阿莱ALEXA数字摄影机操作培训手册
阿莱ALEXA性能
Slide master
• 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。
Slide master
•
•
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）
ARRI_Camera_ALEXA_Studio_Datasheet
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
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。
AMIRA快速指南_摄像人网
20
10.5 PLAY（播放）按钮
20
10.6 屈光度调节
20
10.7 调节监视器
20
10.8 改变监视器模式
20
4
目录
10.9 菜单控制
21
11 用户预设面板
22
11.1 锁定 / 解锁
22
11.2 用户自定义按钮
22
12 主控面板
23
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)
• Black magic 小巧，设计美观， 性价比较高。
Kinefinity S35数字 摄影机
报价：43900元
• KineRAW-S35是一个使用超35毫米 尺寸的CMOS传感器的数字摄影机， 具有很好的低光性能，既可以适合高 清应用，也可以用在有现代数字影院 播放需求的应用中。在电影长片/广告 的拍摄中，可以按照严格的RAW流程 进行前期拍摄；而在缺乏足够的光源 环境中比如记录片，可以使用低光高 感的配置进行拍摄。 KineRAW-S35 是一款出色的能够进行35mm电影风 格创作的工具，同时保持了拍摄和记 录一体的必要的便携性。其工业标准 的电气接口和工业标准的编码方式使 得前期拍摄成本和后期制作成本都得 到了有效的降低。它是一款价格可承 受的、功能强大的、严肃的数字电影 制作工具。
• DVW-970P摄录一体机配备了先进的三
芯片、2/3英寸型Sony Power HAD EX
CCD。该CCD成像灵敏度高达F11、信
噪比63dB。此外，DVW-970P还具有出
色的低拖尾水平（一般为-145dB），从
而制作出超优质画面。此外，Power
HAD EX CCD的采用使DVW-970P具备
档光圈宽容度、高灵敏度和高信 噪比等特点。
松下AJHPX3000MC高清
摄像机
报价：200000元
• 灵敏度 :F11(2000 lux、89.9％反射、
1080/50i)
• 最低照度 :0.0641 lux(F1.4,超级增益 +36dB,数字超级增益+20dB)
ALEXA
阿莱ALEXA问题解答之一：常见问题、镜头、取景器、配件一、一般性问题1.ALEXA现在具有什么功能，未来会增加什么新功能？当前，第一批的ALEXA已经安装了软件包（SUP 1.0）。
有一些客户作为DTE Beta测试计划的一部分，会安装不同的软件版本。
Sup 1.0包含了以下的功能：（1）高质量图像捕捉能力•800EI 基础感光度（在180度的快门角）•160~1600的可调节EI•>13档的宽容度（EI 160~1600）•可变电子快门5.0~358.0度•D-21 色彩管理系统•Dec 709 视频或Log C输出（2）多种输出选择•HD-SDI 4:2:2@23.976,24,25,29.97,30,50,59.94,60fps•HD-SDI 4:4:4@23.976,24,25,29.97,30fps•ARRIRAW T-link @23.976,24,25,29.97,30 fps ( 需第三方录制和后期工具支持)参加了阿莱DTE Beta测试项目的成员还具有以下的功能：•QuickTime/ProRes DTE 存储在SxS PRO cards （Prores 422（HQ）/ ProRes 444 编码）未来的软件升级包将使得ALEXA更加强大：（1）高质量的图像捕捉能力•最新的ALEXA色彩管理系统•EI扩展至3200•Look 管理系统，包括Log C•静态画面捕捉（抓取功能）•取景器曝光显示（2）多种输入/输出选择•QuickTime/ProRes DTE 记录在SxS PRO 卡•QuickTime/ProRes DTE 播放（来自SxS PRO 卡）•0.75至60帧速(4:2:2/4:4:4)•HD-SDI variframe 支持•Audio in/out•视频回放•传感器同步、HD-SDI输出同步、Timecode同步•Metadata•WCU-3通过UMC-3可显示摄影机状态和开始/结束DTE记录•升降格2. ARRI是否还会生产另外两款型号A-EV Plus和A-OV Plus？我们现在已经在为第二批次的ALEXA在努力，它将提供具有无线远程操控，镜头马达的连接器和崭新应用功能。
20120805-eh_SUP6.1_ALEXA_PocketGuide阿莱ALEXA
目录ALEXA 袖珍指南目录ALEXA概述4简介4 ALEXA摄影机家族5 ALEXA操作指南6主屏幕软按钮7 ALEXA Studio图标7主界面中央菜单8菜单设置及按钮功能12 ALEXA输出27输出概览27输出概览/ProRes 录制28输出概览/DNxHD 录制29ALEXA录制30 ARRIRAW 30 ALEXA摄影机的Gamma曲线31 Rec 709 31 Log C 32 Log C拍摄32 ALEXA摄影机的画面风格文件（Look File）36无损工作流程中的画面风格文件（Look File）38合法编码范围和扩展编码范围40 p和psf 41曝光指数42 ALEXA摄影机与ND滤镜44假色曝光检测45元数据概述46许可证482目录ALEXA预摄清单50注意事项50使用SxS PRO卡录制51摄影机设置51 SxS储存卡的使用52高速录制53摄影机设置53 SxS储存卡的使用54 ARRIRAW录制56摄影机设置56外接记录单元设置57 ALEXA摄影机3D同步配置58摄影机设置58 ALEXA M 传输光纤的保养与维护59ALEXA摄影机规格60摄影机类型60 ARRI镜头76 ARRI/蔡司 Master Prime镜头76 ARRI/蔡司 Ultra Prime镜头78 ARRI/蔡司 LDS Ultra Prime镜头80 ARRI/富士能Alura变焦镜头82 ARRI/蔡司Master Macro微距镜头84 ALEXA资源和联系方式86 ARRI销售联系方式86 ARRI售后服务联系方式88 ARRI数字工作流程解决方案90在线资源913AL E X A 概述4ALEXA 概述简介欢迎查阅ALEXA 系列摄影机袖珍指南，这本指南提供了ALEXA 摄影机拍摄前和拍摄涉及到的一些重要知识和信息。
