ALEXA 35, dijital sinematografiyi benzeri görülmemiş boyutlara taşıyan bir 4K Super 35 kameradır. ARRI’nin 12 yıllık ilk yeni sensörü, bu süre zarfında ALEXA ailesinin evrimi üzerine kuruludur ve 2.5 durak daha fazla dinamik aralık, film benzeri vurgu işleme, daha iyi düşük ışık performansı ve daha zengin renkler sunar.

Yeni REVEAL Color Science, sensörün görüntü kalitesinden tam olarak yararlanır ve hızlı, basit bir iş akışı sağlarken ARRI Textures, kamera içi yaratıcı kontrolü geliştirir. ALEXA 35 platformunu kolay kullanım, sağlam yapı kalitesi, yeni elektronik aksesuarlar ve eksiksiz yeni mekanik destek sistemi tamamlıyor.

Filmsel vurgu geçişi ile daha dinamik aralık

ALEXA 35, diğer tüm dijital sinema kameralarından çok daha fazla, 17 duraklı dinamik aralıkta (pozlama enlemi) ölçüm yapar. Film yapımcıları, önceki ALEXA kameralarına kıyasla parlak noktalarda 1,5 durak ve gölgelerde bir durak elde ederken, doğal, film benzeri vurgu geçişini korurlar. Gelişmiş kaçak ışık bastırma, her bir merceğin tam karakter ve kontrast aralığının yakalanmasını sağlar. Arttırılmış dinamik aralık ve kaçak ışık kontrolü birlikte, setteki her türlü aydınlatma koşulunun üstesinden gelmeyi kolaylaştırır, postta esnekliği artırır ve HDR (Yüksek Dinamik Aralık) projeleri için mümkün olan en iyi kaynağı sağlar.

Daha düşük gürültü ile EI 6400’e kadar daha fazla hassasiyet

EI 160 ile EI 6400 arasında değişen etkileyici derecede düşük gürültü ve hassasiyet ayarları, ALEXA 35’i bir “Yüksek ISO” kamera yapar. EI 2560 ve EI 6400 arasındaki ayarlara isteğe bağlı Gelişmiş Hassasiyet Modu uygulanarak düşük ışıkta daha düzgün bir görüntü elde edilebilir. Bu olağanüstü hassasiyet, daha geniş dinamik aralık ve daha gerçek kontrastla birleştiğinde, ALEXA 35’in daha geniş bir aralıktaki çekim koşullarında en hassas ışık ve gölge nüanslarını yakalamasını sağlar. Film yapımcıları, aşırı ISO değerlerinde bile herhangi bir gürültünün hoş bir şekilde film benzeri bir yapıya sahip olacağını bilerek, gerçek konumlarda mevcut ışıkla çalışabilirler.

Cesur tonlardan ince tonlara kadar daha doğru renkler

ALEXA 35’in yanında tanıtılan REVEAL Color Science, yeni sensörle birlikte kameranın daha ince ton farklılıklarıyla daha doğru renkler kaydetmesine yardımcı olan bir dizi görüntü işleme adımının ortak adıdır. Her tür ve renkteki cilt tonları, gurur verici, gerçeğe yakın bir şekilde işlenir. Neon tabelalar veya araba fren lambaları gibi son derece doygun renkler ve camgöbeği, bordo ve pastel tonlar gibi tipik olarak zorlayıcı renkler inanılmaz gerçekçilikle yakalanır. Genel olarak, gerçekçi renk doğruluğu ve sensörün şaşırtıcı çözünürlük gücü, güzel ve etkileyici görüntüler sağlar.

Daha yaratıcı kontrol. ARRI Textures – dijital film stoğunuzu seçin

ARRI Dokuları, görüntü yönetmenlerinin set üzerinde daha fazla yaratıcı kontrol uygulaması için yeni ve benzersiz bir yol sağlar. Doku, bir görüntüdeki gren miktarını ve karakterini ve ayrıca izleyici tarafından netlik olarak algılanan farklı ayrıntı seviyelerindeki kontrast miktarını tanımlar. . Önceki ALEXA kameraları varsayılan bir doku ile önceden programlanmıştı, ancak ALEXA 35 ile, belirli bir çekim ortamına uyacak veya görünümünüzü bilemek için gelişen özel ARRI Dokuları menüsünden seçim yapabilirsiniz. Bu, tıpkı bir film stoğu seçmek gibi, kameranın görüntüleri kaydetme şeklini temelden değiştirmenize olanak tanır.

