ARRI_Camera_ALEXA_Studio_Datasheet
阿莱ALEXA性能
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• ②.通过示波仪确定宽容度电平值上下极限 • 在胶片时代，我们做宽容度实验，无法提 前预见宽容的上下极限，只能通过经验做出 估算，比如在上三档后我们就开始以半档的 梯度做。现在有了示波器，我们就可以直观 的看到宽容度的极限，比如在你转动光圈调 节环时，示波器上便会显示灰阶的上下变化 ，也就是电平值的变化。这样，我们在实拍 前，先通过变光圈、收放叶子板开口角、和 在镜头前增加ND的组合变化，提前找到上 下的极限，然后再确定需要做多少级的梯度 数量。
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⑵.使用示波器测量灰阶
ALEXA摄影机的基础电平值是38％，对应的灰板灰度是18 ％。
• ① .示波器的基本使用。 • 示波器在本次实验的的作用，类似于胶片宽容度实验中的用 密度计测量灰板在底片上的密度之一环节。 • 示波器全称“波形示波器”（Waveform Monitor），它的屏幕 是一个方形，对应的就是我们的拍摄画面。横坐标对应画面 的宽度，纵坐标是画面的电平值（也就是YUV中的Y.在视频 领域，习惯使用“亮度电平值”而不是“密度值”，但概念是类似 的。亮度电平的单位是 IRE ，100IRE 是表示全白 ， 0IRE 表示全黑。（摄像机的斑马纹功能（ Zebra ）中的 80% 90% 指的就是白电平值 80IRE 、 90IRE 。 某区域出现斑马 纹说明该区域的白电平超过了设定值 ，也就是提示你该区域 快要 “死白”了。）我们用个图来说明一下示波器。
Slide master • ② .绘制曲线
• ③ 把示波器图中的曝光梯度数值和所对应的电 平百分比数值，分别作为坐标轴的横竖坐标刻度， 对应地画出坐标点，连成曲线。因为有可能示波器 中显示的电平梯度过宽，所以并不能得到精确的电 平值，所以画出的曲线直线部分并不是直线，而是 曲折的，实际中数字摄影机的曲线都是线性的，不 会像胶片曲线那样是曲线，数字感光器件的线其实 是折线。但是现在我们画出的这条感光曲线并不影 响我们进行评价，因为还是可以看出明确的肩部和 趾部衰减的。 • ④ 用透明红色和透明蓝色标示出曲线的肩部和 趾部，提示进入有色区域意味着失去层次，再用绿 色圆点标示出中灰点，即38％的电平值。（阿莱公 司采用红色、蓝色、绿色、分别标注曲线的肩部、 趾部、中灰点）
AMIRA快速指南_摄像人网
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10.5 PLAY（播放）按钮
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10.6 屈光度调节
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10.7 调节监视器
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10.8 改变监视器模式
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目录
10.9 菜单控制
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11 用户预设面板
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11.1 锁定 / 解锁
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11.2 用户自定义按钮
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12 主控面板
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12.1 设置 US 用户自定义切换开关
注意！ 小心表示有潜在危害的情景，若不防范，则可能会导致中等或较轻的伤害。
提示 注意表示此行为不会导致人身伤害。因此此标识词语中不含警告标志。 注：注意中会提供用于解释或简化工作的额外信息。
1.2 重要安全措施
危险！ 高电压！有触电或起火风险！ 短路将引起致命危险。 使用之前，请仔细阅读所有未过期的使用说明，并严格遵循。 切勿打开机身。切入插入任何物体。 操作时，请务必使用说明中指出的电源。 断开电源时请握住电源插头，而不是电线。 切勿尝试自行维修。所有的维修工作必须由具备资质的 ARRI 维修中心进行。 切勿移除或毁坏任何安全设施（例如警告贴纸或涂漆标示的螺丝）。 务必避免潮湿、寒冷、炎热、多尘、震动、冲击或严酷的使用环境。 切勿覆盖任何风扇开口。
AMIRA 摄影机，带有订购时所选的卡口：PL，EF，B4 多用途取景器，带 AMIRA 电子取景器电缆 Gold 卡口或 V 卡口电池适配器（若订购） 带取景器适配器的摄影机手柄 四个 XLR 接口保护盖（一个备用，请保留全部四个以便日后使用！） 四个 BNC 接口保护盖（使用前请移除） WPA-1 或 BPA-3 底板适配器（若订购） Wi-Fi 天线 蓝牙天线 USB 闪存盘 2 mm 六角工具 3 mm 六角工具 快速指南 原始包装，包括干燥剂
阿莱艾丽莎(ALEXA)
JVC GY-HM700E 摄像机
报价：45000元
• 最低照明度：1.25流明 （典型值） （1920X1080模式）
• F1.4，+18db提供8帧聚集技术
• 机器外观专业，清晰度好，功能 也好。 缺点：传感器小。 总结： 用移动机不方便，做架机挺好1、 画质：整体上看，画质还是不错 的，1080P的高清效果还是比较 令人满意 2、噪点：光线差的情 况下，噪点比较严重，这一点不 太满意 3、抖动:机器自身不带防 抖功能，使得长焦状态下，没有 稳定装置很难把握 4、机身：机 身噪音比较大，使用时间稍微长 一点，机身会很热 5、电池：如 果你想拍一部1个多小时的片子， 请备用两块电池，机器比较费电， 原因可能是跟大显示屏有关吧 6、 操控：也许是因为镜头的原因， 右手的手感不是太好，比较滑。 7、寻像器：寻像器基本上是个 摆式，无论是对焦还是监控，都 不能让你准确把握。
Sony PMWEX1摄像机 报价：41000元
• EX1上首次在Sony手持专业摄录一体机系 列中采用了专业广播级Fujinon14倍变焦 高清镜头，它提供了5.8mm的广角，最长 焦也达到了81.2mm，换算为35mm胶片 相机，焦距为31.4mm到439mm，加上 16:9的构图比例，基本满足了一般拍摄需 要。EX1使用了符合MPEG-2 MP@HL标 准的“MPEG-2长GOP”编解码器来压缩 记录全高清图像。EX1可以提供F10的优 异灵敏度，信噪比可以达到54db的水平。 并且与大型高清摄录一体机动辄5公斤以 上的重量相比，EX1使得轨道、摇臂拍摄 和水下高清拍摄、航空高清拍摄等降低了 操作难度和投资。而且，索尼PMW-EX1 还支持电影伽码的功能，并预置了8种伽 码曲线，分别对应不用场景的需要，便于
阿里·电影摄影技术有限公司 RF-EMIP、RF-2400、RF-900 用户手册 27日本国202
Radio ModulesRF-EMIP, RF-2400, RF-900 27th July 20212ImprintCopyright © 2021 Arnold & Richter Cine Technik GmbH & Co.Betriebs KG. All rights reserved. No parts of this documentmay be reproduced without prior written consent of Arnold &Richter Cine Technik GmbH & Co. Betriebs KG. Specificationsare subject to change without notice. Errors, omissions, andmodifications excepted.ARRI, ALEXA, AMIRA, Master Grip, LDS and LENS DATASYSTEM are trademarks or registered trademarks of Arnold& Richter Cine Technik GmbH & Co. Betriebs KG. All otherbrands or products are trademarks or registered trademarks oftheir respective holders and should be treated as such. Originalversion.For Further AssistanceARRI Cine + Video Geräte Gesellschaft m.b.H.Pottendorferstraße 23-25/3/1A-1120 Vienna AustriaE-mail: ****************Website: 3ScopeThis USER MANUAL applies to the following product:K2.0036599RF-900 Radio Module 900 MHz FHSSK2.0036598RF-2400 Radio Module 2400 MHz FHSSK2.0033702RF-EMIP Radio Module 2400 MHz DSSS4Revision historyVersion ID Order #Release Date0110005938K5.0040006F076402021-07-135DisclaimerBefore using the products described in this manual, be sure to read and understand all the respective instructions.The ARRI RF-EMIP, RF-2400, RF-900 Radio Modules is/are only available to commercial customers. By utilization, the customer agrees that the Radio Modules or other components of the system are deployed for commercial use only. Otherwise the customer must contact ARRI before utilization.While ARRI endeavors to enhance the quality, reliability and safety of their products, customers agree and acknowledge that the possibility of defects thereof cannot be eliminated entirely.To minimize the risk of damage to property or injury (including death) to persons arising from defects in the products, customers must incorporate sufficient safety measures in their work with the system and heed the stated canonic use.ARRI or its subsidiaries do not assume any responsibility for losses incurred due to improper handling or configuration of the Radio Modules or other system components.ARRI assumes no responsibility for any errors that may appearin this document. The information is subject to change without notice.For product specification changes after this manual was published, refer to the latest published ARRI data sheets or release notes, etc., for the most up-to-date specifications. Notall products and/or types are available in every country. Please check with an ARRI sales representative for availability and additional information.Neither ARRI nor its subsidiaries assume any liability for infringement of patents, copyrights or other intellectual property rights of third parties by or arising from the use of ARRI products or any other liability arising from the use of such products. No license, express, implied or otherwise, is granted under any patents, copyrights or other intellectual property right of ARRI or others.ARRI or its subsidiaries expressly exclude any liability, warranty, demand or other obligation for any claim, representation, cause, action, or whatsoever, express or implied, whether in contract or not, including negligence, or incorporated in terms and conditions, whether by statue, law or otherwise. In no event shall ARRI6or its subsidiaries be liable for or have a remedy for recoveryof any special, direct, indirect, incidental, or consequentialdamages, including, but not limited to lost profits, lost savings,lost revenues or economic loss of any kind or for any claim bya third party, downtime, good-will, damage to or replacement ofequipment or property, any cost or recovery of any material orgoods associated with the assembly or use of our products, orany other damages or injury of the persons and so on or underany other legal theory.In the event that one or all of the foregoing clauses are notallowed by applicable law, the fullest extent permissible clausesby applicable law are validated.How to Use this Manual 71How to Use this ManualThis manual describes the necessary information for using theproduct.For further details, refer tothe ARRI website at /radio-modules For Tech Tips, please visit the ARRI Youtube Channel at https:///user/ar-richannel:The appendix at the back of the manual contains useful reference material including technical data, connector pin-out diagrams and dimensional drawings.Additional InformationFor useful information in addition to this user manual please have a look at the ARRI Learn & Help section on the ARRI website.Strengthen Your Knowledge and Get TrainedThe ARRI Academy courses provide unrivalled insights into the full possibilities of working with ARRI camera systems, lenses,lights and accessories.To learn more, please visit /academy .8Table of ContentsTable of Contents1How to Use this Manual (7)2For Your Safety (9)3Audience and intended use (11)4Scope of Delivery and Warranty (12)5Introduction (13)6Layout (15)7Radio types (18)8Compatibility (20)9Appendix (23)9.1Antenna connector (23)9.2Specifications (23)9.3Dimensions and weight (25)9.4Part numbers (27)9.5Glossary (28)9.6Service Contacts (29)9.7International declarations (31)2For Your SafetyBefore use, please ensure that all users read, understand, andfollow the instructions comprehensively in this document.Risk levels and alert symbolsSafety warnings, safety alert symbols, and signal words in theseinstructions indicate different risk levels:Note: Provides additional information to clarify or simplify aprocedure.Vital PrecautionsGeneral precautionsUse only the tools, materials and procedures recommended in this document. Unplug all cables during transport.Do not store the Radio Modules in places where it/they may be subject to temperature extremes, direct sunlight, high humidity, severe vibration, or strong magnetic fields.Audience and intended use11 3Audience and intended useThe Radio Modules is solely and exclusively for use onprofessional camera setups.12Scope of Delivery and Warranty 4Scope of Delivery and WarrantyDeliveryOn delivery, please check that the package and content areintact. Never accept a damaged or incomplete delivery. Acomplete delivery includes:Radio ModuleInstruction manualOriginal packagingWarrantyFor scope of warranty, please ask your local ARRI ServicePartner. ARRI is not liable for consequences from inadequateshipment, improper use, or third-party products.5IntroductionWith the introduction of the Hi-5 Hand Unit ARRI offers threedifferent exchangeable radio modules for various shootingconditions and regions:RF-EMIP Radio Module 2400 MHz DSSSRF-2400 Radio Module 2400 MHz FHSSRF-900 Radio Module 900 MHz FHSSMain featuresRF-EMIP Radio Module:White-coded radio moduleCertified regions: worldwideFixed radio channels (14 channels)Compatible with existing ARRI hand units, cameras, motorcontrollers and the cforce mini RF motor containing ARRI'swhite-coded radio moduleNetwork mode: can pair with up to three hand units forsplit focus, iris and zoom operations to one camera/motorcontrollerRF-2400 Radio Module:Certified regions: worldwide100 channels (= defined hopping schemes)Its frequency hopping transmission method ensures astrong radio link with exceptionally good interferenceimmunity.RF-900 Radio Module:Long-Range SolutionCertified regions: USA and Canada100 channels (= defined hopping schemes)Its frequency hopping transmission method ensures astrong radio link with exceptionally good interferenceimmunity.Network mode: can pair with up to three hand units for splitfocus, iris and zoom operations6LayoutRF-900 Radio Module 900 MHz FHSSRF-2400 Radio Module 2400 MHz FHSSRF-EMIP Radio Module 2400 MHz DSSS7Radio typesRF-EMIP Radio ModuleA white-colored ring at the base of the antenna socket identifiesthe white-coded radio module. There are 14 channels to choosefrom:Channel Frequency ZigBee IEEE802.15.4 Channel0 2.410 GHz121 2.415 GHz132 2.430 GHz163 2.435 GHz174 2.450 GHz205 2.455 GHz216 2.470 GHz247 2.475 GHz258 2.420 GHz149 2.425 GHz1510 2.440 GHz1811 2.445 GHz1912 2.460 GHz2213 2.465 GHz23RF-2400 Radio ModuleA or orange-colored ring at the base of the antenna socketidentifies the RF-2400 radio module.RF-900 Radio ModuleAn grey-colored ring at the base of the antenna socket identifies the RF-900 radio module.ATTENTIONPlease ensure that the region is configured correctly, as it may be illegal to use the RF-EMIP, RF-2400, RF-900 in a region other than specified in the setting. All settings are compliant to FCC and IC