ALEXA 摄影机的操作平台易于使用，其菜单设计非常简单，易于控制。
学习使用ALEXA 摄影机的最佳方式就是亲自上手体验。
ARRI ALEXA Mini LF 摄影机说明书
Identity Number K1.0024074Model ALEXA Mini LFSensor Type Large Format ARRI ALEV III (A2X) CMOS sensor with Bayer pattern colorfilter arraySensor Maximum Resolution and Size4448 x 309636.70 x 25.54 mm / 1.444 x 1.005"⌀ 44.71 mm / 1.760"Sensor Frame Rates0.75 - 90 fpsWeight∼2.6 kg / ∼5.7 lbs(camera body with LPL lens mount)800 g (MVF-2)Photosite Pitch8.25 μmSensor Active Image Area Photosites LF Open Gate ProRes 4.5K: 4448 x 3096LF Open Gate ARRIRAW 4.5K: 4448 x 3096LF 16:9 ProRes HD: 3840 x 2160LF 16:9 ProRes 2K: 3840 x 2160LF 16:9 ProRes UHD: 3840 x 2160LF 16:9 ARRIRAW UHD: 3840 x 2160LF 2.39:1 ProRes 4.5K: 4448 x 1856LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856Sensor Active Image Area Dimensions LF Open Gate ProRes 4.5K: 36.70 x 25.54 mm / 1.445 x 1.006"LF Open Gate ARRIRAW 4.5K: 36.70 x 25.54 mm / 1.445 x 1.006"LF 16:9 ProRes HD: 31.68 x 17.82 mm / 1.247 x 0.702"LF 16:9 ProRes 2K: 31.68 x 17.82 mm / 1.247 x 0.702"LF 16:9 ProRes UHD: 31.68 x 17.82 mm / 1.247 x 0.702"LF 16:9 ARRIRAW UHD: 31.68 x 17.82 mm / 1.247 x 0.702"LF 2.39:1 ProRes 4.5K: 36.70 x 15.31 mm / 1.445 x 0.603"LF 2.39:1 ARRIRAW 4.5K: 36.70 x 15.31 mm / 1.445 x 0.603" Recording File Container Size LF Open Gate ProRes 4.5K: 4480 x 3096LF Open Gate ARRIRAW 4.5K: 4448 x 3096LF 16:9 ProRes HD: 1920 x 1080LF 16:9 ProRes 2K: 2048 x 1152LF 16:9 ProRes UHD: 3840 x 2160LF 16:9 ARRIRAW UHD: 3840 x 2160LF 2.39:1 ProRes 4.5K: 4480 x 1856LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856Recording File Image Content LF Open Gate ProRes 4.5K: 4448 x 3096LF Open Gate ARRIRAW 4.5K: 4448 x 3096LF 16:9 ProRes HD: 1920 x 1080LF 16:9 ProRes 2K: 2048 x 1152LF 16:9 ProRes UHD: 3840 x 2160LF 16:9 ARRIRAW UHD: 3840 x 2160LF 2.39:1 ProRes 4.5K: 4448 x 1856LF 2.39:1 ARRIRAW 4.5K: 4448 x 1856Exposure 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°- 356° or 1s - 1/8000sRecording Formats MXF/ARRIRAWMXF/Apple ProRes 4444 XQMXF/Apple ProRes 4444MXF/Apple ProRes 422 HQRecording Media Codex Compact DrivesRecording Frame Rates LF Open Gate ProRes 4.5K: 0.75 - 40 fpsLF Open Gate ARRIRAW 4.5K: 0.75 - 40 fpsLF 16:9 ProRes HD: 0.75 - 90 fpsLF 16:9 ProRes 2K: 0.75 - 90 fpsLF 16:9 ProRes UHD: 0.75 - 60 fpsLF 16:9 ARRIRAW UHD: 0.75 - 60 fpsLF 2.39:1 ProRes 4.5K: 0.75 - 60 fpsLF 2.39:1 ARRIRAW 4.5K: 0.75 - 60 fpsNote: maximum fps values are preliminary informationRecording Modes Standard real-time recordingNo Pre-recordingNo IntervalometerViewfinder Type Multi Viewfinder MVF-2 with 4" flip-out monitorViewfinder Technology OLED viewfinder displayLCD fold out monitorViewfinder Resolution Pixel1920 x 1080Viewfinder 