Süper 35 sensörlü geniş lens seçeneği, 19 kayıt formatı

ALEXA 35, Super 35 4:3 doğal 4K sensörüyle, modern ve klasik, anamorfik ve küresel, Super 35 ve geniş formatlı mevcut lenslerin geniş küresel envanteriyle birlikte kullanılabilir. 4K gerekliliklerini yerine getirmek zorundayken ARRI kameralarla çekim yapmak isteyen film yapımcıları artık ölçülemeyecek kadar geniş bir lens seçeneğine sahipler.
Verimli kamera içi alt örnekleme ve anamorfik sıkıştırmayı bir araya getiren toplam 19 kayıt formatı, prodüksiyonların veri hızını, çözünürlüğü ve diğer parametreleri bireysel ihtiyaçlarına göre optimize etmesine olanak tanır. Karma Gerçeklik Prodüksiyonları (MRP), kameranın tüm ortak standartlarda lens meta verilerini kaydetme ve gerçek zamanlı meta verileri ARRI’nin Unreal Engine için Canlı Bağlantı Meta Veri Eklentisine çıkarma yeteneğinden faydalanacaktır.

Daha hızlı iş akışı, daha yüksek görüntü kalitesi

ARRI’nin film yapımcılarıyla yaptığı tartışmalar ve görüntü hattının dikkatli bir şekilde gözden geçirilmesi, önemli görüntü kalitesi geliştirmelerine ve daha hızlı, daha kolay bir iş akışına yol açtı. REVEAL Color Science, ALEXA 35 tarafından dahili olarak kullanılan ve aynı zamanda ARRIRAW işleme için önde gelen üçüncü taraf post prodüksiyon araçları aracılığıyla kullanılabilen yeni bir görüntü işleme adımları paketidir. Daha temiz birleştirme için geliştirilmiş bir debayering algoritması, daha doğru renk üretimi için yeni bir renk motoru, daha hızlı tonlama için yeni bir geniş gamut yerel renk alanı, artırılmış dinamik aralığı içeren yeni LogC4 kodlaması ve yeni LogC4 LUT’leri (Arama Tabloları) içerir. zenginleştirilmiş renk doğruluğu için.

Hızlı ve kullanımı kolay. Her şeyi yapabilen tek, sağlam bir kamera..

