Seamlessly blending tradition with innovation, this camera (still fresh in the market), is swiftly redefining the benchmarks of filmmaking with digital cameras. Diving deep into key new features, new color science, and post workflows that the new Alexa 35 offers.

A ‘Digital Film’ Breakthrough

Among the many standout features ARRI has incorporated in cinema cameras- the ‘ARRI Look’ has always been one of the biggest draws filmmakers have to their cameras. Diving into across some of ARRI’s own test shoots they have produced on the ‘ARRI Encounter’s Series‘; they certainly seem to have honed in the aesthetic even further.

Specifically to the new Alexa 35, they decided to further embrace the 35mm film look, and designed a rather striking feature of built-in ‘digital film stocks’. This unique ability allows filmmakers to shape the visual aesthetics of their footage, offering unprecedented control over the look and feel of the final product. These digital film stocks enable operators to change how the camera essentially perceives the world, adding depth and character to the footage with variations in grain texture and contrast levels.

Designed for Modularity and Versatility

When it comes to design, it was clear that the name of the game for the Alexa 35 was compact and versatile. As one of the smallest fully-featured ARRI production cameras ever built, it offers ease of transport and rigging, making it a practical choice for a wide variety of shooting conditions, harsh or controlled. Now, while ARRI’s focus was on creating a camera that best adapts to filmmakers needs, the additional support from gear vendors like Creative Solutions was also very apparent. Developing accessories like the Alexa 35 WoodenCamera system to enhance the camera’s usability and modularity even further.

Grading and Post Production

And remember, customization stands at the core of the Alexa 35’s design philosophy, to which is very much carried over into the post workflow. With a vast selection of 20+ ARRIRAW and Apple ProRes recording formats, the camera provides filmmakers with the flexibility to optimize data rate, resolution, and other parameters to suit their specific needs. This level of customization ensures that nearly any setting can be precisely tuned to the creator’s vision, and streamline their process in the post room.

No Limit On Possibilities

Ultimately, the new Alexa 35 is an accumulation of innovative features, compact design, and unparalleled customization options that make it a powerful tool in the hands of filmmakers. A testament to ARRI’s unwavering commitment to pushing the boundaries of what’s possible in cinematic storytelling.

For those eager to harness the full prowess of this cinematic powerhouse, we invite you down to Stray Angel Films to build your Alexa 35 package to rent for your next production!

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The post Achieving The Film Look on Digital Cinema Cameras | Alexa 35 appeared first on Stray Angel Films.

For a limited time, we’re making an offer that will undoubtedly set off creative explosions: the chance to rent our top-of-the-range equipment for a week at the cost of just ONE day’s rental!

That’s right – starting this week, you can get your hands on our wide range of premium cameras, lenses, lighting equipment, and more, for seven days of uninterrupted use, while only paying for a single day. This deal offers creatives colossal savings, allowing you to channel more of your budget into other crucial areas of your film project.

Whether you’re shooting a suspenseful drama, an action-packed blockbuster, or a poignant documentary, our Oppenheimer Deal provides you with the means to realize your most ambitious visions without having to worry about high equipment costs.

With Stray Angel Films, we are more than just a production rental house; we’re a partner in your journey of storytelling, and we can’t wait to see the amazing projects you’ll create with the help of our Oppenheimer Deals! Shoot us an email at rentals@strayangel.com with your rental dates and we’ll make this Summer Deal happen for your production.

Here’s to a week up to a whopping six months of creative explosions and cinematic breakthroughs!

The post Summer Deals Dropping at Stray Angel appeared first on Stray Angel Films.

Written and directed by Oscar-winner Sam Mendes, this Story of a Messenger is inspired by the tale woven in his grandfather Alfred’s autobiography on the Battle of Poelcappelle. Mendes takes some creative liberties but holds true to the spirit of the day in telling his own story with 1917, the incredible film leading the way with Ten Oscar nominations, including: Best Picture, Writing (Original Screenplay), and Cinematography.