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 in 10KstepsColor correction adjustable range from -16 to +16 CC1 CC corresponds to 035 Kodak CC values or 1/8 Rosco valuesFilters Built-in motorized ND filters 0.6, 1.2, 1.8Fixed optical low pass, UV, IR filterImage Outputs 1x proprietary signal output for MVF-2 viewfinder on VF CoaXPressconnector (video, audio, power, control signals)SDI 1:-HD only, Processed or Clean, with or without a look file applied-1.5G 422 HD (SMPTE ST292-1, up to 30 fps, progessive (p) or progressivesegmented frame (psf))-3G 422 HD (SMPTE ST425-1, up to 60 fps, p)-3G 444 HD (SMPTE ST425-3, up to 30 fps, p)SDI 2:-HD or UHD, Clean only, with or without a look file applied, or SDI 1 clone-1.5G 422 HD (SMPTE ST292-1, up to 30 fps, p or psf)-3G 422 HD (SMPTE ST425-1, up to 60 fps, p)-3G 444 HD (SMPTE ST425-3, up to 30 fps, p)-6G 422 UHD (SMPTE ST2081-10, up to 30 fps, p)“Clean” is an image without surround view or overlays (status, false color,zebra, framelines, etc.)“Processed” is an image with surround view or overlays.Lens Squeeze Factors 1.001.251.301.501.651.802.00Exposure and Focus Tools False ColorZebraZoomAperture and Color PeakingAudio Input1x LEMO 6pin balanced stereo line in with 12V power output(Line input max. level +24dBu correlating to 0dBFS)Audio Output SDI (embedded)3,5mm stereo headphone jack (on MVF-2)Audio Recording 2 channel linear PCM, 24 bit 48 kHzRemote Control Options MVF-2 viewfinder can act as wired remote control with 10m/33ft cableWeb-based remote control from smart phones, tablets and laptops viaWiFi & Ethernet (beta version)Camera Access Protocol (CAP) via Ethernet & WiFiGPIO interface for integration with custom control interfacesWCU-4 hand-unit with control over lens motors and operationalparameters via built-in white radioSXU-1 hand-unit with control over one lens channelOCU-1 and Master Grip control of lens and user buttonsInterfaces1x LEMO 5pin LTC Timecode In/Out1x LEMO 10pin Ethernet for remote control and service1x BNC SYNC IN1x LEMO 7pin EXT multi purpose accessory interface w. RS pin and 24Vpower output1x LEMO 4pin LBUS (on lens mount) for lens motors, daisy chainable1x USB 2.0 in media bay (for user setups, look files etc)Wireless Interfaces Built-in WiFi module (IEEE 802.11b/g)Built-in White Radio for ARRI lens and camera remote controlLens Mounts LPL lens mount with LBUS connectorPL-to-LPL adapterLeitz M mount (available from Leitz)Flange Focal Depth LPL mount: 44 mmwith PL-to-LPL adapter: 52 mmPower Input1x LEMO 8pin (11-34 V DC)Power Consumption Around 65 W when recording ARRIRAW at 24 fps with MVF-2 attached(preliminary information)Power Outputs 1x Fischer 3pin 24V RS1x LEMO 2pin 12V1x LEMO 7pin EXT 24V power outputPower Management-Measurements HxWxL140 x 143 x 188 mm / 5.5 x 5.6 x 7.4"(camera body with LPL lens mount)Operating Temperature-20° C to +45° C / -4° F to +113° F @ 95% relative humidity max, noncondensing, splash and dust proof through sealed electronics Storage Temperature-30° C to +70° C / -22° F to +158° FSound Level< 20 dB(A) at 24fpsSoftware Licenses-。
