http://www.arri.com/alexamini/

Compact, lightweight and self-contained, the ARRI ALEXA Mini is a versatile additional tool in the ALEXA camera range. Crews will find that the ALEXA Mini perfectly complements their ALEXA shooting kit, eliminating the complications of working with third-party cameras for specialized shots and keeping everything within a single system that is trusted all over the world.

To maintain ARRI’s famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount – also made of titanium – to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.

PR

ARRI announces the new ALEXA Mini, a versatile additional tool in the ARRI ALEXA camera range that combines a compact and lightweight form factor with the same unparalleled image quality that has made the ALEXA system a gold standard for the industry. Designed for specialized shot-making, the ALEXA Mini perfectly complements a full ALEXA shooting kit and allows crews to eliminate the complications of working with third-party cameras by keeping everything within a single system that is trusted all over the world.

To maintain ARRI’s famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and environmentally sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.

The ALEXA Mini can be operated in a number of ways: by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. Light enough to be comfortably held at arm’s length in a hand rig, its compact size and extremely quiet operation also make it ideal for tight shooting conditions. The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, the ALEXA Mini’s interchangeable lens mount can be replaced with any of those designed for the ARRI AMIRA, allowing the use of B4 video and EF mount stills lenses.

Equipped with a 4:3 sensor, automatic de-squeeze mode for anamorphic productions and frame rates of 0.75-200 fps, the ALEXA Mini records ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder that can record image streams from up to four ALEXA Minis simultaneously — a compelling option for multi-camera setups such as 360° plate shots. Images from the ALEXA Mini will perfectly match those from all other ALEXA cameras, making the final grade easier and quicker.

Integrated functionality is at the heart of the ALEXA Mini’s efficient and self-contained design. A built-in lens motor controller allows new active lens motors to be connected directly to the titanium PL mount, while ARRI Lens Data System (LDS) technology provides frame-accurate metadata that can save time and money both on-set and in post. Wi-Fi connectivity means that iOS or Android devices can be used to remotely control camera functions such as the motorized internal ND filters, which permit rapid responses to changing light conditions without adding bulk to the camera configuration.

The body design is optimized for use with new-generation brushless gimbals, multicopters and other specialized rigs. It is compact enough in the lens direction to allow the use of standard PL mount lenses even on lightweight and space-constrained rigs, such as gyro-stabilized aerial systems. The camera’s superb low-light performance makes it perfect for underwater work; dedicated underwater housings are currently being developed by leading manufacturers.

Like the ARRI AMIRA, the ALEXA Mini can record 4K UHD ProRes images, facilitating real-time 4K UHD output and simple pipelines for high-resolution deliverables. More importantly, the Mini and all other ARRI cameras with the ALEV III sensor offer unrivalled overall image quality by focusing not just on spatial resolution, but also on other parameters such as colorimetry, skin tones and High Dynamic Range (HDR). This is equally true whether the chosen output is HD, 2K, 4K UHD or one of the native resolution outputs like uncompressed ARRIRAW 2.8K or ProRes 3.2K, ensuring that images captured with the ALEXA Mini are future-proof, whatever new industry standards emerge.

This looks like a great camera that would really do what the ikonoskop tried to. It is s16mm at 2k or 16mm at 1920x1080. It records to compact flash cards ( cheaper than 100$ memory cards) has usb 3.0 out (better than a $1000 express card reader from ikonoskop) and has XLR inputs.

I am sad to say I have found this just days after selling my 16mm lens. That's the way it goes though I guess

oh did I mention it is $3300? If you preorder you can get it for $2500

Sales pitch:

Ronin 4D is equipped with Zenmuse X9, DJI’s flagship full-frame camera. It also features DJI’s latest image processing system, CineCore 3.0. This system uses DJI’s proprietary chip to provide advanced processor architecture, offering extremely high-performance computing power in a compact cinema camera. CineCore 3.0 allows Ronin 4D to support internal recording of Apple ProRes RAW, ProRes 422 HQ, and H.264 video. It also supports up to 8K/75fps and 4K/120fps video recording, [3] delivering multiple options for professional-level creation.

Reality:

DJI Ronin 4D will no longer support Apple ProRes RAW internal recording from February 16, 2022.

A friendly reminder that the RED.com compressed RAW pantent will expire in 2028:

https://www.timeanddate.com/countdown/party?p0=840&iso=20280411T00&year=2028&month=4&day=11&hour=0&min=0&sec=0&msg=RED.com%20RAW%20patents%20expire&ud=2&csz=1

https://github.com/storyboardcreativity/zraw-parser/releases/tag/v0.3.4-alpha

I wonder if all this is again because of Cinema DNG and RAW video formats (e.g. Photoshop can work with CDNG).

http://m1-page.mail.adobe.com/nl/jsp/m.jsp?c=%40AHAafIXMiyQv6FKNDla560DQpdsaU7gjzyw1ytYNLeM%3D

Houses 1.3 MP AR0134 CMOS Image sensor (Monochrome/ RAW Bayer)

Fixed Focus

Global Shutter

Plug-&-Play (UVC compliant - No drivers required)and Backward compatibility with USB 2.0 hosts with limited features and capabilities