Mendes partnered with another Oscar-winner in cinematographer Roger Deakins to capture 1917 in the “One Shot” style, mirroring the work famously done by Hitchcock’s Rope in 1948, and more recently in 2014 with Alejandro Iñárritu’s Birdman. In doing so, Mendes and Deakins made life difficult for the production team, but they also knew going into it that the upside far outweighed the risks all the same. Proof positive, the final result is a breathtaking thing to witness high up on the silver screen, the accolades more than warranted for their efforts.

To make life just a little easier for the camera operators that had to weave in and out of battlefield lockstep with the lead characters, Deakins turned to ARRI and their Alexa large-format series to make the magic happen. As luck would have it, the company was able to fast track their new Mini LF, arriving just in time for the production, and that makes 1917 the first to feature the company’s latest exciting camera.

In an interview with ARRI, Deakins states:

I like cameras to be small and intimate. I like shooting with a small crew. I don’t want the technology and the presence of the film crew to overwhelm the scene.

Coupled with Arri’s Signature Prime lens series, the Mini LF brings with it a layer of unrivaled versatility that worked in perfect harmony down in the trenches, and that makes the combination battle-tested for virtually any project on the move.

For more information on how to rent the ARRI Alexa Mini LF or the full lineup of ARRI Signature Prime lenses, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

ARRI Interviews Roger Deakins:

The post 1917’s Roger Deakins & ARRI’s Alexa Mini LF Make Magic appeared first on Stray Angel Films.

Built around a large-format 4.5K version of the original ALEXA sensor, the ARRI ALEXA LF camera offers native 4K recording in three sensor modes, with ARRIRAW or ProRes recording in LF Open Gate, LF 16:9, or LF 2.39:1 modes. The ALEXA LF combines large-format resolution with an optimal pixel size for excellent image quality, producing vivid, nuanced images with natural skin tones and smooth bokeh. The ALEXA LF is designed with ARRI’s LPL lens mount that has been optimized for large-format capture and is compatible with all PL-mount lenses with the use of a PL-to-LPL adapter. A wider diameter, and shorter flange focal depth than the original ARRI PL mount, enable LPL-mount lenses to be smaller and lighter than earlier large-format optics.

The ALEXA LF offers an array of recording format choices in ARRIRAW and ProRes, recording to 1 or 2TB SXR capture drives, or SxS PRO+ 256GB cards. With a base sensitivity of EI 800, 16-bit processing, and a dynamic range of 14-plus stops, your footage is effectively future-proofed for compatibility with HDR displays. Frame rates up to 150 fps produce smooth slow motion and enable capture for higher-clarity HFR (High Frame Rate) projects.

The wireless connectivity of the ALEXA SXT W is built into the ALEXA LF, providing Wi-Fi and compatibility with ARRI ECS lens/camera control systems. One WVR-1 receiver is included in this basic kit, offering wireless video transmission in a range of up to 2000′.  The internal filter holder can be used to insert one of eight Large Format Full Spectrum Neutral Density (LF FSND) filters (available separately). Additional ALEXA LF features include compatibility with existing ARRI Look files and workflow, clip playback in both ARRIRAW or ProRes, and 2-channel, 5-pin XLR audio input. This basic ALEXA LF set also includes SXR and SxS media adapters, the EVF-1 electronic viewfinder with a VMB-3 mounting bracket and cable, the CCH-1 center carrying handle, and an SD card for storing/loading LUTs, SUPs, etc.

Product Highlights:

• Large Format 4448 x 3096 Sensor
• Native 4.5K Recording in ARRIRAW & ProRes
• Large-Format Optimized LPL Lens Mount
• Open Gate, 16:9 & 2.39:1 Anamorphic Mode
• Native 800 ASA, 14+ Stops Dynamic Range
• Array of ARRIRAW & ProRes Capture Modes
• Same Wireless Features as ALEXA SXT W
• Includes WVR-1 Wireless Video Receiver
• Works with Existing ALEXA Components
• Internal ND Filter Holder

If you would like to use the Alexa LF for your next project, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

ARRI’s ALEXA LF with Signature Primes:

The post Now Renting: ARRI Alexa LF 4.5K Camera appeared first on Stray Angel Films.