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.。
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 35 产品使用指南说明书
ALEXA 35Workflow & Post Guide DRAFTDate: May 31st, 2022Table of Contents1Introduction (3)2Major changes in the ARRI ALEXA 35 (3)2.1Technical updates & specifications (3)2.2MXF container & metadata (3)2.3File & Reel Naming (3)2.4ARRI Textures (4)2.5New image science and Log C (4)2.6ARRI Wide Gamut 4 (4)2.7LogC4 (5)3Looks & 3D LUTs for LogC4 (6)3.1Looks on set (6)3.2Manual Look Creation (6)3.3Using 3D LUTs (7)3.43D LUTs in post-production (7)43rd Party Support (7)5Contact (7)1 IntroductionThis document gives you a brief workflow overview on how to work with ALEXA 35. We will update this document from time to time and later add additional information to our website in the Learn & Help section.2 Major changes in the ARRI ALEXA 352.1 Technical updates & specificationsWith the ARRI ALEXA 35 we introduce a completely new sensor with a physical S35 size of 27.99 x 19.22 mm / 1.102 x 0.757", ⌀ 33.96 mm, 4608 x 3163 photosites and a significantly increased dynamic range.2.2 MXF container & metadataWe also introduce a new MXF wrapper and metadata format that is used for both MXF/ARRIRAW and MXF/Apple ProRes files. The technical specs regarding the metadata are available publicly in SMPTE RDD 54 and SMPTE RDD 55. All metadata is stored in each file header automatically. There’s no exception or limitation.2.3 File & Reel NamingALEXA 35 introduces a new and extended file naming to cater needs of productions we’ve gathered in feedback over the years. The new naming provides 704 different options to set a Camera Index, 9999 reels and clips. In addition, an extended time stamp has been added as well as a “Codec Identifier” to differentiate MXF/ARRIRAW and MXF/ProRes already on a file system base:New Reel Name (= folder name on the media)The reel name follows the known scheme and consists of camera index, reel counter and camera serial number.2.4 ARRI TexturesTo further open the creative possibilities within the ALEV4 sensor we have created “ARRI Textures”. A texture changes a set of parameters that directly influences the image. Among those are e.g., grain-structure, sharpness, and others which in combination work like a film stock.ARRI Textures are offered as presets right in-camera and are not user editable.ARRI Textures are a destructive feature and cannot be altered afterwards! This applies to both ARRIRAW and ProRes.The texture “K445 default” is the default texture of ALEXA 35. Choose that texture (pre-chosen as factory reset