This tutorial will walk you through setting up the ARRI “cforce mini” Motors and WCU-4 Remote with your Nauticam housing for the ARRI Alexa Mini. This configuration allow camera controls and a video feed to be routed to a Director of Photography at the surface.
The modern ARRI equipment has become more sophisticated but also more complex in the last 10 years. To shed some light onto the ARRI camera product line and compatibilities between components, we have created the Configuration Overviews, an ever expanding series of visual cheat sheets for what goes with what.
For any feedback, comments or questions regarding Configuration Overviews please contact:
ARRI Munich, Product Management, Bettina Matt firstname.lastname@example.org
With the introduction of the Flex4K from Vision Research, the Phantom high-speed camera lineup offers an interesting and comprehensive range of choices for super slow-motion. The Flex4K, the 2K Flex and the Miro LC320S represent three distinct segments of performance, capability and price.
Shooting with anamorphic lenses is a technique of capturing a widescreen picture on a standard 35mm sized gate or sensor. This process requires traditional x2 anamorphic lenses, which squeeze the image by a factor of two. Beside the obvious aesthetics differences between spherical and anamorphic lenses, one of the main benefits of shooting anamorphic is the increase in resolution.
To understand the difference between raw video and uncompressed video, we need to understand how a digital camera captures images.
Compiled by Tom Fletcher with information gathered from numerous conversations with various cinematographers, colorists, colleagues and manufacturers. Please understand this is subjective. This is not scientific collected data. We have sincerely tried to collect accurate information to share with the industry and to help producers make educated decisions on cameras and format – that said – numbers do not tell the whole story – Look at the images and consult your cinematographer.
Designed by Clairmont’s very own Andree Martin, these new tools give the cinematographer access to an In-Camera Net Holder and an In-Camera Blue Streak Effect “Filter.” The In-Camera Filter Systems can be used with both spherical and anamorphic lenses and are an available option to rent with Clairmont Camera’s ARRI Alexas.