The ARRI ALEXA Mini will have the same image quality as the full-size ALEXA but in an ultra-compact, light-weight, carbon fiber body.

Here are the specs for the ARRI ALEXA Mini:

•  35 mm format ARRI ALEV III CMOS sensor with Bayer pattern color filter arrayPhotosites:16:9
  HD: 2880×1620 (3168×1772)
  2K: 2868×1612 (3154×1764)
  3.2K: 3200×1800 (3424×1926)
  4K UHD: 3200×1800 (3424×1926)
• 4:3
  2K: 2867×2150 (3168×2160)
• 14+ stops of Dynamic Range
• 2K Cine 16:9 2048×1152
  2K Cine 4:3 2048×1536
  3.2K 3200×1800
  4K UHD 3840×2160
  ARRIRAW 2.8K 16:9 2880×1620
  ARRIRAW 2.8K 4:3 2880×2160
• Codecs: ProRes 4444XQ, 4444, 422 (HQ), 422, 422(LT), ARRIRAW, Rec 709, custom look or Log C
• Outputs: 2x HD-SDI out 1.5G and 3G: uncompressed HD video with embedded audio
  and metadata, SDI-6G interface to external CODEX recorder
• Inputs: SDI-Genlock (optional activation through ARRI Service), timecode (in and output)
• Dimensions (body w/PL lens mount): Length: 7.3″ | Width: 4.9″ | Height: 5.5″
• Weight: 5 lbs (body w/ PL lens mount)

At the time of writing, the ARRI ALEXA Mini is expected to be available this May. It will cost between $36,000-$46,000 depending on the package. For more details on the Mini, check out ARRI’s writeup.

*With the camera officially released, if you’re interested in more information on how to rent the ARRI ALEXA Mini, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

The ‘Balloonist’ was shot with an ALEXA Mini on the MoVI M15 and a Cinestar 8:

The post ALEXA Mini With Same Image Quality As ALEXA Is Coming appeared first on Stray Angel Films.

The new SUP 11, for ALEXA XT/XR and ALEXA Classic, will allow shooters to record in ProRes 3.2K and includes ARRI’s debayering algorithm.

ALEXA ProRes 3.2K is a new recording resolution that uses 3.2K photo sites from the sensor to record a 16:9 3.2K ProRes file. The 3.2K sensor area was chosen because it is the largest area that can still be covered by almost all Super 35 PL mount lenses. At data rates far below uncompressed ARRIRAW, ALEXA ProRes 3.2K provides the benefits of the well-established and efficient ProRes workflow. A straightforward up-sample from ALEXA ProRes 3.2K using standard post tools results in a 4K UHD deliverable of unsurpassed overall image quality.

The debayering algorithm, ADA-5, will improve image quality by delivering sharper and cleaner images. This will be especially noticeable in small, high-contrast details, (such as thin branches against a blue sky), which will exhibit smoother, cleaner edges. Another function of ADA-5 is the reduction of noise in the red and blue channels, making bluescreen compositing a breeze.

Expanded media support is another feature of SUP 11.0, with all ALEXA cameras now able to support all generations of SxS PRO+ cards, and ALEXA XT/XR cameras able to support SanDisk CFast 2.0 128 GB cards.
ALEXA compatibility with the ARRI Electronic Control System (ECS) has also been expanded, with SUP 11.0 providing support for the new Lens Data Encoder LDE-1, as well as unlocking a number of new features when using the WCU-4 wireless hand unit.