setting) wh en you’re shooting with other ARRI ALEXA or AMIRA cameras simultaneously or simply if you do not want to use the ARRI Textures feature.Please see the separate document “ARRI Textures” for in-depth information and sample images.2.5 New image science and Log CAside from the new sensor, one of the biggest advances introduced with theARRI ALEXA 35 is the new image science “REVEAL”, including a number of newand updated image processing steps. Two of these steps are the new ARRI WideGamut (AWG4) color space and the new LogC4 tonal curve. The new ARRILogC4 tonal curve has the capability to encode the increased dynamic range ofthe new sensor.REVEAL is backwards compatible for ARRIRAW footage from ALEXA or AMIRA cameras.2.6 ARRI Wide Gamut 4The AWG4 colorspace has been optimized to suit the needs of the ALEV4 sensor. It is bigger than Rec 2020 but in the same moment not too big to reduce or avoid virtual colors.2.7 LogC4Adding more dynamic range to a sensor means dealing with “more image information ” to fit into the existing pipelines. To accommodate the data from ALEV4 it was necessary to create a new tonal curve, the LogC4 curve.At first sight a LogC4 images is darker than a likewise well exposed LogC3 image:LogC4 is very different from LogC3 (the Log C you are used to)! This calls for adaption when exposing the sensor as a single operator as well as for DITs who monitor exposure or do live grading. LogC3 3D LUTs do NOT work with LogC4 and may lead to unwanted results!The nature of the new LogC4 curve is clearly visible once you plot it as a graph:Mid gray in LogC4 sits at: 1140/4095 // 285/1023 // 28%. This is lower than the 39% of LogC3 because the greater dynamic range calls for more headroom for the additional stops.18% Grey3 Looks & 3D LUTs for LogC43.1 Looks on setLook files are a popular tool to implement one’s creative vision early on in production. REVEAL color science brings a new version of that to the camera: ARRI Look File 4 (ALF4). To make the look file more universal we’ve separated the color s pace transform from the creative look file:That enables ALEXA 35 to output REC 709 (SDR) on SDI1 and e.g. REC 2100/PQ (HDR) on SDI2. The camera handles the color space transformation. Or in post production your tool of choice takes over that step. ALEX A 35 ships with the ARRI Look Library in its new version “LogC4” pre-installed. That are all looks you’re used to from ALEXA Mini and AMIRA adapted to LogC4.Add looks to your “camera folder” like in ALEXA Mini or AMIRA.As a default, there is only one standard ALF4 look file available in camera, this is a straight pass-through/dummy without changes to the imge.The Look Library used to come in three flavours for different strenghts, this has been replaced by an option in the camera to set the Look Intensity in 10% steps from 100% (= look fully applied) to 0% (= LogC4 image). 