changed the (by now useless) LDD connector at the back for a fourth RS 24 V accessory power connector. And two of the SDI outputs are now UHD instead of HD. Body is 12 mm longer and 12 mm wider to accommodate a bigger fan for more cooling. More data = more heat = more cooling. And, of course, a new lens mount. LPL (Large Positive Lock) instead of PL. 
 
Marc
 


Hi Marc,

What’s the current drain ????

Roger Buckingham
DP , Sydney, Australia