regulations.20Compatibility8CompatibilityThe RF-EMIP, RF-2400 and RF-900 Radio Modules interface withthe Hi-5 Hand Unit and the Radio Interface Adapter RIA-1.ATTENTIONWhen removing the radio modules from the hosting units (Hi-5Hand Unit, Radio Interface Adapter RIA-1), please check thetemperature of the radio modules first. If they are hot, pleasewait until they have cooled down.Radio CompatibilityThe RF-EMIP is compatible with all devices which have a built-in EMIP100, EMIP200, EMIP300, EMIP400 or EMIP400s white-coded radio module as follows:Sample Configuration:Compatibilities with White-coded Radio-integrated DevicesCompatibilityto cameras–ALEXA Mini–ALEXA Mini LF–ALEXA Plus cameras (ALEXA LF, Plus,XT, SXT, 65)Compatibility to hand units(in Network Mode)–WCU-4–SXU-1Compatibility tomotor controller–UMC-4–AMC-1–SMC-1–EMC-1 Compatibility tolens motor–cforce mini RF9Appendix9.1Antenna connectorThe radio connection is established via the antenna mountedto the antenna connector. The radio module inside could bedamaged by electrostatic discharge via the open connector. Werecommend using the originally supplied antenna only.9.2SpecificationsElectrical/General DataRF-EMIP Radio ModuleSupported Frequency 2.400 - 2.4835 GHzChannel Spacing 5 MHzBand ISM 2400 MHzModulation Type Direct Sequence Spread SpectrumOperating Mode Point-to-MultipointTransmit Power Dep. on regions between 8.9 - 70.8 mWRF-2400 Radio ModuleSupported Frequency 2.400 - 2.4835 GHzBand ISM 2400 MHzModulation Type Frequency Hopping Spread SpectrumOperating Mode Point-to-pointTransmit Power100mWRF-900 Radio ModuleSupported Frequency902 - 928 MHzBand ISM 900 MHzModulation Type Frequency Hopping Spread Spectrum Operating Mode Point-to-MultipointTransmit Power Standard Mode: 100 mWHi-Power Mode: 1 W ConnectorInterface10pin IRISOEnvironmental-20 to +50°C (-4° to +122° F) Operating temperaturerangePower ConsumptionPower consumption depends on the different radio modules that are used. Using the Hi-5 hand unit with one of the modules results in different power requirements:RF-EMIP**************RF-2400**************RF-900@100mW:**************RF-900@1W:**********9.3Dimensions and weightRF-EMIP Radio ModuleWeight of the RF-EMIP Radio Module: 52g/1,83oz (includingantenna)RF-2400 Radio ModuleWeight of the RF-2400 Radio Module: 52g/1,83oz (includingantenna)RF-900 Radio ModuleDimensions:Weight of the RF-900 Radio Module: 55g/1,94oz (including antenna)9.4Part numbersRF-900 Radio ModuleK2.0036599RF-900 Radio Module 900 MHz FHSSIncludes:K2.00414372db 900Mhz Antenna RPSMARF-2400 Radio ModuleK2.0036598RF-2400 Radio Module 2400 MHz FHSSIncludes:K2.0002007Outdoor Antenna (straight)RF-EMIP Radio ModuleK2.0033702RF-EMIP Radio Module 2400 MHz DSSSIncludes:K2.0002007Outdoor Antenna (straight)Radio Module SetsKK.0039986RF-900 Radio Module 900 MHz FHSS SetKK.0039984RF-2400 Radio Module 2400 MHz FHSS SetKK.0039985RF-EMIP Module 2400 MHz DSSS Radio Set9.5GlossaryDSSS Direct Sequence Spread SpectrumFHSS Frequency Hopping Spread SpectrumISM Industrial Scientific MedicalPoint-to-Multi-point In point-to-multipoint networks one device can connect with multiple devices at the same time. Also known as Network mode where multiple devices can operate in the same radio connec-tion for splitting focus, iris and zoom control.Point-to-Point In point-to-point networks one device can con-nect with another single device at the sametime.ZigBEE ZigBee is a wireless communication technologydesigned based on IEEE 802.15.4. It is one ofthe most economical, low-power consuming da-ta transfer technology that operates with a sim-ple networking protocol.IEEE Institute of Electrical and Electronics Engineers9.6Service ContactsArnold & Richter Cine Technik GmbH & Co. Betriebs KG Herbert-Bayer-Str. 1080807 MunichGermany+49 89 3809 2121Business hours:Mo. - Fr. 09:00 - 17:00 (CET)***************ARRI CT Limited / London 2 Highbridge, Oxford Road UB8 1LX UxbridgeUnited Kingdom+44 1895 457 000 Business hours:Mo. - Thu. 09:00 - 17:30 Fr. 09:00 - 17:00 (GMT)*******************ARRI Inc. / West Coast3700 Vanowen StreetCA 91505 BurbankUSA+1 818 841 7070Business hours:Mo. - Fr. 09:00 am- 05:00 pm (PT) ****************ARRI Inc. / East Coast617 Route 303NY 10913 BlauveltUSA+1 845 353 1400Business hours:Mo. - Fr. 08:00 am - 05:30 pm (EST) ****************ARRI Canada Limited1200 Aerowood Drive, Unit 29ON L4W 2S7 Mississauga Canada+1 416 255 3335Business hours:Mo. - Fr. 08:30 am - 05:00 pm (EDT) ****************ARRI Australia Pty LtdLevel 1, Unit 1, 706 Mowbray Road Lane CoveNSW 2066 SydneyAustralia+61 2 9855 43050Business hours:Mo. - Fr. 08:00 am - 05:00 pm (AEST)****************.auARRI China (Beijing) Co. Ltd. Chaowai SOHO Tower C, 6/F, 0628/0656Chaowai Dajie Yi 6BeijingChina+86 10 5900 9680Business hours:Mo. - Fr. 09:00 am - 06:00 pm (CST) ***************ARRI ASIA Limited41/F One Kowloon, 1 WangYuen Street Kowloon BayHong KongP. R. China+852 2537 4266Business hours:Mo. - Fr. 10:00 am - 06:30 pm (HKT) ***************ARRI Brasil LtdaAvenida Ibirapuera 2907 – Cj. 421, Indianópolis04029-200 São PauloBrazil+55 1150419450Bars-Pro Ltd.Distributor4-Ya Magistralnaya Ulitsa, 11/2 123007 MoscowRussia+7 4995860299Business hours:Mo. - Fr. 09:00 am - 05:30 pm (BRT) *******************Business hours:Mo. - Sat. 10:00 - 18:00 (MSK) ****************CINEOM Broadcast DMCC.Unit No. 2109, Jumeirah Bay Tower X2 Cluster XJumeirah Lakes TowersP.O Box 414659Dubai, UAE+971 (0) 45570477Business hours:Sa. - Th. 10:00 am- 06:00 pm*************************CINEOM Broadcast India Pvt. Ltd. C-4, Goldline Business CentreLink Rd. Malad West400 064 MumbaiIndia+91 (0)22 42 10 9000Business hours:Mo. - Sat. 10:00 am - 06:00 pm (IST) ***************************LINKA Ithalat Ihracat ve Diş Tic. DistributorHalide Edip Adıvar Mah. Darülaceze Cad.No:3 Akın Plaza Kat:5 95-96 34381 Şişli, IstanbulTurkey+90 2123584520Business hours:Mo. - Fr. 09:00 - 18:00 (EET)*********************.tr9.7International declarationsEU-Declaration of ConformityProduct Description: RF module 2.4 GHz: RF-EMIP / RF-2400The designated product conforms with the specifications of thefollowing European directives:1Directive 2014/53/EU of the European Parliament and the Council of 16 April 2014 on the harmonization of the lawsof the Member States relating to the making available onthe market of radio equipment and repealing Directive - OJL 153, 22.5.2014, S. 62–106.2Directive 2011/65/EU of the European Parliament andthe Council of 8 June 2011 on the restriction of the use ofcertain hazardous substances in electrical and electronicequipment - OJ L 174, 1.7.2011, S. 88–110.The compliance with the requirements of the European Directiveswas proved by the application of the following standards:Essential requirements regarding No 1Art. 3.1 a following 2014/35/EU: EN 62479:2010; EN IEC62368-1:2020 + A11:2020Art. 3.1 b following 2014/30/EU: EN 301 489-1 V2.2.3; EN301 489-17 V3.2.2Art. 3.2: EN 300 328 V2.1.1; EN 300 328 V2.2.2Essential requirements regarding No 2EN 50581:2012;To evaluate the respective information we used:http://ec.europa.eu/growth/single-market/european-standards/harmonised-standards/index_en.htmFCC Class A StatementNote: This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipmentis operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense.Caution: changes or modifications to the product not expressly approved by the party responsible for compliance could void the user's authority to operate the equipment.Industry Canada Compliance StatementThis device complies with RSS-210 of Industry Canada. Operation is subject to the following two conditions:(1) This device may not cause interference.(2) This device must accept any interference, including interference that may cause undesired operation of this device. Cet appareil est conforme à CNR-210 d'Industrie Canada.L’exploitation est autorisée aux deux conditions suivantes:(1) L’appareil ne doit pas produire de brouillage.(2) L’appareil doit accepter tout brouillage radioélectrique subi,même si le brouillage est susceptible d’en compromettre le fonctionnement.Japan MIC StatementComplies with Ministry of Internal Affairs and Communications notification Article 88, Annex 43.Radio ModulesThe RF-EMIP Radio Module contains the following radio module: FCC ID: Y7N-EMIP400IC ID: 9482A-EMIP400CMIT ID: 2017DJ7863C(M)MIC ID: 020-180030NCC: CCAH18LP0660T0KC: R-CRM-ARg-EMIP400EMIP400s: ETA:1385/2018/ERLOThe RF-2400 Radio Module contains the following radio module: FCC ID: NS9P2400IC ID: 3143A-P2400R210-114971 (Japan)The RF-900 Radio Module contains the following radio module: IC ID: 3143A-13P900FCC ID: NS913P900The RF-900 Radio Module has been tested and complies with the applicable limit values for protection against high-frequency energy (RF energy)。
arricam说明书
ARRICAM ST 摄影机快速指南概述、软件、工具、安全概述《ARRICAM ST摄影机快速指南》（K5.58311.0）简单地介绍了ARRICAM Studio（影棚型）摄影机。
其他还有：《ARRICAM LT摄影机快速指南》（K5.58312.0）《ARRICAM 摄影机附件快速指南》（K5.58313.0）《ARRICAM 摄影机系统指南》（K5.58314.0）完整地列明了ARRICAM摄影机部件、电源线及毛玻璃实物图。
《ARRICAM 摄影机系统用户指南》（K5.58508.0），用户在操作设备之前必须熟悉，是以上指南不能替代的。
上述资料可从 网站上下载Acrobat pdf 格式文件，此中文版若与英文版有歧义，以英文版本为准。
我们力求本指南的准确性，由于产品技术变更和升级，技术资料变化另行通知。
软件版本本《快速指南》阐述的是ARRICAM系统的03E版软件程序。
不同软件版本会导致不同效果。
只有经授权的ARRI维修中心有权检验和更新ARRICAM摄影机软件。
工具使用ARRICAM摄影机系统的操作者须具备如下工具：1. ARRICAM毛玻璃工具，一头用于卸下毛玻璃和物镜。
另一头，可用1.5mm六角扳手调整集成式视频系统（IVS）和校正发光画框。
2. 3mm六角扳手，用于安装和拆卸大部分附件。
3. 5mm六角扳手，用于安装或拆卸摄影机手柄、3/8英寸附件插座板转接器和 WHA-2 Rosette 托座。
4. 8-10mm（5/16英寸）一子长柄螺丝刀，用于安装底板、片盒稳定托座和ARRICAM肩架。
请注意，安装肩架不宜使用短粗柄螺丝刀。
安全规范• ST型摄影机取景臂（铰链式）可从摄影机一侧旋转至摄影机另一侧。
旋转时，要握住取景臂，否则当快速转开，有可能导致损伤和损坏。
• 摄影机工作时，不得将手伸进镜头座或伸入摄影机机内。
• 组装和首次使用须由熟悉设备的人员操作。
• 连接电子附件（即连接附件盒）之前，须关闭摄影机电源。
小成本数字电影生产常用的数字摄影机介绍（二）——ARRI ALEXA
小成本数字电影生产常用的数字摄影机介绍（二）——ARRI
ALEXA
宋强
【期刊名称】《现代电影技术》
【年(卷),期】2011(000)006
【摘要】1、背景介绍rn2003年开始，老牌胶片摄影机厂家德国ARRI公司开始尝试数字摄影机的开发与应用，ARRIFLEXD20作为ARRI公司最早的数字摄影机就在此时应运而生。
虽然ARRI公司一贯坚持技术不够完备就不冒然向市场销售的理念，
【总页数】4页(P34-37)
【作者】宋强
【作者单位】中国电影科研所
【正文语种】中文
【中图分类】TN948.41
【相关文献】
1.全面的、多用途的数字摄影机ARRI AMIRA——专访ARRI总部AMIRA产品经理Markus Duerr [J], 《影视制作》编辑部
2.安达斯支持ARRI举办ALEXA Plus数字摄影机和L7-CLED聚光灯巡展 [J],
3.小成本数字电影生产常用的数字摄影机介绍（一）——RED ONE与EPIC [J], 宋强
4.全新ARRI数字摄影机系统 [J], 阿莱公司
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因版权原因，仅展示原文概要，查看原文内容请购买。
ARRI发布全新升级版ALEXAMiniLF大画幅摄影机
厂 商 之 窗
Panasonic 公司
松下发布 AJ-UPX360 和 AG-CX200 的固件更新
近日，松下发布了两款手持摄录一体机设备 AJ-UPX360 和 AG-CX200 的固件更新，着重对两款设备的对焦环操控的灵敏度
进行了提升。新功能包括：变焦环响应灵敏度进一步提升；聚焦峰 值钩边提示更精准；开机水平仪校准提升；解决了 VIDEO REC、 FILM REC 在伽马模式时与“自动拐点功能”的设置冲突。
Riedel Communications
Байду номын сангаас
RIEDEL 推出全新 ARTIST-1024 系统
NAB2019 展会上，Riedel Communications 公司将推出全新 ARTIST-1024 内部通话系统，强力拓宽 ARTIST 家族的产品阵容。 ARTIST-1024 提供更多的端口，并且完全符合 SMPTE2110-30/31 （AES67）标准。
ARRI
ARRI 发布全新升级版 ALEXA Mini LF 大画幅摄影机
ARRI LED系列产品介绍说明书
