#arri alexa lf

[cinesludge]

Movie #73 of 2023: Dungeons & Dragons: Honor Among Thieves

#dungeons & dragons: honor among thieves #action #adventure #comedy #john francis daley #jonathan goldstein #michael gilio #chris mckay #lorne balfe #barry peterson #dan lebental #english #arri alexa lf #anamorphic #corporate product content #meh #73 #2023

[takmiblog]

(https://www.nacinc.jp/creative/digital-cinema-camera/alexa-lf/)

ARRI

ALEXA LF

#arri #alexa #alexa lf

[junior-stargazer-goke91]

The Little Mermaid (2023)

Director: Rob Marshall

Cinematographer: Dion Beebe

Tech Specs:

— Aspect Ratio: 

1.90 : 1 (IMAX version: some scenes)

2.39 : 1 (theatrical ratio)

— Cameras:

Arri Alexa 65, Hawk65 and Leitz Thalia Lenses

Arri Alexa Mini LF, Hawk65 and Leitz Thalia Lenses

— Negative Format: 

Codex

— Cinematographic Process:

ARRIRAW (4.5K, 6.5K, source format)

Hawk Scope (anamorphic, source format)

#halle bailey #jonah hauer king #the little mermaid #the little mermaid 2023 #prince eric #princess ariel #ariel x eric

[courseone]

ARRI Academy - Certified Online Training for Large-Format Camera Systems This ARRI-certified course covers all aspects of working with ARRI's large-format camera system, comprised of the new ALEXA Mini LF, ALEXA LF, ARRI Signature Prime lenses, and LPL lens mount. After gaining a thorough understanding of these products, as well as related workflows and software, you will be able to maximize the use of ARRI's large-format camera system in real-world situations. Upon completion of the course, you will receive ARRI certification. Modules: ALEXA LF and ALEXA Mini LF 1h 06m This lesson provides a detailed introduction to the ALEXA LF and ALEXA Mini LF camera systems, taking an in-depth look at their features, layout, and capabilities to assist you in becoming a confident camera operator on set. Lens Mounts, Lenses, and Filters 1h 04m In this module, we look at the LPL and PL lens mounts, and how lens design has changed to accommodate large-format sensors. We take a detailed look at the Signature Prime lenses, and compare spherical and anamorphic as well as telecentric lens design. Menu Configuration, Web Remote, and Camera Accessories 1h 10m Here we take a look at the various ways to configure and remotely control the ALEXA LF and ALEXA Mini LF, and run through practical exercises to help you understand how to configure a camera. Recording Media, Formats, and Online Tools 1h 35m In this module, we look at the types of media supported by the ALEXA LF and ALEXA Mini LF cameras, as well as the various formats in terms of sensor modes, aspect ratios, lens styles, and codecs that are available. ARRIRAW, Rec 709 vs Log C, and Exposure 1h 40m This module takes a deep dive into how ARRI sensors are designed, explaining in detail how ARRIRAW works and the differences to ProRes recording. Following that, we look at how color is processed, the importance of logarithmic images, and the various tools available to assist with exposure on the ALEXA LF and ALEXA Mini LF cameras. ARRI Look Management, Postproduction, and HDR 1h 33m ARRI offers a wide range of workflows for managing color, including in-camera, off-camera, during post-production, and even live-grading on set. In this module, we look at each of those options and the various software tools available to assist you in realizing your creative vision through the production and post pipeline. To finish the course, we look at HDR recording and gain an understanding of how to monitor HDR on set using ARRI's large-format camera system.

[i-must-not-fear]

#dune #dune part 2 #cinematography

[lesterplatt]

HELENA GANJALYAN & BARTOSZ SZPAK | PZPN from The Reel Friends on Vimeo.

CLIENT - PZPN AGENCY - GONG PROD - Watchout Studio

DIR - Helena Ganjalyan & Bartosz Szpak DOP - Maciej Ryter

Arri Alexa Mini LF + Arri Signature Primes with Impression filters.

[praynmantiss]

ASC MAGAZINE #2

Thirteen Lives tells the story of the 2018 Tham Luang incident in Thailand, which involved a dozen boys and their football coach trapped 2.5 miles deep inside a remote cavern system when their outward route was suddenly flooded by a massive rainstorm.

Ron Howard signed on to direct Thirteen Lives, a Thai film that explores cooperation among volunteers. Howard believes the film has the potential to transport audiences to the Thai environment and culture he contacted Thai director of photography Sayombhu Mukdeeprom. Howard asked him about Thai culture and reactions to an incident in Thailand. They discussed documentaries to gather information about the event. The film was shot in Queensland, Australia, which offered a good facsimile of Thailand's natural environment, particularly rainforests. The director and cinematographer developed a plan of attack over their computers due to Covid-19 restrictions. Shooting began in Queensland in March 2021, with a "beauty unit" capturing establishing shots in the mountains via drones. The film was not a superhero-movie, but a more realistic portrayal of the Thai people's reactions.