Red Komodo 6K

SENSOR TYPE	KOMODO® 19.9 MP SUPER 35MM GLOBAL SHUTTER CMOS
EFFECTIVE PIXELS	6144 X 3240
SENSOR SIZE	27.03 MM X 14.26 MM (DIAGONAL: 30.56MM)
DYNAMIC RANGE	16+ STOPS
MOUNT TYPE	ACCEPTS CANON RF MOUNT-BASED LENS ADAPTORS FOR DIVERSE LENS CHOICES SUPPORTS CANON EF WITH FULL ELECTRONIC COMMUNICATION VIA COMPATIBLE CANON RF MOUNT ADAPTERS, AND SUPPORTS MECHANICALLY OPERATED RF LENSES (ELECTRONIC CONTROL OF CANON RF LENSES NOT SUPPORTED AT THIS TIME) [1]
MAX DATA RATES	UP TO 280 MB/S USING RED PRO CFAST OR OTHER QUALIFIED CFAST 2.0 MEDIA CARDS
REDCODE® RAW MAX FRAME RATES	40 FPS AT 6K 17:9 (6144 X 3240) 50 FPS AT 6K 2.4:1 (6144 X 2592) 48 FPS AT 5K 17:9 (5120 X 2700) 60 FPS AT 4K 17:9 (4096 X 2160) 120 FPS AT 2K 17:9 (2048 X 1080)
PLAYBACK FRAME RATES (PROJECT TIME BASE)	23.98, 24, 25, 29.97, 30, 50, 59.94, 60 FPS, ALL RESOLUTIONS
BEST AVAILABLE REDCODE® SETTINGS	REDCODE HQ, MQ AND LQ AT 6K 17:9 (6144 X 3240) UP TO 40 FPS REDCODE HQ, MQ AND LQ AT 4K 17:9 (4096 X 2160) UP TO 60 FPS REDCODE HQ, MQ AND LQ AT 2K 17:9 (2048 X 1080) UP TO 120 FPS
REDCODE® RAW ACQUISITION FORMATS2	6K 17:9 (6144 X 3240), 2.4:1 AND 16:9 5K 17:9 (5120 X 2700) 4K 17:9 (4096 X 2160) 2K 17:9 (2048 X 1080)
APPLE PRORES	4K (4096 × 2160) AT PRORES 422 HQ AND PRORES 422 UP TO 60 FPS 2K (2048 × 1080) AT PRORES 422 HQ AND PRORES 422 UP TO 120 FPS
CONSTRUCTION	ALUMINUM ALLOY
WEIGHT	2.10 LBS (WITHOUT BODY CAP AND CFAST CARD)
BATTERY TYPE	TWO SLOTS FOR BP-9XX SERIES BATTERIES
DC POWER INPUT	+7 TO +17 V DC VIA THE INTEGRATED 2-PIN DC-IN PORT
OPERATING TEMPERATURE	0°C TO 40°C (32°F TO 104°F)
STORAGE TEMPERATURE	–20°C TO 50°C (–4°F TO 122°F)
STORAGE RELATIVE HUMIDITY	0% TO 85% NON-CONDENSING
COLOR MANAGEMENT	IMAGE PROCESSING PIPELINE 2 (IPP2) SUPPORTS 33×33×33 3D LUTS SUPPORTS IMPORT OF CDLS
AUDIO	INTEGRATED DUAL CHANNEL DIGITAL MONO MICROPHONES, UNCOMPRESSED, 24-BIT 48 KHZ ADDITIONAL DUAL CHANNEL VIA INTEGRATED 3.5MM AUDIO JACK, UNCOMPRESSED, 24-BIT 48 KHZ
REMOTE CONTROL	WIFI FOR CAMERA CONTROL VIA INTERCHANGEABLE ANTENNA WITH SMA CONNECTION GENLOCK, TIMECODE-IN, GPIO AND CTRL (RS232) VIA THE INTEGRATED 9-PIN EXT PORT WIRED CONTROL VIA KOMODO LINK ADAPTOR, USING USB-C OR GIGABIT ETHERNET (COMPATIBLE USB-C TO ETHERNET ADAPTER1 REQUIRED) ALLOWING CAMERA CONTROL AND LIVE MJPEG PREVIEW VIDEO FEED
MONITOR OUTPUTS	INTEGRATED 12G-SDI WITH 6G-SDI, 3G-SDI AND 1.5G-SDI MODES 12G-SDI: UP TO 4096 X 2160 4:2:2 FOR 60P 6G-SDI: UP TO 4096 X 2160 4:2:2 FOR 30P 3G-SDI: UP TO 2048 X 1080 4:2:2 FOR 60P 1.5G-SDI: UP TO 2048 X 1080 4:2:2 FOR 30P, 24P SMPTE TIMECODE, HANC METADATA, 24-BIT 48 KHZ AUDIO
MONITOR OPTIONS	INTEGRATED 2.9″ 1440X1440 TOUCHSCREEN LCD WITH PREVIEW AND CAMERA CONTROL WIRELESS LIVE PREVIEW VIDEO FEED VIA 2.4GHZ/5GHZ WIFI FOR FRAMING
RED CONTROL	ACCESS FULL CAMERA CONTROLS AND LIVE PREVIEW FROM IOS OR ANDROID(COMING SOON) DEVICES. AVAILABLE FROM THE APPLE APP STORE AND GOOGLE PLAY STORE. RED CONTROL WORKS WIRELESSLY OR WIRED VIA THE KOMODO LINK ADAPTOR (SOLD SEPARATELY).

ALEXA MİNİ LF

Popüler Alexa MINI modelinin kompakt boyutu ve düşük ağırlığını Large Format Alexa LF sensörü ile birleştiren ALEXA Mini LF; ARRI’ nin Large-Format kamera sistemine heyecan verici yeni yaratıcı olanaklar getiriyor. , LPL lens yuvası, PL-LPL adaptörü ve Lens Veri Sistemi LDS-2’den oluşuyor.

Geniş Formatta En iyi Görüntü Kalitesi

• Sürükleyici large-format görünüm
• Yüksek kullanılabilir hassasiyetli çekimlerde düşük resim gürültüsü
• Başka bir prodüksüyon kamerasında olmayan en yüksek dinamik aralık
• Arri renk biliminin sağladığı doğal cilt tonları, kolay renk düzeltme ve pürüzsüz görüntü efektleri
• High Dynamic Range (HDR) ve Wide Color Gamut (WCG) görüntüler için mükemmel 

Yeni Codex Compact Drive’a Dahili Kayıt

• Sıkıştırılmamış ve şifresiz MXF/ ARRIRAW
• Hızlı ve verimli MXF / Apple ProRes
• Yeni Codex Compact Drive 1TB : Küçük, Sağlam ve düşük maliyetli

Mükemmel sistem uyumluluğu

• ALEXA LF ile aynı sensör ve kayıt formatları
• LPL ve PL mount, Super 35 ve Full Frame lenslerle uyumlu
• Tüm anamorfik de-squeeze oranlarını destekler
• Hemen hemen tüm ALEXA Mini aksesuarları ile uyumlu
• ARRI ve Cmotion kablosuz lens motor kontrol sistemleri ile uyumlu
• 12 V ve 24 V kamera üstüne takılan bataryalarla çalışır (~65 W güç çekimi)