Output format: Monochrome version - YUY2 (16bits per pixel YUV422 format) Color version - RAW Bayer (8bits per pixel Bayer RGB format)

Supported OS: Windows 10, Windows 8, Windows 7, Linux and MAC *

Read more: https://www.e-consystems.com/1MP-USB3-Globalshutter-Camera.asp

Specifications:

• High resolution 1080HD Super 16mm sized sensor with superior handing of image detail.
• Super wide 13 stops of dynamic range allows capture of increased details for feature film look.
• Compatible with extremely high quality Micro Four Thirds lenses. Compatible with other mounts via common third party adapters such as PL mount and Super 16 cine lenses.
• Built in SD card allows long duration recording with easy to use media.
• Open file formats compatible with popular NLE software such as ProRes 422 (HQ) and lossless compressed CinemaDNG 12 bit RAW. No custom file formats.
• Features all standard connections, including mini jack mic/line audio in, micro HDMI output for monitoring with camera status graphic overlay, headphone mini jack, LANC remote control and standard DC 12 power connection.
• Built in LCD for camera settings via easy to use menus.
• Supports 1080HD resolution capture in 23.98, 24, 25, 29.97 and 30 fps.
• Compatible with DaVinci Resolve Lite color grading software.

Availableat:

• http://www.adorama.com/VDBMCCP.html

http://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera

gashô

capture one (linear mode), left • lightroom, center • raw developer, right

Such a mod can have a neutral picture with 10+ bits and 4:2:2 maybe.

A similar mod, would be to output raw video frames to a flash drive via USB (3).

The sneaky thing which it appears that cameras often do, is give you the camera image as it appears afteral it has been downgraded and compressed. But there must still be some that give you the image before the compression engine, even in 4:2:2 with greater than 8 bits.

My input settings were 48khz, 24 bit PCM, Stereo (just as recorded) and Little Endian. I have tried values 0, 1 and 2 (even 3) in the "start byte offset" space.

What I get is an almost 4-hour long audio file with 85% ultra-saturated sound at 0db (or almost) and the other 15% are chunks of good audio with normal levels. Where levels are just a little below 0db I can tell those are takes that I recorded just fine--Apart from this one take I'm trying to recover, I can play all other takes on my computer as wav files and they all have normal levels.

When I change the value to 0, 1 or 2 the chunks that sound good are all different, but still, together they comprise about 15% of the entire file. When I changed the value to 3 I got a split second file.

Anyone know a solution? Thanks in advance.

PS: I have also tried the chkdsk solution to recover the 0 bytes file, but the .chk files are not showing up on my drive event though the "show hidden files" option is checked.

I had a Blackmagic Cinema Camera which i sold, though I loved the image!

I had a Sony 6300 which I sold, im not getting on with Sonys that much.

Im seeing some really good footage with the Gh5.

But I still keep coming back to Canon ML raw, which has such a great image.

So do I go for a Gh5 with a speed booster or a 5d mark iii??

Thanks

Chris :)

Specs

• Four models with the choice of two sensors, 4.6K or 4K sensor in EF or PL mount.
• Built in dual CFast 2.0 card recorders allow unlimited duration recording in high quality.
• Open file formats compatible with popular software, such as CinemaDNG 12 bit RAW. No custom file formats.
• Support for CinemaDNG 4.6K RAW files and ProRes 4444 XQ, ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT, ProRes 422 Proxy recording at Ultra HD and HD resolutions.
• Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 12G-SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
• Built in high quality stereo microphones for recording sound.
• 5" foldout 1080 HD touchscreen for on-set monitoring and menu settings.
• Optional URSA Mini Shoulder Kit, allowing both tripod and shoulder use interchangeably.
• Built in gyroscope allowing recording of camera pitch, roll and yaw movements when working in RAW.

• Includes full copy of DaVinci Resolve software color grading and editing software

• Blackmagic URSA Mini 4K - $2995

• Blackmagic URSA Mini 4K PL - $3495
• Blackmagic URSA Mini 4.6K EF - $4995
• Blackmagic URSA Mini 4.6K PL - $5495

https://www.blackmagicdesign.com/products/blackmagicursamini

Not to be confused with a ‘Stylized Look LUT’ – I created the BozBMDFilm_to_Rec709 Utility LUT out of a need to make my own color grading life easier when dealing with the Blackmagic BMCC / BMPCC Cinema Camera Film LOG and RAW files. And now I'm making it available to you.

Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

The LUT brings out the contrast and color values captured by the BMCC / BMPCC in Film or RAW mode and strives to preserve highlight and shadow detail [more examples can be found on the download page]

Though it's not free, I think the small asking price of £3.00GBP (approx $3.80USD) is enough to take a leap of faith on. Made a difference to my work flow as I’m sure it will with yours :)

Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

Thank you.