The filmmakers used the Arri Alexa Mini LF at a 2.39:1 aspect ratio for their underwater filming, aiming for a wider image size to include scenes' backgrounds. Originally planning to shoot on the Alexa 65, they realized the underwater part presented the biggest challenge.

The filmmakers chose the Alexa 65 underwater housing for their film, "Cave in the Woods," after comparing it with Arri in New York. The interior cave scenes were shot on large suburban warehouses with five water tanks and winding tunnels. Sigma Cine FF High Speed Primes were used for land material, with focal lengths around 35, 40, 50, and 85. A 23' telescopic Scorpio crane was used to move the camera above the water surface, as seen in a scene where divers approach stranded children.

Mukdeeprom had to shoot with up to three cameras at a time due to the large cast. He used intuition and connection to the characters and story to find interesting shots. The lighter Mini LF was beneficial for handheld or Steadicam shots. Howard monitored the cameras from his video tent, while gaffer Matt Slattery was in Mukdeeprom's tent. Mukdeeprom's job was to keep the camera on his shoulder, ensuring a shaky, faux-documentary style.

The cave lighting for the film was a challenge due to the need to maintain the darkness of the cave while showing the actors' faces. To achieve this, overhead lights were rigged with soft boxes and Fiilex Q5 and Q8 Colour LED Fresnels. The SEAL team used practical work lights for much of the cave illumination, with bulbs strung across rock walls and standing lights of various shapes and sizes. The art department added balloon lights and standing lights, and the lights were retrofitted with LED bulbs for more colour control. For scenes with divers deep in the cave, ambient light was dimmed down and illumination was provided by headlamps and a flashlight held by a SEAL.

I enjoyed this film because It created a claustrophobic experience that immersed me in the world of the story.Filming in water is challenging and it is fascinating to here how studios with higher budgets approach such projects.

#Youtube

[pannyhire]

ARRI ALEXA MINI LF | Pannyhire.com

pannyhire.com is offering ARRI ALEXA MINI LF at now in best prices.

Product Feature 1 : {Built around a large-format 4K version of the original ALEXA sensor, the ARRI ALEXA Mini 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 mode.}

Product Prices :- {$750 PER DAY}

ARRI ALEXA MINI LF

[xnmldv]

If Im Not There from Dmitry Khmelnitsky on Vimeo.

The work explores the thin line between the conscious and the subconscious, investigating intimate expressions of mental disorder and blurring them into a derealized present. Dreams, memories, and intentions intertwine, activating a sequence of actions that acquire and lose meaning as they are performed. The video (6 minutes) - whose indoor scenes were shot inside CCA Tel Aviv, in the very room where the video is projected - was created using multiple formats and capturing a variety of perspectives.

It was recorded both digitally, using an ARRI ALEXALF, as well as on 16mm and 8mm film, still photographs, and projections from a DV camera. Its cinematic approach homages Persona (Bergman, 1966), while the voiceover (a stream-of-consciousness monoloque recited in Italian) nods to the Italian directors - among them Pasoliniand Fellini - whose films had a direct influence on the project.

Created by WÜL COLLECTIVE

Film by Dmitry Khmelnitsky and Ilya Marcus Performed by Katya Filkov Styling Ksenya Filkov Voice by Elena Ceretti Stein Focus Puller Omer Weiss

Words by Nastasia Khmelnitski

Color by Blacklight

In collaboration with Christina Seewald and CCA – Center for Contemporary Art Tel Aviv

Rental Broadcast Media

Shot on ARRI’s ALEXA Mini LF Bolex H16 Canon’s Auto Zoom 815 Super 8 Mamiya 645 Super

Special thanks to Anton Khalemsky, Akim Endo Dolinsky, Omer Weiss, Izabella Volovnik, Daniel Kedem, Jennie Sundin, Natasha Olshanskaya, Nadia Migdal, Chloé Milos Azzopardi

Premiere Screening in CCA – Center for Contemporary Art Tel Aviv on the 7th July, 2021

[kinematografiayevsyd]

Irish Drama The Banshees of Inisherin Explores a Fractured Friendship - American Cinematographer - February 2023

The article focuses on the creative choices of director Martin McDonagh and cinematographer Ben Davis when making The Banshees of Inisherin. Their camera, lighting and production design decisions are explained.

The filmmakers wanted to draw no clear line between the characters’ faces and the landscapes in which they exist, to see the weather on their faces. That is why according to the weather on the day, they would shoot specific scenes in their chosen natural loctions, which had melancholic beauty to the space, yet a claustrophobic feeling that gets to your soul. They also used Arri Alexa Mini LF and Signature Primes to get background and depth.