ARRI LEDARRI, líder internacional en sistemas deiluminación, evoluciona con las nuevas tecnologías y ante la aparición de los nuevos sistemas de iluminación LED, los incorpora a su amplio catalogo de proyectores con distintas soluciones para distintas producciones.No cabe duda, que la nueva tecnología de iluminación por LED tiene muchas ventajas, más “amigable” con el medio ambiente, menor consumo, reducción de costes, control del color y de la intensidad.ARRI nos ofrece una serie de productos que incorporan esta tecnología, en su versión más profesional, con lámparas LED con un rendimiento cromático extremadamente alto.Como sabemos, la investigación en la tecnología de iluminación LED no es nueva, ya a finales de los años 20 se descubrieron las particularidades de los diodos, capaces de emitir luz, los Light Emitting Diodes. No es hasta los años 60 cuando empezamos a ver los diodos rojos ahora habituales en nuestros aparatos domésticos. Pero no es hasta hace pocos años que empezamos a ver aparatos de iluminación basados en sistemas LED. Por desgracia no cumplían unos criterios básicos de calidad, que ha hecho que muchos de nosotros desconfiásemos de esta tecnología. Cuantos quebraderos de cabeza han traído las primeras antorchas LED, con un rendimiento cromático bajo, con ausencia de rojos y excesos de verdes, que hacian que en las pieles fuese muy difícil conseguir un buen tono, incluso en etalonajeARRI, consciente de las necesidades reales de calidad que exige nuestro trabajo, creó una división específica para la investigación en iluminación con LED, y a día de hoy, están en la vanguardía de esta tecnología, siendo el primer fabricante en ofrecer aparatos LED con lentes Fresnel.CALIDAD ARRI¿Y por qué los aparatos LED de ARRI cumplen las más rigurosos criterios de calidad?Lo primero que podemos ver es el indice de rendimiento cromático (IRC) tan alto de los LEDS de Arri que se situan en torno a IRC Ra95. Esto significa que están en el grupo 1A según la CIE (Comisión Internacional de Iluminación) por lo que los colores serán reproducidos de una forma muy eficiente. Se considera que el único iluminante “perfecto” sería es Sol con un Ra 100. Otros valores de Ra serían:Sol Ra 100Lámparas tungsteno !Ra 98Lámparas de descarga Ra 92Leds ARRI Ra 95Fluorescentes trifósforo Ra 89Leds Estándar Ra 74Otras de las principales características de los equipos LED de ARRI son:Aparatos basados en componetes de luz blanca de alta calidad y en sistemas LED RGB, desarrollados con Osram y Color Kinetics Technology.Temperatura de color estable.Control de la temperatura de color, saturación y tono.Y, como todos los equipos LED, ligeros, con bajo consumo, sin generar calor.L SERIESLos L-Series de ARRI se compone de los primeros proyectores profesionales con lente Fresnel y tecnología LED, y es la evolución tecnológica de los Fresnel tradicionales, permitiendo integrarlos en los platos y rodajes actuales, compartiendo el trabajo con ellos y muchas veces ya, sustituyéndolos.Los L-Series reducen el consumo de electricidad en un 75% y sus LEDs duran 200 veces más que las lámparas normales, en comparación con los Fresnel de tungsteno convencionales. Se caracterizan por una reproducción del color fiel a la realidad, que sólo las lámparas de tungsteno o el propio Sol eran capaz de ofrecernos, gracias a su alto IRC Ra95. Las temperaturas de color estándar de 3200K y 5600K se reproducen con resultados de color excelentes, proporcionando una mayor profundidad de color.También es significativo que no generan tanto calor como los de tungsteno, lo que se convierte en una ventaja reduciendo costes de aire acondicionado, más comodidad y agilidad a la hora de operarlo e incluso una mayor comodidad para los actores, artistas o productos, que no sufren tanto calor.Estos y otros atributos de ahorro en costes se combinan para lograr un rápido retorno de la inversión.Y por otro lado aportan las ventajas de una lente Fresnel, capaz de colimar los rayos de luz de la lámpara, con un color uniforme.Los Fresnel tradicionales tienen la capacidad de concentrar o dispersar el haz según sea necesario. Los L-Series no sólo cumplen esta función sino que evitan la perdida o diferencia de iluminación entre las posiciones de flood y spot, manteniendo la luminosidad del haz en todas las posiciones de enfoque.Además de la definición del haz y la modulación o cortes de luz que podemos realizar es idéntica a la de los Fresnel convencionales, con una sombra definida.Los proyectores de la Serie L nos permiten controlar tanto la intensidad como el color de la luz, lo que aporta una gran versatilidad de los aparatos, que pueden trabajar a distintas temperaturas de color, o con distintos tintes de color. Podemos realizar estos ajustes desde el propio aparato, o por medio de DMX RMD. Incluso podemos memorizar los ajustes que nos resulten más útiles o interesantesL-SeriesL7-TT:El L7 TT permite ajustar la temperatura de color entre 2600K y 3600K y ajuste Plus/ Minus Green con un incremento de un 20% del brillo sobre el L7 C. Está especialmente diseñado para trabajar en la temperatura de color del tungsteno, y es ideal en producciones en las que vayamos a utilizar mezcla de L7 con Fresnel tradicionales.L7-DT:En este caso, este proyector esta diseñado para trabajar específicamente en temperaturas de color altas, entre 5000K y 6500K Plus/Minus Green. incrementa tambie´n el brillo en un 20%. Y en este caso es ideal para trabajar con otras fuentes de luz día.L7-C:Es el aparato más alto de la gama. Permite ajustar la temperatura de color, tinte y tomo de color desde 2800K a 10.000K, entre Full Plus o Minus Green y RGBW. Las posibilidades de trabajo y versatilidad de este aparato son increíbles y más que interesantes.Una vez elegido el proyector hay que definir cual es el sistema de refrigeración que preferimos según los usos que le demos al aparato:Hibrida:Permite el enfriamiento en modo pasivo, es decir, sin ventilador, o en modo activo, con ventilador. Esta unidad sería más grande y pesada, pero puede funcionar en completo silencio. En la última actualización de Software ya se ofrecen distintos modos de refrigeración: Auto Low, Auto Hi, Low, High, Vari, Pass y Off.Activa:Sólo disponemos del modo activo, es decir, con ventilador. Más pequeña y más ligera.Tecnología actualizable:Todos sabemos el ritmo al que el LED está mejorando la eficiencia, por lo que el L7 tiene un diseño abierto que permite adaptarse a las últimas mejoras en el rendimien-to del chip LED.El sistema de iluminación es totalmente actualizable, lo que garantiza que los acceso-rios pueden aprovechar los avances tecnológicos cuando se produzcan.El firmware también se puede actualizar a través del puerto USB de la parte posterior de cada unidad, con capacidad para protocolos de control de futuros.CASTER SERIESLa Serie LED Caster nos ofrece unidades de alta intensidad, bajo calor, y bajo consumo de energía que ofrecen una fuente de luz blanca ajustable. Un diseñoóptico especial proporciona una iluminación con una sombra y ajustes sobre un espectro de temperaturas correlativas de color.Ideal para prestaciones de cine y TV, tan útiles en un documental como en unapelícula de gran presupuesto como luz de ojos, rellenos, etc.La Serie Caster ofrece un Índice de Reproducción Cromática (IRC) de 90, los colores aparecen más vívidos y más reales en medios digitales y fílmicos comparados con otras unidades, LED estándar, que utilizan configuraciones de un color blanco o LEDs RGBSu mayor cualidad es la calidad de las sombras. Los Casters emulan una fuente de luz con una sola sombra. Con la Serie Caster pueden usarse viseras y banderas para “cortar” la luz efectivamente, mientras que la mayoría de los demás dispositivos LEDs con múltiples “puntos” producen múltiples sombras, y a menudo producen aberraciones cromáticas debido a diferentes colores de los LEDs. En la Serie Caster están en una “cámara”donde todos los colores se mezclan dentro de la unidad, proporcionando así una única fuente de luz.Hay dos versiones en la Serie LED Caster: LoCaster y BroadCaster. Ambas ofrecen una iluminación intensa y sin embargo tienen muy bajo consumo de energía, y vienen en una carcasa que sólo unos 907 gr. Cada unidad consume 35W y salidas de aproximadamente 550 Foot-candles con un ángulo de luz de 66º.En el LoCaster, la intensidad y temperatura de color pueden ser ajustadas en forma manual por medio de controladores incorporados. Esta unidad es ajustable a seis temperaturas de color desde 2800 Kelvin a 6500 Kelvin.El LoCaster puede ser alimentado tanto por corriente alterna como por baterías ARRI u otras opciones de baterías incorporadas de terceros fabricantes.La ventaja del BroadCaster es que pueden asignarse múltiples unidades por control remoto vía una consola y protocolo DMX. El Canal Uno es intensidad, el Canal Dos es la temperatura del color -desde 2800K a 6500K- y el Canal Tres es el ajuste de verdes +/-.El “intensificador” opcional es un valioso accesorio. Duplica la intensidad de luz a la vez que crea un ángulo de luz más estrecho de 33º, como si fuera una lente Spot.Exite el Kit LoCaster con varias unidades y accesorios, y también se encuentran disponibles kits “Hybrid” (“híbridos”) en varias configuraciones que combinan los dispositivos LoCaster de LEDs con aparatos Fresnel pequeños de tungsteno.ARRI se coloca, una vez más, como líder en las nuevas tecnologías de iluminación, ofreciéndonos los aparatos LED más fiables y profesionales del mercado. Trabajar con luz de calidad hará que la calidad de nuestros trabajos mejore sustancialmente.Rafa Roche 2013 para Video Cine Import。
ARRI ALEXA SXU-1单轴单元说明书
SXU-1 Single Axis UnitDate: 05 February 2014I n s t r u c t i o n M a n u a lImprintCopyright © 2014 Arnold & Richter Cine Technik GmbH & Co. Betriebs KG. All rights reserved. No portions of this document may be reproduced without prior written consent of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG. Specifications are subject to change without notice. Errors, ommissions, and modifications excepted.ALEXA and ALEXA XT are trademarks or registered trademarks of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG. All other brands or products are trademarks or registered trademarks of their respective holders and should be treated as such.Original version.For further assistanceARRI Cine + Video Geräte Gesellschaft m.b.H.Pottendorferstraße 25-27/3/1A-1120 ViennaAustriaE-mail:****************Document informationNo. Release/Revision DateVersion Document01 K5.0000418 F05525 05 Feb 2014Contents1 For your safety 51.1 Risk levels and alert symbols (5)1.2 Vital precautions (5)1.3 General precautions (6)1.4 Audience and intended use (6)1.5 System requirements (6)2 Scope of delivery and warranty 73 Product layout 83.1 Product identification (9)3.2 Control knob (9)3.3 Control panel (10)3.4 Control display (10)4 Typical operation setups 114.1 Wireless (via white radio) (11)4.2 Wired (via LCS) (12)5 Power supply 135.1 Rechargeable battery (13)5.2 AC power grid (14)5.3 LCS hardwire (15)6 Prior to operation 166.1 Before each switch-on (16)6.2 After each change of lens (16)6.3 Switching on and initialization (16)6.4 Selecting a radio channel (18)6.5 Switching the radio off/on (19)6.6 Selecting a lens axis (20)6.7 Calibrating to lens (21)6.8 Changing the lens motor torque (22)6.9 Changing the lens motor direction (23)7 Operation 247.1 Changing the backlight (24)7.2 Limiting the motor range (25)7.3 Limiting the control knob range (26)7.4 Recording (27)7.5 Switching off (28)8 Accessories 298.1 Marking ring (29)8.2 Shoulder strap (29)8.3 Optional rigger grip (30)9 Maintenance 319.1 Firmware update (31)9.2 System information (33)10 Storage, shipment, disposal 3411 Order numbers 3511.1 Included accessories (35)11.2 Optional accessories (35)11.3 Recommended charger and battery (35)11.4 LCS cables (35)12 Appendix 3612.1 LCS connector pin-out (36)12.2 Dimensions and weight (36)12.3 Electrical data (36)12.4 ARRI white radio channels (ISM B) (37)12.5 Declarations of conformity (38)1 For your safetyAlways keep this document on hand. It should be read, understoodand observed by all persons using SXU-1 Single Axis Units. All otherproducts must be handled as prescribed by their manufacturers. 