3.2 Manual Look CreationOf course, ALF4s can be created manually as well. As you’re used to from ALEXA cameras, your favourite tool will certainly support the new ALF4 workflow.We will release a combined tool for Viewing, Rendering, Metadata and Look Files: the ARRI Reference Tool (ART). It will be compatible with ARRIRAW and Apple ProRes clips.3.3 Using 3D LUTsIn case you are using an external life grading solution on set any looks will have to be created by outputting a LogC4 signal from the camera and feeding that into a LUT box or LUT-capable monitor, which must (also) use our new LogC4 color space transform 3D LUTs.The latest ARRI-offical 3D LUTs for ALEXA 35 can be found here.3.4 3D LUTs in post-productionFor color grading ALEXA 35 footage it’s also key to use our latest ARRI-offical 3D LUTs. This initial set of LUTs can be used in post production tools and software that support the *.cube LUT file format. We offer different 3D LUT files for all common color spaces e.g. Rec2020, St2084 or Rec709 Gamma 2.4.The latest ARRI-offical 3D LUTs for ALEXA 35 can be found here.Please note: It is most important, that all footage which has been captured with the ARRI ALEXA 35 must be processed by using new 3D LUTs that were especially developed for the new LogC4 tonal curve.Older 3D LUTs that were used for ARRI LogC3 (e.g. for ALEXA, AMIRA, ALEXA Mini, ALEXA LF and ALEXA Mini LF) should not be used for screening or post-production workflows together with ALEXA 35 footage.4 3rd Party SupportWe’re supplying the new ARRIRAW SDK 7.0.0 to solution partners all around the industry to enable ALEXA 35 supp ort in their tools. This is an ongoing process and we’re keen to see live implementation s when ALEXA 35 ships to the first customers.5 ContactIn case you have a request, questions or recommendations, please contact the Digital Workflow Solutions group within ARRI via email: ***********************。
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。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
45
第四部分 SxS卡文件系统
46
• •
SxS卡记录格式和结构
卡文件格式：UPD 文件系统，数据可以复制到其他装置，但是不可以在卡操作 文件结构：拍摄文件（MOV）和XML文件保存在一个文件夹，XML可用于剪辑等
47
•
SxS卡记录文件 命名规则
文件名称包括了六个部分：摄影机索引、卷计数、Clip索引、日期、机器ID
34
• • • • • •
摄影机菜单详解 Mon out 菜单
Frame rate： 可以选择23.976、24、25、29.97或30fps Scan format：p 或 psf，一般选择psf Status info：监视器当中显示摄影机信息 Surround View：监视器当中显示10%未使用的图像信息 Surround Mask：选择不同的框颜色 Frame lines：分格线，作为取景参考
14
• •
摄影机云台桥板配置
锲型转接器WA-1：通过阿莱WA-1转接器，可以连接Alexa在其他云台底板 通过WA-1，可以连接索尼等其他摄影机所用云台（必须在承重范围内）
15
第二部分 摄影机参数设置
16
•
摄影机主面板
包括了全部功能菜单：开关机、记录、主菜单、信息、回放、抓帧等功能操作
17
26
•
摄影机菜单详解
主菜单
记录、监视、项目、系统、帧抓取、用户设置 五大菜单
27
•
摄影机菜单详解
Recording（记录）菜单
两项设置，包括了SxS卡记录和外接记录仪的设置
28
• • •
摄影机菜单详解
SXS CARDS 菜单
Codec（编码）：422Proxy、422LT、422、422HQ、4444 Quick Format SXS Card：快速格式化SXS卡，擦除了文件分配表格 Erase SXS CARD：全部数据被擦除，时间稍微长