Observations on lighting. In the key scene of the film when Colm finally admits to Padraic, why it is that he does not want to speak to his friend, it was important to McDonagh to light Brendan Gleeson's eyes sharply. They used a source right behind the camera — a 150-watt Dedolight. In general, a lot of sets with built-in lighting set-ups were specifically created for the film. Gobos were used to create a cross shape on the priest's face in the confession scene.

A lot of color was involved in the costumes, because the landscape has a limited palette. Color was carefully thought out. Davis says, “There were some very strong color references — for example, ‘Van Gogh yellow’.

The film's style was inspired by modern and classic Westerns, though not in settings, but in atmoshere and the style of the scenes.

[aberdoniandoesfilm]

The Banshees of Inisherin Cinematography

Fit like! I'm have an interest in specialising in cinematography, meaning that I had to pick an article from ASC magazine for the first reading. I picked an article about The Banshees of Inisherin (2022) from the February 2023 edition. This is a film that i had went to see in the cinema and thoroughly enjoyed it.

The film centres around the fractured friendship between two men on a remote island in Ireland. Martin McDonaugh directs the film, with accomplished cinematographer Ben Davis returning to work with him. Interestingly Davis mentions the two do not keep much contact until McDonaugh will out of the blue send him a script for the next project.

Apparently, it was decided early on in the process of the film development that it would be shot on a 'storm-swept' island called Inishmore. This presented its own challenges for Davis due to limitations of crew/equipment that would be available and the harsh weather that could grip the island. This meant Davis had to potentially strip back his cinematography and be even more creative in his approach. Quite a contrast to his normal approach considering the Marvel films he has been credited with in the last few years.

Davis and McDonaugh discuss extensively thoughts and feelings about the script before shooting. They first found that the film had quite a Western feel to it and watched many films in this genre for inspiration. Secondly, they went through parts of the scripts figuring out what weather they would want in certain scenes. This informed how they scheduled shooting and would shoot scenes based on the weather on the day. I never really thought professional shoots would be able to operate in this way and found it really interesting! Nightmare if you are in charge of making the schedules, however.

Davis decided to shoot the film on an Arri Alexa Mini LF and prime lenses. He wanted to capture the full depth in the background of shots. In the close-ups, he wanted to avoid a shallow depth of field as well. to avoid a 'big aesthetic jump' in the cinematographer. This meant shooting them at T5.6 and using more negative fill.

Found this article very insightful and I now want to rewatch this film to look at how effective the cinematography is employed in it. Plus because it's funny as shit.

#filmproduction

[cinesludge]

Movie #24 of 2023: The Trial of the Chicago 7

Tom Hayden: “Are we using the trial to defend ourselves against very serious charges that could land us in prison for ten years, or to say a pointless "fuck you" to the establishment?”

Jerry Rubin: “Fuck you!”

Tom Hayden: “That is what I was afraid... Wait, I don't know if you were saying "fuck you" or answering.”

Abbie Hoffman: “...I was also confused.”

#the trial of the chicago 7 #aaron sorkin #drama #history #thriller #daniel pemberton #phedon papamichael #alan baumgarten #arri alexa lf #2020 #24 #english

[dfirentals08]

Realistic Greatness: Leasing Gear In Los Angeles

Los Angeles, the focal point of the worldwide entertainment world, is a city that inhales film. It’s where dreams are woven into stories that enamor crowds around the world. At the core of each and every convincing film lies a universe of mind boggling arranging and planning, and one of the most critical parts of this interaction is approaching the best true to life gear. In this article, we’ll investigate how Los Angeles, with its energetic film culture, offers a plenty of choices for leasing gear that fills realistic greatness.