ARRI will also be releasing SUP 2.0 for the AMIRA. This update will let users record ProRes 4444 in UHD at up to 60 fps (with the purchase of a license). This update will be released in March of this year with SUP 3.0 following shortly behind. SUP 3.0 will add MPEG-2 422 50Mbps recording for broadcasting.

AMIRA updates can be found over at the ARRI Downloads page.

For more information on how to rent the latest ARRI Cinema Cameras, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

The post Updates Coming For ARRI ALEXA & AMIRA Cameras appeared first on Stray Angel Films.

Understandably, filmmakers around the world immediately began to drool when reading the ALEXA 65 specs:

• 65mm Digital Cinema Camera
• ARRI A3X CMOS sensor
• 5-perf 65mm (full camera aperture)
• 6560 x 3102 resolution (maximum recordable)
• 54.12 x 25.58 mm Sensor size (active image area)
• Weight: 10.5 kg / 23.2 lb
• ARRI XPL Mount (64mm diameter)
• 200 – 3200 ISO. Base is 800 ISO
• Dynamic Range: >14 stops
• Uncompressed ARRIRAW
• LDS metadata
• Electronic Shutter 5° – 358°, adjustable in 1/10° increments
• 0.75 to 27 fps (upgrade to 60 fps planned for early 2015)

ARRI states that the ALEXA 65 will not be for sale. You can, however, rent the camera directly through ARRI (ARRI Rentals), not unlike Panavision.

The ARRI ALEXA 65 is not just a camera, but a complete system including lenses. You may have noticed in the specs that the only current mount available is ARRI XPL. ARRI will be renting rehoused Hasslebad zooms and primes as part of their “Zoom 65” and “Prime 65” lenses. There is a possibility of other mounts being added in the future.

ALEXA 65 is even getting its own brand new workflow that was developed with the help of Codex. The workflow can run on either a purpose-configured ARRI Rental Vault S or the new high-performance ARRI Rental Lab 65. The new workflow will be able to generate high-quality ProRes 4444 HD dailies masters in real-time for quick dailies.

At the time of writing, ARRI has not released rental rates or expected availability.

For more information on how to rent the latest ARRI Cinema Camera, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

To see more about the unveiling of the ALEXA 65 at Cinec, check out this video:

The post 6K 65mm ARRI ALEXA Coming, Will Not Be For Sale appeared first on Stray Angel Films.

Here’s an informational blurb straight from Apple about the new ProRes codec:

“The highest-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels), with a ≈. Apple ProRes 4444 XQ preserves dynamic ranges several times greater than the dynamic range of Rec. 709 imagery—even against the rigors of extreme visual effects processing, in which tone-scale blacks or highlights are stretched significantly. Like standard Apple ProRes 4444, this codec supports up to 12 bits per image channel and up to 16 bits for the alpha channel. Apple ProRes 4444 XQ features a target data rate of approximately 500 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps.”

Final Cut Pro version 10.1.2 supports ProRes 4444 XQ and ARRI has announced that ALEXA cameras will also support the new codec. The update for ALEXA cameras will come with ARRI’s Software Update Packet SUP 10, which should be released next month (August). ARRI sates that the ALEXA XR/XT cameras will support ProRes 4444 XQ in both HD and 2K resolutions.

If you really want to geek out and learn more about the new Apple ProRes 4444 XQ, you can read Apple’s White Paper.

The post Learn About Apple’s New ProRes 4444 XQ Codec appeared first on Stray Angel Films.

Here’s what Scott had to say about the test:

“We had a 30-minute window with an Arri Alexa before the camera Dept. had to take it away from us. In that time we mounted an Angenieux 17-80 Zoom to both cameras and tried to match settings as closely as possible. The only difference between the two camera setups was an adjustment to the zoom length to match framing. The BMPC was using a 50mm and the Alexa needed to go to 58mm.. Go Figure..

The goal of the test was to check general compatibility between the two cameras for ‘B” unit camera consideration. The considerations were: Skin Tone, Aliasing, Black Noise Levels and Dynamic Range as well as possible VFX Capture.