4. VMB-1(取景器撑杆） 0.25 KG
5. 取景器连接线KC-150C 0.12KG
6. 中央手柄
0.27KG
9
摄影机供电输入
1.24伏直流电（通过KC-20或KC-29）
2.12伏V-Mount直流供电
10
• •
摄影机供电输出
RS：3针电源输出，24V输出 12V：2针电源输出，12V输出
49
第五部分 摄影机升级
50
开放式、面向未来的架构
51
52
20
•
摄影机主显示屏
EI（感光度）设置
感光度：基础感光度为EI800，可在160-3200之间进行调整；
21
•
摄影机主显示屏
WB（色温）设置
WB（色温）：可以根据拍摄条件进行色温设置，多个数值可选和添加
22
•
摄影机主显示屏
Color（色域）设置
Color（色域）：可以快速设置SxS、外接存储器、监视器和取景器色域
可以通过SD卡存储当前设置或重新下载以前的设置； 也可设置摄影机回到工厂出厂状态；
41
第三部分 摄影机操作控制
42
• • • •
摄影机操作控制
1、2、3几个按钮作为自定义键，控制不同的操作 REC： 按下进行记录或者停止 Play: 回放功能，回放拍摄内容 Lock：锁住摄影机，按钮无效 （长时间按下去进行激活）
阿莱ALEXA数字摄影机 使用者培训手册1.0
Eric Zeng （广州） 2011.3.5
未经同意，不可外发
1
2
第一部分 摄影机基本介绍
3
机身全景
4
机身右侧
5
机身左侧
6
机身顶部
7
机身底部
8
摄影机及配件重量 7.65KG
1. 摄影机身+SXS Module+取景器+VMB-1+CCH-1+KC150S 2. 摄影机机身+SXS Module 3. 电子取景器 0.75 KG 6.26KG
•
摄影机主显示屏
快速设置摄像机各种参数：格数、快门、感光度、色温、色域等
18
•
摄影机主显示屏
FPS设置
帧率：4:2:2（HQ）1-60fps，4:4:4:4 1-40fps,可在范围内根据需要设定
19
•
摄影机主显示屏
Shutter（快门）设置
快门：5度~358度之间调整，可根据需要进行设置
29
摄影机菜单详解
SXS CARDS 菜单
30
• • • • • •
摄影机菜单详解
REC OUT 菜单
Frame Rate： 帧率，选择每秒钟传输的帧率 HD-SDI Format ： 选择传输图像的格式 Scan format：P or Psf （超过30帧率只可以选择P，SMPTE标准） Output Range：传输图像的bit range of full 10 bit Rec out fps set：传感器帧率与Rec out 帧率，防止丢帧； SDI remote：Rec out与 Mon out 传递标志在数据流中
举例： A004C010_20100610_R1JL.mov
A
004
C010_ 20100610 _ R1JL.mov
Clip索引 机器索引 卷计数 日期 机器ID
48
• •
Alexa取景框编辑器
免费的取景框编辑器 (XML个格式) 网站:///technical/aflc
38
•
摄影机菜单详解
SYSTEM（系统） 菜单
设置声音提醒（开始时和结束时）
•
显示当前固件版本和系统升级，升级时间大概15分钟，不可以断电
39
•
摄影机菜单详解
Frame graps（帧抓取） 菜单
图像抓取：JPG、tif 或 Dpx 文件格式选取，最长45秒；
40
• •
摄影机菜单详解
User setup（用户设置） 菜单
23
Rec 709 和 Log C 区别
源自 Gary Adcock’s blog
24
•
摄影机主显示屏
Play（回放）功能
Play（回放）：实现快速回放，可以选择不同片段进行回放；
25
•
摄影机主显示屏
Audio（音频）功能
Audio（音频）：实现同期声拍摄，音频不需要时关闭此功能（否则有杂音）
35
• • • •
摄影机菜单详解
PROJECT（项目） 菜单
Project frame rate: 每秒计算的TC，以及SXS Card回放时的帧率 Camera index：影响摄影机SXS 卡中的clip name记录 Next reel count：影响摄影机SXS卡中clip name记录 Production info：用户输入元数据时候重新传送
31
摄影机菜单详解 REC OUT 菜单
32
• •
摄影机菜单详解
MONITORING 菜单
包括三项主要设置，电子取景器、Mon out（监视器）、Flamelines 注意：此项目的设置不会影响Recording（记录）
33
• • • • • •
摄影机菜单详解
EVF 菜单
Brightness： 亮度调整 Rotate Image：取景器放置在右边时改变图像显示，Mon out、记录不改 Smooth Mode：EVF图像抖动更少（摇动时），仅shutter小于180度时有效 Status info：取景器当中显示摄像机信息 Surround View：ALEV III取景器有10%像素不记录信息，是否显示 Surround Mask：选择不同的框颜色
36
•
摄影机菜单详解
PROJECT（项目） 菜单
Project frame rate: 把信息嵌入到metadata数据当中37 Nhomakorabea
• • • • •
摄影机菜单详解
SYSTEM（系统） 菜单
Sensor：选择不同的传感器温度设置 Power：BAT1（Plug 24V）和BAT2(Onboard 12V) Display：显示屏和按钮亮度 System clock/date:设置时间和时钟 External sync：同步设定
11
• •
取景器EVF-1
像素大小：1280*720P 延迟：不超过1帧
12
• •
摄影机云台桥板配置
BP12桥板：直接连接Alexa到电影机云台（如Occonor 2575D） BP5/8桥板：通过阿莱桥板转接器BPA-1直接连接电影机云台（如Occnor 2575D）
13
摄影机云台桥板配置
43
• • • •
取景器控制
CAM：打开取景器的CAM菜单，进行相关设置 EVF：打开取景器的EVF菜单，进行相关设置 Zoom：进行图像放大，放开后即回复正常 EXP：装载失败颜色显示，同时按EXP和ZOOM可保持此模式；
44
• • • •
记录操作步骤
操作步骤：格式化->记录->复制->备份->格式化 使用前：必须格式化，每次传输数据后必须格式化； 必须进行双备份（包括手机电脑一份、硬盘一份，保证数据安全） 严格按照此步骤进行操作