1.1 Risk levels and alert symbolsSafety warnings, safety alert symbols, and signal words in theseinstructions indicate different risk levels:This symbol alerts you to personal injury hazards. Obey all warnings that follow this symbol to avoid possible injury or death.This symbol alerts you to electrical hazards. Obey allwarnings that follow this symbol to avoid possible injury or death.DANGER!Indicates an imminent, hazardous situation which, if not avoided, will result indeath or serious injury.NOTICE: Explains practices not related to physical injury. The safety alertsymbol is not used with this signal word.Note: Provides additional information to clarify or simplify a procedure.precautions1.2 VitalNOTICE: Read and follow all instructions before using the product. Use theproduct only as described therein. Never open it. Never insert objects.Never attempt to repair the product: Have it always repaired and serviced byauthorized ARRI Service Centers.Never remove or deactivate any product safety equipment (incl. warningstickers or paint-marked screws).Always protect the product from moisture, cold, heat, dirt, vibration, shock, oraggressive substances.1.3 GeneralprecautionsNOTICE: The product is designed for all cameras with the ARRI Lens ControlSystem LCS or Universal Motor Controller UMC-3A. For use with othercameras, consult the respective manufacturer.Use only the tools, materials and procedures recommended in thisdocument. For the correct method of use, see your camera manuals.1.4 Audience and intended useNOTICE: The product is solely and exclusively available for commercialcostumers and shall be used by skilled personnel only. Always contact ARRIpreceding other uses. Every user should be trained according to ARRIguidelines.The SXU-1 is a single-axis hand unit solely and exclusively for iris,focus or zoom control:∙Wireless via ARRI white radio modem (see p. 11)∙Wired via ARRI Lens Control System LCS∙Note: For use with other systems, consult the respectivemanufacturerNever use the product for any other purpose. Always follow the validinstructions and system requirements for all equipment envolved.requirements1.5 SystemNOTICE: To tap the full potential, have all connected units updated to aSoftware Update Packet SUP equal or higher to those listed below.Basic Torque adjust Motor direction switch7.0 8.0 9.0ALEXA (XT)Plus/StudioUMC-3A 04B 04C06AARRICAM +LDB-ST/LT05AARRIFLEX435 Xtreme04AARRIFLEX416 Plus (HS)2 Scope of delivery and warrantyOn delivery, please check if package and content are intact. Neveraccept a damaged/incomplete delivery. A complete delivery includes: ∙Single Axis Unit SXU-1∙Shoulder strap∙Plain white marking ring∙Instruction manual∙Original packagingFor scope of warranty, please ask your local ARRI representative.ARRI is not liable for consequences from inadequate shipment,improper use, or third-party products.For spare parts and additional accessories, see p. 35.3 Product layoutThe SXU-1 is a single-axis hand unit for wireless lens motor control(iris, focus, zoom). It is compatible with ALEXA (XT) Plus/Studiomodels or with other cameras via the Universal Motor Controller UMC-3A.1 Control panel 7 White radio marker2 Internal antenna 8 Grip3 Plain marking ring 9 Finger rest4 Check mark with nut 10 Product ID labels5 Control knob 11 Eyelet for shoulder strap6 LCS socket 12 Battery compartmentidentification3.1 ProductType label and serial number (2) are on the product’s back. FCC IDand IC numbers are on the CE conformity label (1).knob3.2 ControlNOTICE: Motors can be rigged either left or right of a lens. Correct controlknob operation requires a properly set lens motor direction (see p. 23).1. Turn the control knob to adjust focus, iris or zoom setting.3.3 Controlpanel1 Recording button REC 4 Navigation buttons2 LED for camera status 5 Sensor for AUTO backlight3 Power button 6 Displaydisplay3.4 Control1 Upper navigation buttons 5 Connectivity status2 Upper navigation info 6 Battery status3 Lower navigation info 7 Preset lens axis4 Lower navigation buttons 8 Radio channel numberWhen navigating, the home screen will change to subscreens of adifferent structure. The navigation info for each button may change.4 Typical operation setupsFor both wireless and wired operation, all lens motors must beconnected to the camera (or motor controller).4.1 Wireless (via white radio)For wireless operation, you can combine up to three SXU-1 percamera (or motor controller). Sync cables allow a 3D operation.Please consult your camera or controller manuals. Or ask your ARRIpartner.NOTICE: You cannot address two cameras simultaneously on the same radiochannel.4.2 Wired (via LCS)For wired operation, maximum LCS cable length is 75 m (250 ft).Power is supplied via the camera (or motor controller).NOTICE: LCS connection automatically disables the SXU-1’s white radio anddistributed control.5 Power supplybattery5.1 RechargeableDANGER!High voltage! Risk of electric shock!Use only the recommended battery and charger (see p. 35). Read validbattery and charger manuals before use. Never expose to humidity. Neverdisassemble.NOTICE: Old batteries should not be disposed of in domestic waste: Alwaysdispose them according to valid local regulations and the information in thebattery manual.NOTICE: Normal charging is usually completed when the charge LED on thebattery charger goes out (for details, see battery and charger manuals).1. Charge battery according to battery and charger manuals.2. Unlatch (1) and remove empty battery (2).3. Insert full battery (2) until latch (1) snaps audibly.4. Product is now ready to switch on.5.2 AC power gridDANGER!High voltage! Risk of electric shock!Use only the original AC power pack (see p. 35) and read its manual beforeuse. Never expose to humidity. Never disassemble.Via five different adapters, the optional Hand Unit AC Power Supplyconnects the product to AC grids worldwide.1. Click adapter (1) onto power pack (2).2. Connect power pack to LCS socket (3) and AC grid.3. Product is now ready-to-switch-on.NOTICE: Battery charging is not possible via the product. AC power supplyalways entails wireless (white radio) operation.5.3 LCShardwire1. Connect product (1) to camera (2) via a standard LCS cable(maximum length: 75 m/250 ft).2. Product is now supplied with power/control lines and ready-to-switch-on.NOTICE: Battery charging is not possible via the product.6 Prior to operation6.1 Before each switch-onNOTICE: Always prepare the camera first: Connect lens motors and motorcontroller with white radio according to valid camera manual. Only then,should you connect the camera to the product.6.2 After each change of lensNOTICE: Each change of lens requires a new calibration. The display willautomatically prompt you: “Calibrate motor now?” If not: Check connection tocamera. For calibration, see p. 21. If necessary:Change motor direction (left, right), see p. 23Manually recalibrate, see p. 21Change motor torque (1 to 4), see p. 226.3 Switching on and initializationNOTICE: A full initializon always ends with a full automatic calibration. If not:Connect product properly to camera. Check for:Correct white radio channel (0 to 7, or off), see p. 18Correct lens axis (focus, iris, zoom, or off), see p. 20Correct motor direction (left, right), see p. 23If necessary, calibrate manually (see p. 21).1. Ensure proper power supply and camera preparation (see p. 16).2. Press power button (1).3. Product initializes: Display blinks init (2).4. Check product connectivity:(1) Ready-to-connect but not yet connected.If (1) blinks init: Product is still initializing.(2) White-radio-connected.If (2) is blank: White radio is off or replaced by an LCS connection, or current channel is occupied otherwise.5. CAL blinks CALIBRATING (1).6. Each connected lens motor moves the lens ring from the end-to-end position.7. CAL reappears solid: initialization complete.6.4 Selecting a radio channelNOTICE: Never select a frequency that will interfere with other radio setups.When initially selecting a radio channel, do so via the camera receiver (not viathe product).1. Press MENU (A).2. Menu opens on Radio Channel (B).3. Press ENTER.4. Submenu opens (C) on preset channel (in this case: 5).5. Scroll UP or DOWN to select new channel (for frequencies seep. 37), or to switch white radio OFF.6. Confirm with SET (D).7. Exit with HOME.6.5 Switching the radio off/on1. Enter Radio Channel(see A to C above).2. To deactivate: Scroll UP until OFF and press SET (E).3. To (re)activate: Press ON, then SET.4. Exit with HOME.6.6 Selecting a lens axis1. Press MENU (A).2. Menu opens (B).3. Scroll DOWN until Lens Axis.4. Press ENTER.5. Submenu opens (C).6. Check preset lens axis (n/a indicates non-availability).7. Scroll UP or DOWN to select Focus, Iris,Zoom or off (D). Note:Select off to deactivate all lens axes.8. Confirm with SET (all other axis are off now).9. Exit with HOME.NOTICE: Deactivating all lens axes with off helps you “freeze” a lens in itsposition and avoid accidental lens action.lensto6.7 CalibratingNOTICE: Each change of lens requires new calibration, including torque andsometimes motor direction. To avoid damage, always calibrate motors to anew lens.1. Press CAL (A) for at least three seconds.2. Display will count down to zero (B).3. CAL blinks up CALIBRATING (C).4. Lens motor moves lens ring from one end to the other.5. CAL (D) reappears solid.6. Calibration complete.NOTICE: To interrupt calibration, release CAL button during count-down.6.8 Changing the lens motor torqueNOTICE: High torque can damage the lens. Always set a torque appropriateto the lens. Rule of thumb: Small lens, small torque. Always increase thetorque in small steps.1. Press MENU (A).2. Menu opens(B).3. Scroll DOWN until Motor Torque.4. Press ENTER.5. With UP or DOWN (C), select iris, focus or zoom motor (n/ameans: motor not connected).6. Press CHANGE for each selection.7. With UP or DOWN (D), select a torque (4=max).8. Confirm and exit with HOME.6.9 Changing the lens motor direction1. Press MENU (A).2. Menu opens(B).3. Scroll DOWN until Motor Direction.4. Press ENTER.5. With UP or DOWN (C), select focus, iris or zoom motor.6. Press CHANGE for each selection7. Confirm with SET (D)8. Confirm and exit with HOME.7 OperationNOTICE: Conduct all prior-to-operation preparations (see p. 16).backlightthe7.1 ChangingThe display and control knob backlight can be dimmed to a presetmaximum. You can toggle between two modes:AUTO Backlight automatically on/off via sensor.FIX Steadybacklight.1. Press MENU (A).2. Menu opens (B).3. Scroll DOWN until Backlight.4. Press ENTER.5. Display opens: here on AUTO (C).6. Toggle with MODE: here onto FIX (D).7. Scroll UP or DOWN for backlight intensity (0=off).8. Confirm and exit with HOME.7.2 Limiting the motor rangeLimiting the motor range allows a more sensitive lens control.1. With control knob (A), turn lens axis to desired start position.2. Press LIMIT once (B) until blinking.3. With control knob (C), turn lens axis to desired end position.4. Press LIMIT (D) again.5. Blinking changes to an icon: Limits are set.6. To reset: Press LIMIT (D) again.NOTICE: To set motor limits, you can also keep LIMIT pressed from start toend position. Motor and knob limits can be combined.7.3 Limiting the control knob rangeLimiting the control knob range allows faster lens reactions.1. With control knob (A), turn lens axis to desired start position.2. Press K-LIM once (B) until blinking.3. With control knob (C), turn lens axis to desired end position.4. Press K-LIM (D) again5. Blinking changes to an icon: Limits are set.6. To reset: Press K-LIM (D) again.NOTICE: To set control knob limits, you can also keep K-LIM pressed fromstart to end position. Knob and motor limits can be combined.7.4 Recording1. Check LED (1) for camera standby:Solid green Ready-to-rollFlashes red Pre-recordingSolid red RecordingFlashes green and red ErrorOut Disconnected2. Press REC (1) to start or stop.7.5 Switchingoff1. Press power button (1) for at