Could be interesting if nothing else, just the fact that they can make it write DNGs is a pretty crazy start.

http://www.magiclantern.fm/forum/index.php?topic=5240.0

Recommended 1000x cards

• http://www.amazon.com/KOMPUTERBAY-Professional-COMPACT-FLASH-Extreme/dp/B009JCL55Y/
• http://www.amazon.com/Hoodman-Steel-Class-CompactFlash-1000x/dp/B009AT8VGW/

Other cards

• http://www.amazon.com/gp/product/B004ISL3GA/
• http://www.amazon.com/gp/product/B009S61AFQ/

will this setup handle raw (red raw from scarlet-x) edit and full res playback in premiere pro cc or fcpx ? anybody using same or similiar setup ?

thank you

I would like to present you our new movie. We had just four days for filming in swiss on 9 different locations. It was pretty amazing going up to 3000 meters and start filming with a drone. Everything was shot with an DJI Inspire 1 RAW with the X5R camera. Filming with this system is pretty nice but backup all the footage after made us go crazy. DJI is using their own data partition on the SSD and you are unable to just copy&paste via Mac or Windows. You have to use "Cinelight" which needs up to 4 hours to backup 350gb of footage. No way to do backups on the way.

Well, making this movie was fun and a great experience. We hope you like it.

Best

Lucas Dominicus

It's available for Windows, Mac, and Linux so you're afforded a bit of platform freedom with it. There's a trial version available on the home site here.

The Corel site starts off the introductory blurb with "Corel® AfterShot™ Pro is a fast..." and as these kinds of blurbs typically go they're drastically understating the case. Running AfterShot Pro on my ancient 2006 MacPro1,1 (w/32GB RAM, and 8-cores of x5355 Xeon at 2.67GHz & GTX570) acts much faster than LR on my liquid-cooled 16-core 4+ GHz Boxx 8980 XTREME with dual Tesla cards and 32GB RAM!

All the usual raw processing tools plus some unexpected goodies are presented in a pretty slick highly customizable, gooey (GUI):

It's of course all non-destructive. The last 4 or 5 revision releases have offered OpenCL support as you can see from the image above. Totally sweet! It has layer masks for selective editing and processing. Layer brushing can be as accurate as 2 pixels and selection areas are sub-pixel accurate. It has options for independent layers which allow opacity and unique selection spline sets and/or brush strokes per layer. The selection splines can be edited at any time during editing or after saving the files out. I guess the spline data is saved in either of it's two kinds of XMP sidecar files. It sports a plug-in architecture but I haven't looked yet to see what APIs it's using nor if the plugs are compatible with those from/for other apps. Mine came with a souped up version of NoiseNinja and B&W processor with selective color capabilities.

It supports catalogs which I personally dislike, and also OS hierarchal folder structures of your own devise - which is what I prefer. It uses just two user definable folders for all of its cache, work, proofs, previews, and profiles so it won't make a mess of things either. The review-and-select tools are similar to all other good PP apps I've tried so finding, sorting, and tagging stuff is done in the usual ways. Basically if you already know LR, CP1, or Aperture, there's no learning curve to deal with - just a HUGE speed increase and who doesn't want that? :D It has some nice output features but nothing others don't have IIRC. PDF files, Proof (Contact) Sheets, and so on. It also has a slide-show feature but it's fairly simplistic with just interval, border offsets, and so on as available options. No fancy wipes or anything but this is a RAW processor so I'm not sure how fitting something like wipes or etceteras, would be. It's got Versioning, Stacking, Keywording, Tagging, and Star Rating to help with progressive edit revisions and so forth. And the various tool pallets can be docked and floated for us multi-monitor users. ;)

My little old MP1,1 with GTX570 can select, apply many many adjustments, and display GH2 RAW files in 0.27s or 3 FPS depending how you look at it. Processing, converting, and saving one raw-to-jpeg image at a time occurs in about 0.8 seconds with every slider and adjustment set to something other than the as-shot defaults. Batch processing 100 such 16mpx GH2 raw files took considerably less time with an average 0.63 seconds for each. That's fast in the extreme - given the machine spec!

So give this a try. DL the trial version, walk through all the preferences to optimize it for your particular system, then try out all the features, and come back here and tell us what you thought - good or bad. I have a feeling some here will be typing CASP or ASP in their posts more often than LR from now on. Me, I'm uninstalling LR all together - that's for sure! ;) They've put together quite a system with hordes of free plug-ins and a fairly energetic community.

Right now Amazon has it for sale for $14.99 as a download. But you can only take advantage of the deal if you're either in the USA or are using something like a Tor network which makes you location independent. :D

Thanks

Has anybody still that .dmg or .zip and can upload it for me to some file sharing platform please?

Cheers

I thought in this section there should be a discussion about the Apertus Project. ( http://www.apertus.org/ )

It sounds, at least for me, very promising and down to the ground and not too hipster like the digtial bloex, (which is, with all respect, beautyful).

However, what are your opinions on it? After all, there is a lot going in the 4k sector and raw cinema development.

Via: http://43rumors.com

Specs

• 43 size sensor
• active MFT mount
• 1080p60, 4Kp30
• Price around $1599

for more info: https://iaremrsir.wordpress.com/2015/04/08/spaces-raw-cineform-raw-for-davinci-resolve/

and to get the plugin (top one): https://iaremrsir.wordpress.com/downloads/?hc_location=ufi