ARRI Rental Los Angeles: ARRI Rental is a name inseparable from realistic brightness. Their Los Angeles branch brags a broad determination cameras, focal points, and lighting hardware. Whether you’re needing the famous ARRI Alexa LF camera or the most recent in lighting innovation, ARRI Rental is the go-to objective for producers taking a stab at the greatest. Panavision: With a celebrated history that traverses many years, Panavision is an image of realistic dominance. Their Los Angeles area gives an exhaustive scope of cameras, focal points, and frill. What separates Panavision is their enduring obligation to remaining at the front line of innovation, guaranteeing that producers approach state of the art gear. Keslow Camera: Keslow Camera is praised for its immense stock of cameras and focal points. The Los Angeles branch offers customized administration, where specialists help producers in choosing the right hardware for their undertakings. Their profound skill and different contributions make them a confided in accomplice in the business. Brightening Elements: Lighting is a significant component in filmmaking, and Enlightenment Elements succeeds in giving top-level lighting gear. Their stock incorporates best in class Drove apparatuses and conventional tungsten lights, engaging producers to make the ideal mood for their shoots. Wooden Camera: Wooden Camera has practical experience in embellishments and backing gear, offering a wide cluster of camera emotionally supportive networks, follow center units, and different fundamentals. Their gear smoothes out creation, guaranteeing a consistent in the background insight. Burbank General media: Outstanding sound is essentially as imperative as visuals in filmmaking, and Burbank General media has practical experience in sound hardware rentals. Their top-level amplifiers, recorders, and sound stuff ensure that the venture sounds as enthralling as it looks. Stray Holy messenger Movies: Stray Holy messenger Movies takes special care of producers, all things considered, giving a tremendous stock of hardware, from cameras and lighting to hold and electric stuff. Their moderateness and extensive contributions pursue them a favored decision among free producers. In a city that flourishes with imagination and development, admittance to the best Cinema Equipment Rentals Los Angeles is central. These investment properties give state of the art innovation as well as deal important skill to help movie producers in understanding their realistic dreams. Whether you’re an old pro or an arising ability, Los Angeles furnishes you with the assets and backing expected to rejuvenate your narrating with realistic greatness. With these rental choices, you’re totally ready for an effective filmmaking venture in the diversion capital of the world.

[mvp-dp]

Week 10 Update

Set: This week, I worked on set as the gaffer for a 390 production, shot by DP Jiyan Erincik for Quinn McCain. It was a real challenge using a few units to create the look we wanted, but keeping it simple greatly helped in getting creative and making something that fulfilled both the DP's and Director's desires. Sometimes all it takes is a single large source and a few accents and you have a look that can stand the test of time.

Furthermore, we ended up building a "void," using a large soft source (in this case, an Aputure P300c Nova shot into a lanterned poly silk) to create a huge softbox above our subject. We then skirted the sides in an 8x8 square with Ultrabounce rags, bouncing any lost output back into the middle column while preventing spill outside the area of action. BTS pictures below.

Networking: This week, our Cinematography III class took a trip to Arri in Burbank for a tour. It was an incredibly insightful visit, as we had a chance to learn more about Arri as a company, play around with their Alexa 35 and Alexa Mini LF, and view their virtual production volume. We also got a small view at ArriRental, their rental house in the back of their studio. I kept the contacts of a few employees there, who I will be in contact with this week regarding job opportunities at ArriRental.

What's Next: While I will not be working Week 11, I will be using it as an opportunity to finish up polishing my website and my LinkedIn, as they are both crucial for networking that isn't word of mouth. Furthermore, I hope to use this weekend to plan for the next few, as I am 1st AC'inng Week 13 and gaffing one day of Week 14. Looking forward to continuing the job search process and hopefully setting myself up for success as I exit college.

~ Miguel

[manky-toe]

-just some links to check out in the future-

[femaqeroluv]

Arri sr 2 bedienungsanleitung cafissimo

  ARRI SR 2 BEDIENUNGSANLEITUNG CAFISSIMO >> DOWNLOAD LINK vk.cc/c7jKeU

  ARRI SR 2 BEDIENUNGSANLEITUNG CAFISSIMO >> READ ONLINE bit.do/fSmfG

           62, Kitchen, Espresso Manual, B07GB8JPL7, 5011773064033, Breville PrimaLatte II Kaffee- und Espressomaschine VFC108X-01, 19 bar, f??r Kaffeepulver oder Pads Os fs 90 bedienungsanleitung cafissimo Arri sr 2 bedienungsanleitung philips Orion tv39ls139s bedienungsanleitung cafissimoTchibo Cafissimo Feine Milde 10 aromafrische Kapseln 2. ABS, ESP,geteilte Rückbank, ,- Euro 0531/ Polo, Bj. 88, 33 kw, WR + SR, gt. 2-in-1 Staubsauger Roboter mit Wischfunktion & intelligenter Navigation ??? ANC, 20 Std. Akku, Bluetooth+1, Touch-Bedienung ) stormy black, 1, 137.69. Canson kündigt Infinity Baryta Photgraphique II Papiere an IBC 2019: Arri kündigt Auslieferung der neuen Alexa Mini LF an.

https://femaqeroluv.tumblr.com/post/693228633681199104/bizerba-ve-6-bedienungsanleitung-sony, https://femaqeroluv.tumblr.com/post/693228633681199104/bizerba-ve-6-bedienungsanleitung-sony, https://femaqeroluv.tumblr.com/post/693228633681199104/bizerba-ve-6-bedienungsanleitung-sony, https://sisiwokak.tumblr.com/post/693228984948932609/philips-pm-2505-bedienungsanleitung-hp, https://femaqeroluv.tumblr.com/post/693228633681199104/bizerba-ve-6-bedienungsanleitung-sony.