least three seconds.2. Display (2) will count down to zero and go out.3. Product is now switched off.NOTICE: To interrupt switch-off, simply release power button during count-down.8 Accessoriesring8.1 MarkingPlain white marking rings allow you to scale the control knob withsimple board markers. You can also change the rings.1. Pull off old marking ring (1).1. New ring must align properly (2, see detail) and snap audibly.strap8.2 Shoulder1. Insert the shoulder strap’s snap hook (1) into bottom eyelet (2).8.3 Optional rigger grip1. With a 3 mm Allen key, unscrew standard grip (1). Note: Screwsare secured from falling into the grip.1. Attach rigger grip (2).2. Product is now ready-to-rig.9 MaintenanceNOTICE: Never attempt to repair the product. Never open it. Never insertobjects. Have it always repaired and serviced by authorized ARRI ServiceCenters.Never remove or deactivate any product safety equipment (incl. warningstickers or paint-marked screws).Always protect the product from moisture, cold, heat, dirt, vibration, shock, oraggressive substances.update9.1 FirmwareNOTICE: Update the product consistently. Prior to update, battery must befully charged (see p. 13). Never press any button while update is running.Required tools (not included):∙ 3 mm Allen key∙Access to www.arri.de/pca/sxu-1∙SD/SDHC memory card (FAT):1. Go to download area at www.arri.de/pca/sxu-1.2. Download zip file containing SXU-1.upd.3. Unzip file.4. Copy SXU-1.upd to ARRI/SXU1/Firmware/ on SD card.5. Switch off product.6. Unscrew grip (1). Note: Screws are secured from falling into grip.7. Insert card (2); switch on product.8. Press MENU (A).9. Menu opens (B).10. Scroll DOWN until Firmware.11. Press ENTER.12. Update information appears (C).13. Press both UPDATE keys simultaneously.14. LED flashes red and green: update running.15. LED stops, product restarts (D).16. Update complete.17. Switch off product.18. Remove SD card (2).19. Reattach grip (1).information 9.2 System1. Press MENU (A).2. Menu opens (B).3. Scroll UP or DOWN until System Info.4. Press ENTER.5. System information appears (C).6. For menu: Go BACK.7. Exit via HOME.10 Storage, shipment, disposalNOTICE: Always store, ship and dispose of the product according to localregulations. ARRI is not liable for consequences arising from inadequatestorage, shipment or disposal.11 Order numbersK2.0000071 Single Axis Unit SXU-111.1 Included accessoriesK2.72117.0 Plain White Marking RingStrapK4.0000711 ShoulderK5.0000418Instruction Manual (English)11.2 Optional accessoriesK2.0000425 Hand Unit AC Power Supply HPS-1GripK2.0000849 RiggerRingK2.0000848 Calibrating11.3 Recommended charger and batteryK2.47851.0 SONY NP-FM 500H Li-Ion BatteryK2.47852.0 SONY BC-VM10 ChargerCordUK05.20369.0 PowerUSCord05.20370.0 PowerEU05.20368.0 PowerCord11.4 LCS cablesK4.41395.0 K-LC-Z1-S LCS Cable 3.5 m (11 ft)K4.41397.0 K-LC-M1-Sp-S LCS Spiral CableK2.41389.0 LC-E1 LCS Cable Drum Extension 75 m (250 ft)12 Appendix12.1 LCS connector pin-out1 GND2 NC3 CAN-L4 CAN-H5 Battery +10.4 to 34 V DC12.2 Dimensions and weightW 148 mmH 139 mmD 89 mmWeight without straps and battery: 592 g / 20.9 oz.12.3 Electrical dataAC power input 100 to 240 V~ / 50 to 60 Hz / 300 mADC output (no battery charge!) 12 V= / 6 W max.Battery power supply7.2 V Li-Ion, 11.8 Wh LCS power supply 10.4 to 34 V DCPower consumption 220 mA at 7.6 V70 mA at 24 VOperating temperature-20 to +50 °C (-4 to +122 °F)12.4 ARRI white radio channels (ISM B)GHz0 2.410GHz1 2.415GHz2 2.430GHz3 2.435GHz4 2.450GHz5 2.455GHz6 2.470GHz7 2.47512.5 Declarations of conformityEC Declaration of ConformityThe product Single Axis Unit SXU-1 conforms with the specificationsof following European directives:∙Directive 2004/108/EC Community directive for the adaptationof legal regulations of member countries regardingelectromagnetic compatibility∙Directive 199/05/EC Radio equipment andtelecommunications terminal equipment and the mutualrecognition of their conformity∙Directive 2011/65/EC on the restriction of the use of certainhazardous substances in electrical and electronic equipment The compliance with the requirements of the European Directive wasproved by the application of the following harmonized standards:∙EN 55103-1:2009 / EN 55022:2010∙EN 55103-2: 2009∙EN 301 489-1:2011∙EN 301 489-17:2012∙EN 62479:2010∙EN 60950-1:2006 +A11:2009 +A12:2011 +A1:2010 +AC:2011∙DIN EN 50581:2013-02Munich, 06 Feb 2014Signature in the original: W.Trauninger / J.AlthammerFCC Compliance StatementThis equipment has been tested and found to comply with the limitsfor a Class A digital device, pursuant to Part 15 of the FCC Rules.These limits are designed to provide reasonable protection againstharmful interference when the equipment is operated in a commercialenvironment. This equipment generates, uses, and can radiate radiofrequency energy and, if not installed and used in accordance with theinstruction manual, may cause harmful interference to radiocommunications. Operation of this equipment in a residential area islikely to cause harmful interference in which case the user will berequired to correct the interference at his own expense.Contains Transceiver module FCC-ID: Y7N-EMIP100Canadian Compliance StatementComplies with the Canadian ICES-003 Class A specifications.Cet appareil numérique de la Classe A est conforme à la norme NMB-003 du Canada.This device complies with RSS 210 of Industry Canada.This Class A device meets all the requirements of the Canadian interference-causing equipment regulations.Cet appareil numérique de la Classe A respecte toutes les exigences du Réglement sur le matériel brouilleur du Canada.Contains Transceiver Module IC-ID: 9482A-EMIP100For further assistanceARRI Cine + Video Geräte Gesellschaft m.b.H. Pottendorferstraße 25-27/3/1A-1120 ViennaAustriaE-mail:****************。
爱丽莎配置方案及报价
货号 K0.60048.0
210.53 1
210.53
200.00 1
200.00
1,200.00 1 1,200.00
273.68 1
273.68
421.05 1
421.05
1,115.79 1 1,115.79
香港交货/欧元:
建议配置附件
1.14 爱丽莎机身箱
K2.72030.0
550.00 1
1.15 爱丽莎机身防雨罩
K2.72026.0
468.00 1
1.16 SxS Pro 存储卡, 64 GB) 1.17 3-针,24V 电源线
K2.44693.0
1195.00 5 165.00 1
出厂价/欧元:
法国旗固定架
4-滤色镜架,
4-滤色镜框
4.02 挡光板套装
4.03 马鞭,适用于ARRIFF-3，FF-4，FF-5跟焦器(300mm)
4.04 轻型防护罩
顶部/底部挡光板和 侧面 挡光板
4.05 连接环, . 95mm
适用于 UP16-85mm,135mm
4.08 镜头托架 LS-9
配合支撑杆, . 19 mm (弹性加载)
407.00 1 407.00 1 392.00 1 392.00 1 392.00 1 543.00 1 543.00 1 543.00 1 出厂价/美元: 运保费/美元: 20%折扣/美元 香港交货/美元: 香港交货/欧元:
392.00 392.00 392.00 543.00 543.00 543.00 2,805.00 100.00 561.00 2,344.00 1,953.33
拍摄格式
ARRICAM标签:阿莱ARRI ARRICAM胶片摄影机ARRICAM是德国阿莱公司推出的35毫米胶片电影摄影机系列，它是阿莱的旗舰型同期声摄影机机型，以取代Arriflex535系列。
该系列最早由Fritz Gabriel Bauer和Wa lter Trauninger设计研发，作为其Moviecam公司的一项重量级产品，而Moviecam公司90年代中期被阿莱公司所收购。
因此ARRICAM融合了Moviecam公司机械和外观的创新设计以及阿莱公司的模块化以及复杂的机电一体化技术。
ARRICAM被认为与Panafl ex Millennium并列，同为现役的顶级同期声电影摄影机，在大制作故事片的拍摄中被广泛应用（2006年）。
ARRICAM系列包含两个机型，分别为ST（Studio）和LT（Lite）。
ARRICAM ST被设计为一台全功能的摄影机，包含了两个胶片仓的配置。
而ARRICAM LT则以其小而轻的设计适合于手持以及斯坦尼康上的应用，只配置了后部位置的的一个胶片仓。
GFCAM标签:池上Ikegami东芝GFCAM高清GFCAM是日本池上公司与东芝公司合作开发的一种无带式高清广播级ENG系统系列。
GFCAM采用了标准的MPEG-2压缩及MXF档案格式，可兼容于多数非线性厂商。
以高分辨率1920x1080/4:2:2HD纪录的影像传输至快闪记忆媒体GFPAK，实现了高画质。
高清标签:高清HD什么是高清高清，英文为“High Definition”，意思是“高分辨率”。
一般所说的高清，有四个含义：高清电视，高清设备，高清格式，高清电影。
高清电视高清电视，又叫“HDTV”，是由美国电影电视工程师协会确定的高清晰度电视标准格式。
一般所说的高清，代指最多的就是高清电视了。
电视的清晰度，是以水平扫描线数作为计量的。
以下是几种常见的电视扫描格式：D1为480i格式，和NTSC模拟电视清晰度相同，525条垂直扫描线，480条可见垂直扫描线，4：3或16：9，隔行/60Hz，行频为15.25KHz。
阿莱ALEXA中文说明书
ARRI ALEXA中文用户说明书SUP4.0版本（仅供学习参考，如有不当，敬请指出）阿莱公司保留说明书所有权利。
这份文件是提供含有限制使用和披露的许可证协议下，也是受着作权法保护。
由于持续不断的产品发展，这种信息可能会更改，恕不另行通知。
所载的信息和知识产权ARRI和客户端之间的保密仍然是阿莱的独家财产。
如果你在文档中发现任何问题，请以书面形式报告给我们。
阿莱不保证，这份文件不发生任何错误。
上海arri alexa租赁电话：136联系人：吴昊网址：目录1 免责声明2 范围3 ALEXA图片4 Alexa简介4.1 关于本手册5 安全说明5.1 警告标志和标志5.2 一般安全说明5.3 特定的安全说明6 一般注意事项6.1 储存和运输6.2 电磁干扰6.3 冷凝7 电源7.1 电源管理7.2 BAT连接器7.3 电源模块12/26 R7.4 电影外接电池7.5 机载电池7.6 V-LOCK电池7. G口电池7.8 电源输出7.8.1 12 V配件7.8.2 24 V配件8 摄影机安装8.1 最低设备要求8.2 三脚架和云台8.3 电子取景器EVF-18.4 中心摄影机手柄CCH -1 8.5 侧手柄SCH-18.6 桥板BP-128.7 桥板适配器BPA-18.8 楔形适配器WA- 1+快拆板8.9 水平座LB-18.10 肩垫SP-39 连接器9.1 电源接口9.2 REC OUT1和29.3 RET/SYNC In9.4 监视接口9.5 同步接口9.6 ETHERNET9.7 取景器接口9.8 音频输入9.9 RS供电接口9.10 12 V供电接口9.11 时间码9.12音频输出9.13 SD卡9.14 SXS卡插槽10 光学器件10.1 PL接口10.1镜头适配器LA- PL -1（无LDS）10.2镜头支持11 机器控制11.147主控制FPSEI白平衡11.1.4 功能按钮TC（时间码）回放监视11.2操作控制11.3 取景器的控制12 摄影机操作12.1 记录12.2 监视12.2.1 取景框线12.3使用时间码12.4两个摄影机传感器同步12.5两台摄影机同步设置13 ALEXAPlus13.1概述13.2 光学特性13.2.1 镜头适配器PL-Mount LA-PL-2（无LDS）13.3无线电系统13.4无线遥控系统13.4.2手控单元13.5镜头数据显示LDD - FP13.6 PLUS摄影机控制14 RUC-4一、声明在使用本手册中所描述的产品之前，请务必阅读和理解所有相应指令。
阿莱数字摄影机介绍arriALEXA详细说明
CAMERA Data Sheet | February 2011aALEXA – Technical DataCamera Type 35 format film-style digital camera with integrated shoulder Array arch and receptacles for 15 mm lightweight rodsSensor 35 format ALEV III CMOS with Dual Gain Architecture (DGA)and Bayer pattern color filter arrayFrame Rates ProRes 422 (Proxy), 422 (LT), 422 and 422 (HQ): 0.75 - 60 fps;ProRes 4444: 0.75 - 40 fps; HD-SDI: 0.75 - 60 fps;ARRIRAW: 0.75 - 30 fps; all speeds adjustable with1/1000 fps precisionShutter Electronic rolling shutter, adjustable from 5.0° to 358.0° with1/10 degree precisionExposure Latitude 14 stops for the entire exposure latitude from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC)Exposure IndexValues behind the exposure index are the number of stops above and below 18% grey. These values are for Log C. Rec 709 and DCI P3 have 0.5 stopsfewer in the low end at EI 160, 0.4 stops fewer in the low end at EI 200 and 0.2 stops fewer in the low end at EI 400. Otherwise they are the same.White Balance red/blue balance: 2,000° to 11,000° Kelvin, adjustable in 100° steps, with presets of: 3200 (tungsten), 4300 (fluorescent), 5600 (daylight), 7000 (daylight cool); green/magenta balance: -8 to +8 color correction (CC). 1 CC = 035 Kodak CC values or 1/8 Rosco values.Sound Level Under 20 dB(A) at <25° degrees Celsius (<77° degrees Fahrenheit) with lens, measured 1 m/3 feet from the image planePower In Three inputs: BAT connector, battery adapter back and battery adapter top. All accept 10.5 to 34 V DC. 85 W power draw for camera and EVF-1 in typical use recording to SxS PRO cards, without accessories.Power Out 12V connector: limited to 12 V, up to 2.2A. RS, EXT and ETHERNET: equal to input voltage, except when input <24 V it is regulated to 24 V. Both RS and EXT connectors combined: up to 2.2A. ETHERNET: up to 1.2A. Maximum power draw is also limited by the power source.Weight ALEXA camera body + SxS Module: 6.3 Kg/13.8 lbsALEXA camera body + EVF-1 + Viewfinder Mounting Bracket VMB-1 + viewfinder cable + SxS Module + Center Camera Handle CCH-1: 7.7 Kg/16.9 lbs Dimensions Length: 332 mm/12.95”, width: 153 mm/6.02”, height: 158 mm/6.22”Environmental -20° C to +45° C @ 95% humidity max, non condensing. Splash and dust proof through sealed electronics. System cooling through radiator/single fan.Lens Mount ARRI Exchangeable Lens Mount (ELM); ships with Lens Adapter PL Mount w/o LDS (LA-PL-1), 54 mm stainless steel PL mount, Super 35 centeredFlange Focal Depth 52.00 mm nominalViewfinder Low latency electronic color viewfinder ARRI EVF-1 with 1280 x 784 F-LCOS micro display and ARRI LED illumination, both temperature controlled.Customizable frame lines, surround view and camera status. Image can be flipped for use of viewfinder on camera left or right. Viewfinder MountingBracket allows movement of viewfinder forward/backwards, left/right, up/down, 360 degree rotation and placement on camera left or right.Control Camera right: main user interface with 3” transflective 400 x 240 pixel LCD color screen, illuminated buttons and jog wheel. Camera left: operator interface with illuminated buttons and card swap button. EVF-1: viewfinder and basic