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Arri ALEXA 3.0 Software Update

Exciting news here at RBC is that Arri, keeping with their promise of delivering updates for ALEXA, have recently released version 3.0 which now allows video playback of the clips from the SxS media cards, audio recording via the 5 pin XLR stereo input and embedded in the HD-SDI outputs, and max 3200 ASA. Push the PLAY soft button on the camera side, and scroll through the clips to select one. Push the knob and your viewing your footage on all outputs. A future update will allow audio to play back as well, but for now this is another step in the right direction from Arri. With ALEXA’s multiple output and record options, 3.0 has made it easier to independently select each output/record path gamma setting. For example; record LogC to SxS cards while outputting Rec709 from HD-SDI outputs. All easily accessible from the lcd without going into the menu hierarchy. The Rec709 color processing has also been improved from last version. If you do choose to record LogC to SxS , Arri has made available a LUT generator (Look Up Table) on their website for downloading LUT’s and applying them to footage in post. The viewfinder has an optional Smooth mode which reduces flicker in the viewfinder at 30fps and under. A much more pleasant viewing experience but this will not be the same as all other outputs which will still have motion flicker in respect to frame rates. False Color Check can be activated in the viewfinder and/or the monitor output path. False Color Check is an exposure level guide using different colors to relay different exposure levels in your picture. This is helpful as it’s the only exposure guide in the camera. Where traditional video and HD cameras have Zebra settings or spot meters, ALEXA is based on setting an ASA and measuring for that sensitivity. A more traditional film method.

False Color Map (From ALEXA manual 3.0)
Metadata can be set via the lcd which includes production info like director, cinematographer, location, and user info that could include scene names,etc. The data is saved with the ProRes files making it available post. Single Frame Grab is a nice function that will store the current frame in the Rec Out path to the cameras SD card as 1920×1080 Jpeg, Tiff, or Dpx files. Thanks to Arri for keeping the updates coming and ALEXA evolving. The camera will continue to produce exceptional images with amazing latitude into the future. Dave Kudrowitz Senior Engineer

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The Phantom Flex High-Speed Digital Camera

The Phantom Flex is the latest in HD high-speed image capturing from manufacturer Vision Research. I have been spending some time testing the Flex over the past two weeks and I am very impressed. With a 1000 ISO, the sensitivity this camera allows is far superior to its predecessor the Phantom HD Gold (ISO 320) which is a superb camera in its own right. This kind of sensitivity proves beneficial in high-speed image capturing. With it’s capability to capture over 2500fps at 1920×1080, or over 5000fps at 1280×720, you quickly see why Flex is the most sensitive high-speed camera on the market today.

The Phantom Flex
Another fine feature of the Flex is its internal capping shutter. This makes black balancing much easier to do during production with the press of a button on the side of the camera. Because of high operating temperatures, the sensor needs to be regularly black balanced to stabilize the signal levels. With this in mind, the camera also has an optional HQ mode. HQ mode eliminates the need to manually black balance as it does it automatically within each captured frame. Although HQ reduces the maximum frame rate capture speeds by approximately one half than standard mode, it makes for quicker shooting in the field as well as increases the signal to noise ratio in the image. An improperly black balanced camera will ruin your shot and that is not an option when you often have one short opportunity to capture it. Flex has two recording operation modes to choose from:  Loop mode or Run/Stop mode. In Loop mode the Flex uses an internal buffer that stores each take. The duration of the recorded action respectively decreases as the frame rate increases. So you may only have 2 seconds of capture time to film that exploding water balloon, or 4 seconds to film that acrobat in midair. (Check out RBC client Tom Guilmette’s recent blog and Flex footage for a creative example at http://www.tomguilmette.com/archives/1986 ) The clip in the buffer can then be trimmed and saved to the on-board CineMag, which is a 128G, 256G, or 512G flash mag mounted to the camera.
Mounting the CineMag onto the Flex
Run/Stop mode allows you to record direct to the CineMag while avoiding the short time allowed in the buffer. This may be a better choice when the action is longer or continuous. The caveat here is that the maximum frame rate is much lower. Maximum frame rate direct to CineMag is 361fps at 1920×1080. But the bonus is recording for longer periods of time. The operator can start and stop recording like a regular camera until the CineMag is full. The CineMag files are downloaded via Phantom software on a PC, either while still on the camera or on a Vision Research CineStation. The files on the CineMag are RAW files with the .cine extension. These are very large files that take a considerable amount of time to download to external hard drives to deliver to post. These files can be opened with software like Glue Tools , or Iridas. Glue Tools opens the files in a QuickTime wrapper and allows you to edit and view them in Final Cut Pro or other QT based applications for editing, grading and coloring. A different approach to saving the Phantom footage is using a video workflow method, by capturing the video playback directly from the Flex or CineStation onto a recordable device.
CineStation
Both have dual link HD-SDI outputs for high quality recording. Popular choices for this may include the CineDeck Extreme(4:2:2, 4:4:4), Convergent Design’s NanoFlash recorder(4:2:2), AJA KiPro(4:2:2)  or KiPro Mini(4:2:2) or direct to a CPU via a video card(4:2:2, 4:4:4). The Flex also has auto-scaling which allows shooting over-sampled resolution of 2560×1440(16:9) and scaling the SDI output to 1920×1080. Over-sampling gives us a better quality image (no artifacts) and greater dynamic range.
Two HD-SDI outputs can be set to dual link 4:4:4 for high-quality image capture
Rule Boston Camera’s Flex comes standard with a PL mount allowing the use of our entire inventory of 35mm motion picture camera lenses. Super 16 lenses can also be used when operating the Flex at 1280×720. RBC has 128G and 256G CineMags available for rental with the Flex. Be prepared for long download times when saving the .cine files from flash mags. Flex Max Frame Rates in LOOP mode: 2560×1440 – SQ: 1617fps , HQ: 802fps 1920×1080 – SQ: 2564fps , HQ: 1267fps Flex Max Frame Rates in R/S mode: 2560×1440 – SQ: 217fps , HQ: 217fps 1920×1080 – SQ: 361fps , HQ: 361fps CineMag Recording Time: 2560×1440 – 128G = 20 minutes@24fps 256G = 40 minutes@24fps 1920×1080-  128G = 33 minutes@24fps 256G = 67 minutes@24fps Download Time via 1G Ethernet /PC : 128G = 1.75 hours 256G = 3.5 hours The quality of the images Flex creates combined with the super slow motion truly make for stunning cinematography. Often described as “jaw dropping”. Dave Kudrowitz, Senior Engineer