The BMPC is extremely sharp and yet has a minimum of aliasing issues (The jacket was chosen to be a nightmare scenario clothing choice..) We also found the skin tones to be accurate and pleasing. The Blackmagic Production Camera doesn’t have a very flat log look, but it took to grading well. You’ve just got to watch the highlights.

The Alexa, naturally, has a more “buttery-clean” look and has gobs of DR. But for 3k, my god! The BMPC did extremely well.

We also shot some green screen of the same scenes for testing next week. We’ll post it when ready. I’m also looking into a better solution to post the original footage.

We’re PC based and a bit ProRes Challenged..”

Here is the original 4K Blackmagic vs ALEXA video:

Scott also uploaded some RAW footage of both the ALEXA and 4K Blackmagic:

Our Equipment Manager, Sean, gave us his reaction after watching the 4K Blackmagic vs ALEXA Comparison:

“The Blackmagic 4K Production Camera comes closer to matching the quality of Arri’s Alexa than most people had ever hoped for. The dynamic range on the Alexa still exceeds that of the Blackmagic, and so the Alexa has better overall performance in highlight retention and shadow detail. In terms of overall quality and detail in the image, the two cameras side-by-side are, for an average observer, hard to tell apart once graded. Aliasing doesn’t seem to be noticeably worse on one camera versus the other, though the Alexa has a distinct smoothness to the image that makes the Blackmagic seem just a tad oversharp in comparison. All in all, however, the Blackmagic Production Camera 4K does a great job in competing with one of the world’s best cameras at a tiny fraction of the cost.”

For more information on how to rent the latest Cinema Cameras from Blackmagic and ARRI, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

The post 4K Blackmagic Camera VS ARRI ALEXA appeared first on Stray Angel Films.

In the press release, ARRI broke down the three different AMIRA configurations that are currently available:

• “Entry-point” ($35,444) allows Rec 709 ProRes 422 recording up to 100 fps
• “Advanced set” ($39,537) adds features such as Log C, ProRes 422 (HQ) at 200 fps, in-camera grading and a pre-record function, among others.
• “Premium set” ($44,994) incorporates features for high-end productions perhaps using AMIRA as a companion to ALEXA, including ProRes 4444 and 2K up to 200 fps, as well as limitless color control on set and in post with custom 3D LUTs.

It should be noted that we took the prices the AMIRA is selling for in Europe and converted the figures to USD. It is quite possible that when US sellers begin offering the AMIRA, the price could vary. While ARRI didn’t give an exact release date for the AMIRA, they did say it should begin shipping in Q2 of this year.

*With the camera officially released, if you’re interested in more information on how to rent the ARRI AMIRA, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

The post ARRI Releases AMIRA Pricing appeared first on Stray Angel Films.

• Super 35mm 16:9 Sensor (Same Exact Sensor as Other 16:9 ALEXAs)
• 2K/1080 Rec 709/Log C using ProRes LT, 422, 422HQ, or 444 codecs
• Up to 200fps
• Records to CFast 2.0 (New Compact Flash card standard)
• 1280 x 1024 OLED Viewfinder and Separate LCD Monitor
• Internal ND filters
• 4-Channel PCM Audio: 48KHz 24-bit
• Selectable 3D LUTs can be recorded
• Interchangeable Lens Mounts: PL, PL Broadcast, B4, and Canon EF
• Shipping: Expected Spring/Early Summer 2014

Check out the features tour video that Arri released:

At the time of writing, ARRI has not yet announced the price of the AMIRA, but it is rumored that it will be much less than the ALEXA.

*With the camera officially released, if you’re interested in more information on how to rent the ARRI AMIRA, email rentals@strayangel.com, give us a call or stop in for a demo. We’d love to see you!

For more AMIRA, check out ARRI’s Showreel:

The post ARRI Announces AMIRA Camera, ALEXA Sensor In An ENG Body appeared first on Stray Angel Films.