camera settings, ZOOM button (2.25x pixel to pixelmagnification), EXP button (false color exposure check) and jog wheel.In-camera Recording Apple QuickTime/ProRes 4444, 422 (HQ), 422, 422 (LT) or 422 (Proxy) 1080p .mov HD files with embedded audio, timecode and metadata, recording to SxS PRO cards. ProRes 4444 is RGB 12 bit, all others YCbCr 10 bit. Log C (film matrix off), Log C (film matrix on), Rec 709 or DCI P3, all legal range.Minimum recording times on a 32 GB card at 24 fps: ProRes 4444 - 15 minutes, ProRes 422 (HQ) - 19 minutesRecording Outputs 2x REC OUT BNC connectors for uncompressed ARRIRAW or uncompressed HD-SDI video. Both with embedded audio, timecode and metadata.ARRIRAW: 2880 x 1620, 12 bit log signal without white balance or exposure index processing applied. Requires an ARRIRAW T-Link certified recorder.HD-SDI video: 1920 x 1080 4:4:4 RGB or 4:2:2 YCbCr; all Log C (film matrix off), Log C (film matrix on), Rec 709 or DCI P3, all legal or extended range.Recording frame rates other than HD standard (23.976, 24, 25, 29.97, 30, 50, 59.94, 60 fps) requires a recorder with Variflag support.Monitor Output 1x MON OUT BNC connector for uncompressed HD-SDI video: 1920 x 1080, 4:2:2 YCbCr. Log C (film matrix off), Log C (film matrix on), Rec 709 or DCI P3, all legal range.Playback QuickTime clips can be played back from the SxS PRO cards to the EVF-1, MON OUT and REC OUT outputsProcessing 16 bit internal image processingAudio 1x XLR 5 pin AUDIO IN connector for 2 channel, line level balanced audio input, 24 bit/48 kHz A/D conversion, works at 23.976, 24, 25, 29.97 and 30 fps.Max of 2.5 dBm output from AUDIO OUT headphones connector.Connectors 2x slots for SxS PRO cards (SxS)2x BNC recording out HD-SDI, 1.5G/3G switchable (REC OUT 1 and REC OUT 2)1x BNC monitoring out HD-SDI 1.5G (MON OUT)1x XLR 5 pin audio in (AUDIO IN)1x BNC return signal/sync in HD-SDI 1.5G (RET/SYNC IN, functionality available in future software update)1x LEMO 16 pin external accessory interface (EXT)1x Fischer 2 pin 24 V power in (BAT)2x Fischer 3 pin 24 V remote start and accessory power out (RS)1x LEMO 2 pin 12 V accessory power out (12 V)1x LEMO 5 pin timecode in/out (TC)1x TRS 3.5 mm headphone mini stereo jack out (AUDIO OUT)1x LEMO custom 16 pin electronic viewfinder (EVF)1x LEMO 10 pin Ethernet with power (ETHERNET)SD Card Stores camera set up files, log files, frame line xml files and captured stills in JPEG (.jpg), TIFF (.tif) or DPX (.dpx) format. Also used for software updates.Upgrades The Storage Interface Module (currently available for SxS PRO cards) can be exchanged for future storage modules. The Electronics Interface Module (available as either regular ALEXA or ALEXA Plus versions) can be exchanged for future control electronics. Exchangeable Lens Mount (ELM) allowsother lenses beyond PL mount lenses to be used. Simple camera software updates.ALEXA Plus – Technical DataSame as ALEXA, but with built-in wireless remote control, Lens Data System, one additional MON OUT, one additional RS, two LCS, one LDD and three lens motor connectors, built-in motion sensors and Quick Switch BNC connectors.Weight ALEXA Plus camera body + SxS Module: 7.0 Kg/15.4 lbsALEXA Plus camera body + EVF-1 + Viewfinder Mounting Bracket VMB-2 + viewfinder cable + SxS Module + Center Camera Handle CCH-1: 8.4 Kg/18.5 lbs Dimensions Length: 332 mm/12.95”, width: 175 mm/6.89”, height: 158 mm/6.22”Lens Mount ARRI Exchangeable Lens Mount (ELM); ships with Lens Adapter PL Mount with LDS (LA-PL-2), 54 mm stainless steel PL mount, Super 35 centeredNote: In addition to ALEXA and ALEXA Plus a third camera model is in preparation with a 4:3 usable sensor area and an optical viewfinder. All technical data based on Software Update Packet (SUP) 3.0. All data subject to change without notice.。
Arri ALEXA 在 Final Cut Pro 工作流程
Arri ALEXA 在Final Cut Pro 工作流程
针对这个工作流程，在网络上找到一篇文章，分享给大家。
ALEXA所使用的记忆卡是SXS卡，市面上流通较为广泛的就是Sony SXS Pro记忆卡（使用在Sony EX系列摄影机）。
这种记忆卡速度很高，非常适合记录大量的影像资料，唯一的缺点就是价格高昂。
当ALEXA使用ProRes格式记录时，按照接下来的三个步骤就可以把素材撷取至Final Cut Pro。
1. 连接电脑与SXS卡，此时桌面上会出现一个ARRI UDF的图像。
在电脑这一端新增一个资料夹。
命名资料夹的方式可依照个人的习惯，通常会以拍摄当日的日期＋编号来命名。
连接的方式可能是Apple MacB ook Pro 17吋笔电旁的SXS插槽，或者是选购Sony SBAC-US10读卡机。
2. 将SXS卡上的所有资料拷贝至电脑端的资料夹内，包括了index.xml这个文档。
3. 接下来将index.xml文档输入Final Cut Pro. File→ Import→ XML
Final Cut Pro会跳出一个窗口
确认输入的浏览器是你所工作的位置（在这个桉例中位置(Destination)是Alexa，然后按下OK确认。
此时，在Final Cut Pro的浏览器中，Bin里面就可以看到所输入的所有影像。
如果所拍摄的记忆卡有很多张，就重复上述的流程，直到所有素材都输入完毕为止。
阿里斯卡ALEXA SXT W摄影机产品说明书
Identity Number K1.0014744Model ALEXA SXT WSensor Type Super 35 format ARRI ALEV III CMOS sensor with Bayer pattern colorfilter arraySensor Maximum Resolution and Size3424 x 220228.25 x 18.17 mm / 1.112 x 0.715"⌀ 33.59 mm / 1.322"Sensor Frame Rates0.75 - 120 fpsWeight∼7.4 kg / ∼16.3 lbs(camera body with PL lens mount)Photosite Pitch8.25 μmSensor Active Image Area Photosites16:9 ProRes HD: 2880 x 162016:9 ProRes 2K: 2880 x 162016:9 ProRes 3.2K: 3200 x 180016:9 Prores 4K UHD: 3200 x 180016:9 ARRIRAW 2.8K: 2880 x 162016:9 ARRIRAW 3.2K: 3168 x 17826:5 ProRes 2K Anamorphic: 2560 x 21466:5 ProRes 4K Cine Anamorphic: 2560 x 21466:5 ARRIRAW 2.6K: 2578 x 21604:3 ProRes 2.8K: 2880 x 21604:3 ARRIRAW 2.8K: 2880 x 2160Open Gate ProRes 3.4K: 3424 x 2202Open Gate ProRes 4K Cine: 3414 x 2198Open Gate ARRIRAW 3.4K: 3424 x 2202Sensor Active Image Area Dimensions16:9 ProRes HD: 23.76 x 13.37 mm / 0.935 x 0.526"16:9 ProRes 2K: 23.76 x 13.37 mm / 0.935 x 0.526"16:9 ProRes 3.2K: 26.40 x 14.85 mm / 1.039 x 0.585"16:9 Prores 4K UHD: 26.40 x 14.85 mm / 1.039 x 0.585"16:9 ARRIRAW 2.8K: 23.76 x 13.37 mm / 0.935 x 0.526"16:9 ARRIRAW 3.2K: 26.14 x 14.70 mm / 1.029 x 0.579"6:5 ProRes 2K Anamorphic: 21.12 x 17.70 mm / 0.831 x 0.697"6:5 ProRes 4K Cine Anamorphic: 21.12 x 17.70 mm / 0.831 x 0.697"6:5 ARRIRAW 2.6K: 21.38 x 17.82 mm / 0.842 x 0.702"4:3 ProRes 2.8K: 23.76 x 17.82 mm / 0.935 x 0.702"4:3 ARRIRAW 2.8K: 23.76 x 17.82 mm / 0.935 x 0.702"Open Gate ProRes 3.4K: 28.25 x 18.17 mm / 1.112 x 0.715"Open Gate ProRes 4K Cine: 28.17 x 18.13 mm / 1.109 x 0.714"Open Gate ARRIRAW 3.4K: 28.25 x 18.17 mm / 1.112 x 0.715" Recording File Container Size16:9 ProRes HD: 1920 x 108016:9 ProRes 2K: 2048 x 115216:9 ProRes 3.2K: 3200 x 182416:9 Prores 4K UHD: 3840 x 216016:9 ARRIRAW 2.8K: 2880 x 162016:9 ARRIRAW 3.2K: 3168 x 17826:5 ProRes 2K Anamorphic: 2048 x 8586:5 ProRes 4K Cine Anamorphic: 4096 x 17166:5 ARRIRAW 2.6K: 2592 x 21604:3 ProRes 2.8K: 2944 x 21764:3 ARRIRAW 2.8K: 2944 x 2176Open Gate ProRes 3.4K: 3456 x 2202Open Gate ProRes 4K Cine: 4096 x 2636Open Gate ARRIRAW 3.4K: 3424 x 2202Recording File Image Content16:9 ProRes HD: 1920 x 108016:9 ProRes 2K: 2048 x 115216:9 ProRes 3.2K: 3200 x 180016:9 Prores 4K UHD: 3840 x 216016:9 ARRIRAW 2.8K: 2880 x 162016:9 ARRIRAW 3.2K: 3168 x 17826:5 ProRes 2K Anamorphic: 2048 x 8586:5 ProRes 4K Cine Anamorphic: 4096 x 17166:5 ARRIRAW 2.6K: 2578 x 21604:3 ProRes 2.8K: 2880 x 21604:3 ARRIRAW 2.8K: 2280 x 2160Open Gate ProRes 3.4K: 3424 x 2202Open Gate ProRes 4K Cine: 4096 x 2636Open Gate ARRIRAW 3.4K: 3424 x 2202Exposure Latitude14+ stops over the entire sensitivity range from EI 160 to EI 3200 asmeasured with the ARRI Dynamic Range Test Chart (DRTC-1) Exposure Index Adjustable from EI 160-3200 in 1/3 stopsEI 800 base sensitivityShutter Electronic shutter, 5.0°- 358°Recording Formats ARRIRAW (.ari)Apple ProRes 4444 XQApple ProRes 4444Apple ProRes 422 HQApple ProRes 422Recording Media SXR Capture DrivesXR Capture DrivesSxS PRO+ CardsCFast 2.0 CardsRecording Frame Rates16:9 ProRes HD: 0.75 - 120 fps16:9 ProRes 2K: 0.75 - 120 fps16:9 ProRes 3.2K: 0.75 - 72 fps16:9 Prores 4K UHD: 0.75 - 50 fps16:9 ARRIRAW 2.8K: 0.75 - 120 fps16:9 ARRIRAW 3.2K: 0.75 - 120 fps6:5 ProRes 2K Anamorphic: 0.75 - 96 fps6:5 ProRes 4K Cine Anamorphic: 0.75 - 60 fps6:5 ARRIRAW 2.6K: 0.75 - 96 fps4:3 ProRes 2.8K: 0.75 - 60 fps4:3 ARRIRAW 2.8K: 0.75 - 96 fpsOpen Gate ProRes 3.4K: 0.75 - 60 fpsOpen Gate ProRes 4K Cine: 0.75 - 48 fpsOpen Gate ARRIRAW 3.4K: 0.75 - 90 fpsRecording Modes Standard real-time recordingPre-recording (ProRes only)No IntervalometerViewfinder Type Electronic Viewfinder EVF-1Viewfinder Technology F-LCOS viewfinder displayViewfinder Resolution Pixel1280 x 784Viewfinder Diopter Adjustable from -5 to +5 dioptersColor Output Rec 709Rec 2020Log CCustom Look (ARRI Look File ALF-2)Look Control Import of custom 3D LUTASC CDL parameters (slope, offset, power, saturation)White Balance Manual and auto white balance, adjustable from 2000K to 11000K in100K stepsColor correction adjustable range from -12to +12 CC1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values Filters Manual behind the lens FSND filters: Optical Clear, 0.3, 0.6, 0.9, 1.2, 1.5,1.8,2.1, 2.4Fixed optical low pass, UV, IR filterImage Outputs 1x proprietary signal output for EVF-1 viewfinder4x MON OUT: 1,5G (SMPTE ST292-1)uncompressed HD video with embedded audio and metadataLens Squeeze Factors 1.001.302.00, 2.00 mag.Exposure and Focus Tools False ColorPeakingZoomAudio Input1x XLR 5pin balanced stereo line in(Line input max. level +24dBu correlating to 0dBFS)Audio Output3,5mm stereo headphone jackSDI (embedded)Audio Recording 2 channel linear PCM, 24 bit 48 kHzRemote Control Options Web-based remote control from phones, tablets and laptops via WiFi &EthernetWCU-4 hand unit with control over lens motors and operationalparameters via built-in white radioRemote Control Unit RCU-4 via EthernetInterfaces1x LEMO 5pin LTC Timecode In/Out1x BNC SDI Return In1x LEMO 16pin EXT for accessories and sync1x LEMO 10pin Ethernet for remote control and sync1x SD Card (for user setups, look files etc)3x Fischer 12pin connectors for CLM lens motors2x Fischer 5pin LCS Lens Control System connectors for hand units1x LDD Lens Data Display connectorWireless Interfaces Built-in WiFi module (IEEE 802.11b/g)Built-in White Radio for ARRI lens and camera remote controlBuilt-in Wireless Video SystemLens Mounts PL lens mountLPL lens mountFlange Focal Depth PL mount: 52 mmLPL mount: 44 mmPower Input1x Fischer 2pin BAT connector (10.5-34 V DC)1x On-board battery interface (10.5-34 V DC)Power Consumption min. 88Wmax. 141W(Camera body with EVF-1)Power Outputs 3x Fischer 3pin 24V RS1x LEMO 2pin 12VPower Management Active ORing between BAT connectorand on-board battery adaptersMeasurements HxWxL158 x 189 x 351 mm / 6.22 x 7.44 x 13.82"(camera body with PL lens mount)Operating Temperature-20° C to +45° C / -4° F to +113° F @ 95% relative humidity max, noncondensingStorage Temperature-30° C to +70° C / -22° F to +158° FSound Level< 20 dB(A) at 24fpsSoftware Licenses-。
ARRI ALEXA
达到一个真实的16比特内部处理过程 （图（1）和图（2）示）
。
ALEXA摄影机的感光度
ALEXA的基础感光度为ISO800，可调感光 度在ISO160—ISO1600范围内均有卓越信噪 比表现。
ALEXA摄影机的宽容度
比较胶片摄影机和其他数字摄影机，测试所得 ALEXA动态范围为14档（ ISO160—ISO1600 ）， 比业内现有的数字摄影机动态范围都广。目前 彩色负片宽容度为14档多。
ARRI ALEXA
ALEXA
是一款针对电影和广播市场设计的非凡的35mm格式胶片风格 的数字摄影机。它由三个相机，一个广大范围内的素数缩放配 件和录音解决方案构成。
ALEXA
is an extraordinary 35 format film-style digital camera system designed for the motion picture and broadcast markets, consisting of three cameras and an extensive range of primes, zooms, accessories and recording solutions.
The end
ALEXA无压缩 无压缩RAW RGB， LOG C模式下记录 PK EPIC 5K 无压缩 ， 纹身雏形机 REDCODE50，REDLOG X（近似于 ， （近似于LOGC） ）
图（7）是在单一烛光的光源照明下的影像加上背景的绿幕 合成，画面中人物的蕾丝领仍然表现得十分清晰与细腻，主 体人物与背景的融合自然、和谐，产生绝佳的影像效果。
ALEXA
的相机提供有着基础成像和电影感觉的卓越图像质量；他们无 与伦比的曝光宽容度、高灵敏度和ARRI独特的色彩处理技术可 以提供锐利和自然的图像，这些为2k和高清的动画放映呈现出 惊人的画面和丰富 exceptional image quality with the organic look and feel of film; their unequalled exposure latitude, high sensitivity and unique ARRI color processing provide sharp and natural images for 2K and HD with a cinematic look of breathtaking richness and detail.
