Asia-Pacific Broadcasting (APB) @ConnecTechAsia Show News - Day 2 | Page 26

26 WEDNESDAY 27 June 2018 @ConnecTechAsia2018 www.apb-news.com It’s lights, camera and action Large-format camera systems are ARRI’s main focus for this year, fol- lowing the unveiling of the Alexa LF camera. What are the key benefits for cinematographers to deploy large-format systems, and what are the new features incorporated into the Alexa LF for broadcast applications? ARRI: Based on a large-format 4K/ Based on a large-format 4K/Ultra HD (UHD) version of the ALEXA sensor, ARRI’s large-format camera system comprises the ALEXA LF camera, ARRI Signature Prime lenses, LPL lens mount, and PL-to- LPL adapter. No matter the size of your production, or what format you are working in, ARRI (BroadcastAsia2018 booth 4L2-01) has all the answers to your production requirements. Ultra HD (UHD) version of the ALEXA sensor, ARRI’s large-format camera system comprises the ALEXA LF cam- era, ARRI Signature Prime lenses, LPL lens mount, and PL-to-LPL adapter. Featuring a sensor slightly bigger than full frame, ALEXA LF records native 4K/UHD with ARRI’s best over- all image quality. Filmmakers can explore a large-for- mat aesthetic while retaining the sensor’s nat- ural colourimetry, pleasing skin tones and proven suitability for high dynamic range (HDR), and wide colour gamut (WCG) workflows. Versatile recording for- mats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, provide total flexibility. The larger ALEXA LF sensor has the same optimal pixel size as other ALEXAs, resulting in a 4448 x 3096 image. It creates a whole new look — one that is truly immersive, with a three-dimensional feel. In addition, ALEXA LF has three sensor modes : LP Open Gate, LF 16:9 and LF 2.39:1. The LF 16:9 sensor mode covers the smallest area (31.68mm x 17.82mm) that still meets 4K/UHD deliverable standards with its 3840 x 2160 photo sites. It is an ideal choice for cinematographers working in 4K/UHD HDR TV productions, and provides ALEXA cinematic image quality. Alongside Alexa LF, ARRI has also introduced the Signature Prime lenses. Can you explain how the lenses address cinematographers’ shooting requirements? ARRI: Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12mm to 280mm and fitted with the ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they render organ- ic, emotionally engaging images, gently softening and texturising the large format. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame. The ARRI Signature Prime range is the first cine lens series to feature machined magnesium lens barrels, making the optics incredibly light- weight and robust. They are also the first to incorporate ARRI’s next-gen- eration LDS-2 Lens Data System, with high data rates and absolute encoders for fast initialising. Among the new features of the ARRI Signature Prime; what impressed cinematographers the most, however, is the look. Skin tones are rendered beautifully and kindly, while all the detail of landscapes can be captured. Our focus was on the emotional impact of images, creating unique INTRODUCING AP PLAYBOOK Collaboration and coverage planning made simple Use AP Playbook to plan your coverage across your organization. – No more duplication of efforts. – No more consumer tools for newsroom use. – No more missed stories or misapplied expenses. Talk to us [email protected], ap.org/playbook, or visit our Booth 4K3-05 Powered by AP ENPS, the world’s leading news production system.