ARRI_Camera_SUP6.1_ALEXA_PocketGuide介绍
ALEXA Studio图标
名称 图标 描述
反光镜快门
M S V G ND
反光镜快门旋转时图标闪烁
取景位置
反光镜快门处于取景（View）位置
片门位置
反光镜快门处于片门（Gate）位置
ND滤镜
ND滤镜使用中
概览
9
主屏幕中央菜单
概览
TC 显示当前时码，包括源信息（INT=内 部源，EXT=外部源）。此处不显示帧 数，而以小数字显示时码基准。 摄影机设置为外部同步状态： MASTER（主）。 影机设置为外部同步状态： 摄 SLAVE（从）。 DUR BAT 1 设置同步已启用。 BAT接口上的当前电压，或电池的剩余 电量百分比（如果该电池可以传输此类 信息）。 BAT 2 顶部或尾部机载电池电压，或电池的剩 余电量百分比（如果该电池可以传输此 类信息）。 标明当前卷，包括摄影机编号和卷计数。 标明当前视频片段，包括片段编号和 计数。 录制时, 表示当前片段的已记录时间长 度；待机时，表示最后一条片段所记录 的时间长度。以小时:分钟:秒钟的时间格 式显示。
6
SUP 7.0新增功能：内置了低反差曲线画面风格文件和通过USER（用户）菜单设置第6个自定义按钮
概览
7
主屏幕
概览8Βιβλιοθήκη 主屏幕软按钮软按钮可以调出相应的屏幕，以供用户进行各项功能设 置。主屏幕上的显示信息如下： WB: 置白平衡，包括一个红/蓝修正的色温 设 开尔文数值和一个绿/品红修正的CC偏 移量（以数值显示）。
ALEXA – 初始机型
4
ALEXA家族
ALEXA Plus/Plus 4:3 – 全能选手
ALEXA M – 任务专家
ALEXA Studio – 旗舰机型
ARRI ALEXA 35 4K Super 35 摄影机说明书
A new era beginsALEXA 35 is a 4K Super 35 camera that elevates digital cinematography to unprecedented heights. ARRI’s first new sensor for 12 years builds on the evolution of the ALEXA family over that period, delivering 2.5 stops more dynamic range, film-like highlight handling, better low light performance, and richer colors.The new REVEAL Color Science takes full advantage of the sensor’s image quality and provides a fast, simple workflow, whileARRI Textures enhance in-camera creative control. Easy operation, robust build quality, new electronic accessories, and a complete new mechanical support system round out the ALEXA 35 platform.“The sensor of the ALEXA 35 is something else, both strong and gentle in the perception of color and texture.”Cinematographer Bárbara Alvarez“The ALEXA 35 has a vivid, true-to-life color rendition and handles highlights beautifully.”Cinematographer Neha Parti Matiyani ISC“ALEXA 35 sets the highest standardsin resolution, dynamic range, and color.It’s a totally new type of camera.”Director & DIT Yoshikatsu Date“The richness of the images capturedby this new camera immediately seizedmy eyes and my heart.”Cinematographer Jin-Kyung Ha“With increased light sensitivity and more detail in the highlights, I can be even more bold with my lighting and exposure choices.”Cinematographer Ari Wegner ACS“The ALEXA 35 was absolutely rock solid.We threw it into a commercial, used it ona gimbal for the whole shoot, and it didn’tmiss a beat.”Cinematographer Jason Hargreaves ACS“As a director, I feel there is now almostno setup I could imagine where I wouldhave to compromise my approach toshooting a scene.”Director/cinematographer Mike Valentine BSC“I was so impressed by the latitude of thesensor, and I loved how it depicts colorsas vividly as a stained-glass window. It isa game changer.”Cinematographer Seamus McGarvey ASC, BSC“I think you just created an unbeatablecamera. It has the perfect specs forcommercials, documentaries, and features.”Cinematographer Andreas Luksepp“The close-ups on the kids’ faces were likenothing else I’ve seen. Even the dark sides oftheir faces held so much beautiful skin toneand texture.”Director Rudi Schwab“It’s the best digital sensor ever made formotion picture photography. It has giftedme more technical and creative freedom.”Cinematographer James Friend ASC, BSC“In the ALEXA 35 l have met a new friend,and she is already a valued part of my team.”Cinematographer Christophe GraillotMore dynamic rangeWith filmic highlight roll-offALEXA 35 measures at 17 stops of dynamic range (exposure latitude), far more than any other digital cinema camera. Filmmakers gain 1.5 stops in the highlights and a stop in the shadows over previous ALEXA cameras, while retaining the naturalistic, film-like highlight roll-off. Sophisticated stray-light suppression ensures that the full character and contrast range of each lens is captured. Together, the increased dynamic range and stray light control make it easier to handle any lighting conditions on set, increase flexibility in post, andprovide the best possible source for HDR (High Dynamic Range) projects.“It was a very difficult lighting situation to put ourselvesin, with bright windows in the background and lots ofnegative fill in the foreground. The ALEXA 35 wasspectacular, it outperformed all my expectations. I couldnot get the camera to clip; the dynamic range is so wideand impressive. This is a completely new generation.”Cinematographer Erik Messerschmidt ASCUp to EI 6400, with lower noiseImpressively low noise and sensitivity settings ranging from EI 160 to EI 6400 make ALEXA 35 a “High ISO” camera. An optional Enhanced Sensitivity Mode can be applied to settings between EI 2560 and EI 6400, producing an even cleaner image in low light. This exceptional sensitivity, combined with the wider dynamic range and truer contrast, allows ALEXA 35 to capture the most delicate nuances of light and shadow in a wider range of shooting situations. Filmmakers can work with available light in real locations, safe in the knowledge that even at extremeISO values, any noise will have a pleasingly film-like structure.“We tried out the Enhanced Sensitivity Mode for a nightexterior scene because we didn’t have much time and therewere a lot of restrictions. We couldn’t use any lights; wejust used the streetlights and the light from buildings.It was definitely noticeable that the Enhanced SensitivityMode has minimal noise, so I think it’s a real improvement.”Cinematographer Jessie WangMore accurate colorsFrom bold hues to subtle tonesIntroduced alongside the ALEXA 35 is REVEAL Color Science, which is the collective name for a suite of image processing steps that, along with the new sensor, help the camera to record more accurate colors with subtler tonal variations. Skin tones of all types and colors are rendered in a flattering, lifelike way. Highly saturated colors such as those in neon signs or car brake lights are captured with incredible realism, as are typically challenging colors like cyan, burgundy, and pastel shades. Overall, the true-to-life color fidelity and amazing resolving powerof the sensor make for beautiful, immersive images.“The way the new sensor sees color is astonishing to me,even after using ARRI cameras for the last few years.It works so well for black skin tones. In scorching Africansunshine, the highlight roll-off is really nice and you still seedetail in the shadows. There is a massive improvement toimage quality with the ALEXA 35, you can actually see it.”Cinematographer Barnabas EmordiARRI Textures – choose your digital film stockARRI Textures provide a new and unique way for cinematographers to exert greater creative control on set.A texture defines the amount and character of grain in an image, as well as the amount of contrast at different levels of detail, perceived by the viewer as sharpness. Previous ALEXA cameras were pre-programmed with a default texture, but with ALEXA 35 you can choose from an evolving menu of custom ARRI Textures, either to suit a specific shooting environment or to hone your look. This allows you to fundamentally alter the way thecamera records images, much like selecting a film stock.“We used one of the ARRI Textures that are availablein the ALEXA 35. It added some grain, and a lot of uscinematographers do have a love for grain. There was acertain feel to it, a different structure to just pushingthe ASA. For our story the combination of anamorphiclenses, this ARRI Texture, and the use of available light,was really nice.”Cinematographer Nikolaus SummererSuper 35 sensorWide lens choice, 19 recording formatsWith its Super 35 4:3 native 4K sensor, ALEXA 35 can be used with the vast global inventory of existing lenses—modern and vintage, anamorphic and spherical, Super 35 and large format. Filmmakers wanting to shoot with ARRI cameras while having to fulfill 4K mandates now have an immeasurably broader lens choice.A total of 19 recording formats, incorporating efficient in-camera downsampling and anamorphic de-squeezing, allow productions to optimize data rate, resolution, and other parameters, based on their individual needs.Mixed Reality Productions (MRP) will benefit from the camera's ability to record lens metadata in all common standards and output real-time streaming metadata to ARRI's Live Link Metadata Plug-in for Unreal Engine.4608 x 31644096 x 20484608 x 25923328 x 27904096 x 23043072 x 3072ARRI Color EngineACE4ARRI Wide GamutAWG4 Camera NativeRGB Image Data DebayeringCamera NativeRGB Image DataARRI Wide Gamut AWG4• New camera color space for faster and easier grading • “Goldilocks” color space: just the right size• Larger than Rec 2020 but minimizes “virtual” colorsLogC4/AWG4 toDisplay Color Space LUTDisplay Color Spacei.e. Rec 709AWG42120Fast and easy to useA single, rugged camera that can do it allALEXA 35 is the smallest fully featured ARRI production camera ever, packing the features and processing power of a larger ALEXA intoa Mini-sized body. Crews will be intuitively familiar with the simple menu structure; support for 1TB and 2TB Codex Compact Drives; and MVF-2 viewfinder, now with HDR. Fast and easy operation is assured through usability improvements such as a new left-side display and additional user buttons. Temperature resistant, splash and dust-proof, and conceived with future hardware and software updates inmind, ALEXA 35 is the best A-camera, B-camera, and drone or gimbal camera on the market, all rolled into one.Support for any situationElectronic accessories and mechanical supportARRI has crafted a new line of bespoke ALEXA 35 accessories that expand the camera's capabilities and ensure maximum speed and versatility on set. Closely integrated electronic accessories offer additional power outputs or extended audio features. A complete new set of mechanical support items provides flexible options for any situation, scaling quickly and easily from a small and lightweight setup to a full-blown production configuration. ALEXA 35 is available in sales sets that group together components suitable for different shootingLightweight Set Production Set25LightweightVertical Format Set B-Mount Battery AdapterBalance Utility DovetailALEXA 35Compact Bridge Plate Bridge Plate Compact Bridge PlateLow Mode SupportAdjustable Top Plate for MōVITop Extension Rear Accessory Universal Camera SideCamera Side Lightweight Center Camera HandleViewfinder Mounting Square Accessory UAP-3Power Distribution Module PDM-1Audio Extension Module AEM-1Bottom Dovetail Plate 300 mm/12 inchBattery Adapter Back BAB-LFBridge Plate Rod Mounting Rod MountingViewfinder Cross Mini Viewfinder B-Mount ALEXA 35Powering the futureB-Mount, the new 24 V standardALEXA 35 utilizes the B-Mount battery interface, an open industry standard endorsed by ARRI and the wider industry. Providing high-capacity 24 V power, but also able to support 12 V, B-Mount offers more efficiency and improved data communication over previous systems. Cross-compatible with camera,lighting, and stabilizer equipment from manufacturers worldwide, it enables productions to streamline their power requirements.• S pecifications are fully documented and open to any company • H igh-capacity, future-proof power for cameras and lights• R obust construction, compact form factor, and seamless interlocking • S uited to modern camera stabilizer systems and compliant with on-board safety standards for the lighting industry• Bi-voltage ready, B-Mount will power future ARRI cameras and lightsALEXA 35 system components overviewARRI Camera Companion AppARRI Reference ToolARRIRAW HDE Transcoder27262928Sensor TypeSuper 35 format ARRI ALEV 4 CMOS sensor with Bayer pattern color filter array Sensor Photosites and Size 4608 x 3164Ø 33.96 mm / 1.337"Sensor Frame Rates 0.75 - 120 fpsProject Frame Rates 23.976, 24, 25, 29.97, 30, 47.952, 48, 50, 59.94, 60 fpsWeight2.9 kg / 6.4 lbs (camera body with three antennas and LPL Mount (LBUS))Photosite Pitch 6.075 μmSensor Modes Active Image Area (Dimensions)Image Circle ØActive Image Area (Photosites)Recording Resolution (Pixel)Max fps*(1TB / 2TB Drive)4.6K 3:2 Open Gate 28.00 x 19.20 mm 1.102 x 0.756"33.96 mm 1.337"4608 x 3164 4.6K (4608 x 3164)35 / 75 fps (ARRIRAW)60 / 60 fps (Apple ProRes)4.6K 16:928.00 x 15.70 mm 1.102 x 0.618"32.10 mm 1.264"4608 x 2592 4.6K (4608 x 2592)45 / 75 fps (ARRIRAW)4K (4096 x 2304)75 / 75 fps (Apple ProRes)4K 16:924.90 x 14.00 mm 0.980 x 0.551"28.57 mm 1.125"4096 x 23044K (4096 x 2304)55 / 120 fps (ARRIRAW)100 / 100 fps (Apple ProRes)UHD (3840 x 2160)120 / 120 fps (Apple ProRes)2K (2048 x 1152)120 / 120 fps (Apple ProRes)HD (1920 x 1080)120 / 120 fps (Apple ProRes)4K 2:124.90 x 12.40 mm 0.980 x 0.490"27.82 mm 1.095"4096 x 20484K (4096 x 2048)65 / 120 fps (ARRIRAW)120 / 120 fps (Apple ProRes)3.3K 6:520.22 x 16.95 mm 0.796 x 0.693"26.38 mm 1.039"3328 x 27903.3K (3328 x 2790)55 / 100 fps (ARRIRAW)75 / 75 fps (Apple ProRes)4K 2.39:1 Ana. 2x (4096 x 1716)90 / 90 fps (Apple ProRes)3K 1:118.70 x 18.70 mm 0.737 x 0.73726.45 mm 1.041"3072 x 30723K (3072 x 3072)55 / 100 fps (ARRIRAW)90 / 90 fps (Apple ProRes)3.8K 2:1 Ana. 2x (3840 x 1920)100 / 100 fps (Apple ProRes)2.7K 8:916.70 x 18.70 mm 0.656 x 0.738"25.09 mm 0.988"2743 x 3086UHD 16:9 Ana. 2x (3840 x 2160)100 / 100 fps (Apple ProRes)2K 16:9 S1612.40 x 7.00 mm 0.490 x 0.276"14.24 mm 0.561"2048 x 11522K (2048 x 1152)120 / 120 fps (Apple ProRes)Exposure Index Adjustable from EI 160 - 6400 in 1/3 stopsDynamic Range 17 stops (2.5 more than with previous ALEXA cameras)ShutterElectronic shutter, 5.0°- 356° or 1s - 1/8000s Recording CodecsMXF/ARRIRAWMXF/Apple ProRes 4444 XQ MXF/Apple ProRes 4444MXF/Apple ProRes 422 HQRecording Media Codex Compact Drive 1TB (CA08-1024), Codex Compact Drive 2TB (CB16-2048)Recording Modes Standard real-time recording, Pre-recordingViewfinder Type Multi Viewfinder MVF-2 with OLED viewfinder display (1920 x 1080) and 4" LCD flip-out monitor (800 x 400)Viewfinder Diopter Adjustable from -5 to +5 dioptersColor Output Rec 709, Rec 2020, Rec 2100 PQ, Rec 2100 HLG, LogC4Look Control ARRI TexturesCustom color look (through ARRI Look File ALF4 or ARRI Look Library)White BalanceManual and auto white balance, adjustable from 2000K to 11000K Color correction adjustable from -16 to +16 CC(1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values)Technical DataFiltersFour position built-in motorized ND filter: Clear, 0.6, 1.2, 1.8Fixed optical low pass, UV, IR filterLens Squeeze Factors1.00, 1.25, 1.30, 1.33, 1.50, 1.65, 1.80, 1.85,2.00Exposure and Focus Tools False Color, Zoom, Aperture and Color Peaking Audio Recording 4 channel linear PCM (24 bit, 48 kHz)Image Outputs 2x VF custom CoaXPress connectors for MVF-2 viewfinder2x 12G SDI (BNC) 422 1.5G HD, 422 3G HD, 444 3G HD, 422 6G UHD, 422 12G UHD, 444 12G UHD Interfaces1x LBUS (LEMO 4-pin) for lens motors, daisy chainable1x SERIAL (LEMO 4-pin) for distance measuring accessories 1x TC (LEMO 5-pin) for timecode In/Out1x ETH (LEMO 10-pin) for remote control and service 1x SYNC IN (BNC) for Genlock synchronization 1x RET IN (BNC, switchable on SDI 2) 1x USB-C for user setups, look files etc 1x Rear Interface (18-pin Pogo)1x Top Interface (5-pin Pogo)Audio Inputs1x AUDIO (LEMO 6-pin) for balanced stereo line in (line input max. level +24 dBu correlating to 0 dBFS) Two built-in microphones for scratch audioWith Audio Extension Module AEM-1: additional 3x TA3 connectors (MIC/Line, +48 V, AES)Audio Outputs 1x 3.5 mm stereo headphone connector (on MVF-2)2x SDI (embedded audio)Power Inputs 1x PWR (LEMO 8-pin)1x BAT (camera rear interface / battery adapter)20.5 - 33.6 V DCPower Outputs1x RS (Fischer 3-pin) for 24 V accessory power out, start/stop and shutter pulse 1x 12 V (LEMO 2-pin) for 12 V accessory power out1x LBUS (LEMO 4-pin) for lens motors & 24 V power out, daisy-chainable1x AUDIO (LEMO 6-pin) for balanced stereo line in and 12 V accessory power out 1x ETH (LEMO 10-pin) for remote control, service and 24 V accessory power out With Power Distribution Module PDM-1: additionally 4x 24 V, 2x 12 V and 1x D-Tap Remote Control OptionsCamera Companion AppARRI Electronic Control System (ECS)Web-based remote control from phones, tablets and laptops via WiFi & Ethernet Camera Access Protocol (CAP) via WiFi & EthernetGPIO interface for integration with custom control interface Wireless Interfaces Built-in WiFi module (IEEE 802.11b/g)Built-in White Radio for ARRI ECS lens and camera remote control Lens Mounts & Adapters ARRI LPL Mount (LBUS) ARRI PL -to-LPL Adapter ARRI PL Mount (LBUS)ARRI PL Mount (Hirose) ARRI EF Mount (LBUS)Leitz M Mount for ARRIFlange Focal Depth LPL Mount: 44 mm , PL mount: 52 mm Power Consumption ~ 90 W (Camera body and MVF-2)Measurements (HxWxL)147 x 152.5 x 203 mm / 5.8 x 6.0 x 8.0" (camera body with LPL lens mount)Operating Temperature -20° C to +45° C / -4° F to +113° F @ 0-95% RH Storage Temperature -30° C to +70° C / -22° F to +158° F IP Rating IP 51Sound Level < 20 dB(A) at 30 fps, recording 4K 16:9 - UHD, Apple ProRes 4444 XQ, ≤ +30° ambient temperature LicensesALEXA 35 Cine License*Some Apple ProRes 4444 XQ formats have slightly lower maximum fps3130ARRI ServiceWorldwide technical supportARRI prides itself on the build quality and reliability of its equipment, but also on the aftersales care provided to customers. Like all ARRI products, the ALEXA 35 is supported by a network of highly trained service technicians committed to the highest levels of customer care. With 15 advanced service centers worldwide, the global service workflow is equipped to handle issues between offices and across different time zones to maximize responsiveness and reduce delays. Through the ARRI website, customers can find their nearest service location and make a service request, as well as search for spare parts and book advanced service training. Registering your ALEXA 35 is the surest way of staying informed about the latest updates and announcements.ARRI AcademyStrengthen your knowledgeOffering a wide range of multi-day training courses, individual sessions, and educational events in different countries and languages worldwide, ARRI Academy is the best route for users of all abilities to gain hands-on knowledge of ARRI productsand workflows, and build their on-set confidence. Online courses are also available for remote learning.This ARRI ALEXA 35 brochure (80.0045041) is published by Arnold & Richter Cine Technik, May 2022 © ARRI/2022Technical data and offerings are subject to change without notice. All rights reserved. Without any warranty.Not binding 05/2022. ARRI, ALEXA and REVEAL are registered Trademarks of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.Screenshots, behind-the-scenes images, and testimonials all sourced from the global ALEXA 35 field test and “Encounters” short film series.35。
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ALEXA Studio与ALEXA家族的其他成员拥有相同的基因，可 提供同样出色的影像质量，广阔的曝光宽容度，高感光度，自 然的肤色还原和生动的胶片质感画面。也拥有同样的多种高效 工作流程选择，包括机内录制苹果ProRes 或 Avid DNxHD 文 件，同时各接口均可输出 HD-SDI 信号，以及可输出最高画质、 无压缩无加密的ARRIRAW信号。经过考究设计与精密制造的 机身坚固无比，并通过各种严酷测试，其高度可靠性可确保现 场拍摄时万无一失。ALEXA系列在设计时就不断听取专业电影 工作者的建议，所以各款机型均功能强大，同时又简单易用。
光学取景器
ALEXA Studio 是希望以舒适、精确又高效的光学取景器进行 拍摄的摄影师的理想选择。由于光学取景器的特质，它没有画 面延迟，可直接从摄影镜头中获得明亮锐利的彩色光学影像。 其他的优点包括自然的动态效果，准确的色彩还原以及正确的 白平衡。摄影师可以实时看到正在发生的一切，并且还能减轻 眼部疲劳。即使摄影机的电源没有开启，摄影师也可以从取景 器中观察到布光的情况或者取景，还可以选择光学镜头、设计 画面、预先设计灯光甚至排戏，以节约在现场的宝贵时间。 ALEXA Studio 取景器为全新设计： 新的光学设计， 并兼容 ARRIFLEX 435和ARRICAM目镜、延长器与加热眼罩。而机 械设计则结合了传统ARRI胶片摄影机取景器的坚固性与灵活 性，并可以在普通球面镜头和变形宽银幕镜头之间自由转换。 变形镜头压缩画面还原率可选择2×或1.3×，还包括用户可自 选色彩的发光画框线和。为确保最大的灵活性，光学取景器可 被快速更换为ALEXA电子取景器EVF-1。
主要功能
ALEXA家族旗舰机型
■ 出色的影像质量 ■ 多种高效工作流程 ■ ARRI产品品质 ■ 便捷安全的操作方式 ■ 内置变形镜头压缩画面还原，高速拍摄与DNxHD格式录制的使用许可证
ALEXA光学取景器OVF-1
■ 全新光学设计 ■ 可配合普通球面或变形镜头使用，2×或1.3×倍率压缩画面还原 ■ 基本插入模块BIM-1：RGB发光画框线 ■ 兼容 ARRIFLEX 435和ARRICAM目镜、延长器与加热眼罩 ■ 附带435 8×与2×倍率变形镜头压缩画面还原模块 ■ 用ALEXA电子取景器模块EVF-1代替
可设置为ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit)和JPEG (.jpg, 8 bit) 以及日志文件。亦可用于软件更新。
存储界面模块（目前只提供SxS PRO储存卡）可更换为未来的存储模块。电子界面模块可更换为未来的控制系统。可换镜头卡口（ELM）允许使用PL卡口以外的镜
旋转反光镜快门
■ 无滚动快门效应（果冻效应）
4:3 Super 35格式影像传感器
■ 完美适合于变形镜头拍摄 ■ 可为后期重新调整构图提供了额外的上下空间
内置的特殊使用许可证
(1) 压缩率以1.8Gbit/s的RGB 10bit全高清信号为基准而计。 (2) 以SxS PRO 64GB储存卡录制30fps影像的大约时间。 双1.5G或3G录制输出（REC OUT）BNC接口，输出ARRIRAW（4:3或16:9）或HD-SD（I 仅限16:9）视频信号。嵌入音频、时间码、元数据与可选的录制标记。 ARRIRAW: 16:9：2880×1620，4:3：2880×2160。无压缩12 bit Log，不加白平衡或曝光指数处理。需要ARRIRAW T-Link认证的录制设备。 HD-SDI 16:9视频：无压缩的1920×1080 4:4:4 RGB或4:2:2 YCbCr信号；可以使用合法区域或扩展区域。超出高清视频标准（23.976, 24, 25, 29.97, 30, 50, 59.94, 60 fps）的帧率需要支持Variflag的录制设备。 2个监视器输出（MON OUT）的BNC接口，可用于无压缩的1.5G HD-SDI视频：1920 × 1080，4:2:2 YCbCr；合法范围。 16 bit线性内部影像处理。可用于所有ProRes，DNxHD 220x，录制输出（REC OUT），监视器输出（MON OUT）的目标色彩空间：Log C（胶片矩阵关 闭），Log C（胶片矩阵开启），Rec 709或DCI P3。用于DNxHD 145的色彩空间：Rec 709或DCI P3。Rec 709和DCI P3可使用 ARRI画面风格文件 （ARRI Look Files）在录制和回放时进行自定义画面风格。可选的水平画面镜像功能。 主机/从机模式，可对设置、影像传感器、处理、HD-SDI输出，以及QuickTime/ProRes或MXF/DNxHD录制进行精确同步，以适用于3D制作。 记录于SxS PRO储存卡的QuickTime/ProRes与MXF/DNxHD片段可在EVF-1、监视器输出（MON OUT）与录制输出（REC OUT）上播放。回放音频内嵌于监 视器输出（MON OUT）与录制输出（REC OUT）信号，以及通过耳机插孔输出。 1个2声道5针XLR音频输入接口（AUDIO IN），线路平衡音频输入，24bit/48kHz模数转换，可于23.976，24，25，29.97和30 fps时工作。无压缩音频信号被 录制于QuickTime/ProRes和MXF/DNxHD文件中，以及嵌入所有HD-SDI输出中，包括ARRIRAW T-Link。音频输出（AUDIO OUT）的耳机插孔最大输出为 2.5dBm。
摄影机
数据一览表｜2012年7月
辅助显示
控制 机内录制
录制输出 监视器输出 影像处理 同步 回放 音频 连接性能
SD储存卡 升级
使用8×的ARRICAM Studio目镜，ARRICAM Studio取景器中型延长器与ARRICAM Studio取景器变焦延长器。不兼容轻型通用目镜。可被替换为ALEXA电子 取景器EVF-1，需加装电子取景器适配器EVA-1。 适用于EVF-1与监视器输出（MON OUT）：画格边框，摄影机状态，假色曝光检查，峰值对焦显示，可将储存的画面与现场画面进行对比，返送视频（RETURN IN） 显示及变形镜头画面校正。变形镜头画面校正需要购买使用许可。卷与片段编号仅在监视器输出显示。 适用于OVF-1：适用于REC（录制），BAT（电池电量低），FULL（SxS PRO储存卡满）的报警LED。ALEXA Studio使用与ARRICAM相同的毛玻璃屏支撑与参 考线，因此ARRICAM的毛玻璃屏与参考线遮罩均可用于ALEXA Studio。但是，由于实际的画框空间不同，因此推荐使用ALEXA Studio专用的毛玻璃屏和画 框参考线遮罩，以获得精确的画面大小。若使用产品名单所列之外的画框参考线，请使用如下画框毛玻璃屏绘制工具：/camera/ground_glass_ composer.html 摄影机右侧：主用户界面为带有半透反射技术，分辨率400×240的3英寸液晶显示器，照明按钮，按钮锁定与控制拨盘。摄影机左侧：摄影掌机员用户界面，带有照 明按钮，按钮锁定与储存卡切换按钮。 可于单张或双张（双录制）SxS PRO储存卡上录制苹果QuickTime/ProRes文件或MXF/DNxHD文件，仅限16:9模式。所有数据均在合法范围，内嵌音频、时间码 与元数据。
SxS REC OUT 1/2 MON OUT AUDIO IN RET/SYNC IN EXT BAT RS 12V TC AUDIO OUT EVF ETHERNET LCS RS LDD IRIS ZOOM FOCUS
BNC接口无须拆解摄影机即可快速更换。需要专用工具。
可用于输入ARRI画面风格文件（ARRI Look Files），摄影机设置文件，画框参考线与特殊使用许可。可用于捕捉储存录制输出（REC OUT）画面的静态图像，格式
旋转反光镜快门
旋转反光镜快门不仅仅是因为光学取景器而存在的，它本身也 改变了影像传感器的曝光方式。虽然其他ALEXA机型已经将滚 动快门效应（果冻效应）减到最少，但是由于使用了旋转反光 镜，ALEXA Studio完全消除了这种现象。若所需要拍摄的帧率 高于旋转快门的旋转速度极限，还可以将其关闭，而直接使用012年4月
作为ALEXA系列中的旗舰机型，ALEXA Studio集标准ALEXA 与ALEXA Plus的各种优点于一身，并增加了四项新功能：光 学取景器，旋转反光镜快门，4:3 比例 Super 35 格式影像传 感器，以及内置ND滤镜。无论使用普通镜头还是变形镜头进行 宽银幕电影或广告的拍摄，ALEXA Studio都是最完美的高端电 影摄影机。
220
147
位深
12 10 10
102
10
45
10
色彩编码
录制时间，以小 时:分钟计(2)
应用
4:4:4 RGB 4:2:2 YCbCr 4:2:2 YCbCr
4:2:2 YCbCr
4:2:2 YCbCr
0:22 0:34 0:52
1:14
2:42
高品质电视或电影制作，需要调色和/或合成。 高品质电视制作，需要调色。 无需后期调整的基本电视制作。 当主要信号使用外部录制设备时的现场监视和代 理剪辑。 同上，可延长录制时间。
头。简易的摄影机软件更新。购买时已包含的使用许可：变形镜头压缩画面还原，高速拍摄，DNxHD格式录制。
标识号 K5.40971.2 数据如有变更，恕不另行通知。© ARRI/2012
ARRI 中国 北京市朝阳区朝外大街乙6号 朝外SOHO-C座6层0656室 邮编：100020 电话：+86 10 5900 9680 传真：+86 10 5900 9679 网址：/cn
编码
压缩率(1)
QuickTime/ProRes 4444 QuickTime/ProRes 422 (HQ) QuickTime/ProRes 422
QuickTime/ProRes 422 (LT)