Ek Yeni Özellikler

• Üç adet dahili, motorlu large-format FSND filtre: ND 0.6, 1.2 ve 1.8
• Yeni düzenlenmiş 12 V ve 24 V aksesuar güç çıkışları
• Yeni SYNC IN ve geliştirilmiş ses giriş çıkış konnektörleri
• İki dahili mikrofon
• Ek harici WiFi anteni

SONY FX9 PL MOUNT

SONY FX9 6K FULL-FRAME VİDEO KAMERA 

Hızlı Hibrit AF, Çift Tabanlı ISO ve S-Cinetone™ renk bilimi sunan Sony’nin Full Frame 6K sensörlü kamerası FX9. ^{Full Frame yaratıcılık}
Son derece yüksek çözünürlüklü Full Frame sensörün yüksek hızda örneklemesinin yaratıcılığınızı konuşturabilmeniz için sağladığı özgürlükle muhteşem 4K görüntüler oluşturun. Düşük alan derinliği ve gerçek sinema görünümü sunan etkileyici bokeh ile sahnenin her ayrıntısını yakalayın. 15+ duraklı dinamik aralık ve Çift Tabanlı ISO, kusursuz bir renk paletiyle, ince gölge ayrıntılarından parlak vurgulara kadar her nüansı yakalamanızı sağlar. 

SENSÖR

Sensör Boyutu	35.7 x 18.8 mm (Full-Frame)
Sensör Tipi	CMOS
Sensör Çözünürlüğü	Efektif: 3840 x 2160
ISO	800 ile 4000 (Native)
Gain	-3 ile 18 dB
Dinamik Aralık	15 Stop
Signal-to-Noise Ratio	57 dB

KAMERA

Lens Mount	Sony E-Mount- PL Mount Adapter
Shutter Speed	1/1 to 1/8000 sec
Dahili ND Filtre	4 ile 128 Stop Elektronik ND Filtre
Dahili Mikrofon Tipi	Mono
Kayıt Üniteleri	2 x XQD Kart Slotu 1 x SDXC/Memory Stick PRO Duo Hybrid Kart Slotu

DAHİLİ KAYIT

Kayıt Modları	XAVC-I 4:2:2 10-Bit: 3840 x 2160p at 23.98/25/29.97/50/59.94 fps (240 to 600 Mb/s)  1920 x 1080p at 23.98/25/29.97/50/59.94/100/120 fps (89 to 222 Mb/s)  1920 x 1080i at 50/59.94 fps (112 Mb/s)  XAVC-L 4:2:2 10-Bit: 3840 x 2160p at 23.98/25/29.97/50/59.94 fps (100 to 150 Mb/s)  1920 x 1080p at 25/29.97/50/59.94/100/120 fps (25 to 50 Mb/s)  1920 x 1080i at 50/59.94 fps (50 Mb/s)  MPEG HD422 4:2:2 10-Bit: 1920 x 1080p at 23.98/25/29.97 fps (50 Mb/s)  1920 x 1080i at 25/50/59.94 fps (50 Mb/s)  XAVC Proxy 4:2:0 10-Bit: 1920 x 1080p (9 Mb/s)  1280 x 720p (6 to 9 Mb/s)  640 x 360p (3 Mb/s)
Gamma Curve	Sony S-Log 3
Ses Kaydı	XAVC: 4-Channel 24-Bit 48 kHz LPCM Audio Proxy: 2-Channel AAC Audio

ARAYÜZ

Video Bağlantıları	1 x BNC (12G-SDI) Output 1 x BNC (3G-SDI) Output 1 x HDMI (HDMI 2.0) Output
Ses Bağlantıları	2 x 3-Pin XLR Mic/Line Level (+48 V Phantom Power) Input 1 x 1/8″ / 3.5 mm Stereo Headphone Output
Diğer I/O	1 x BNC Genlock Data Input 1 x BNC Timecode Data Input/Output 1 x 2.5 mm LANC Control 1 x USB Micro-B USB 3.1 Gen 1 Data
Wireless Arayüz	2.4 GHz, 5 GHz Wi-Fi

EVF

EVF	Dahili
EVF Ekran Tipi	LCD
Ekran Boyutu	3.5″
EVF Çözünürlüğü	2,760,000 Dots

GÜÇ

Batarya Tipi	Sony BP-U Serisi
Güç Girişi	1 x Barrel (19.5 VDC) Input
Güç Tüketimi	35.2 W

ÇEVRE FAKTÖRLERİ

Çalışma Sıcaklığı	32 ile 104°F / 0 ile 40°C
Muhafaza Sıcaklığı	-4 ile 140°F / -20 ile 60°C

GENEL

Aksesuar Bağlantısı	1 x Multi-Interface Shoe 1 x 1/4″-20 Female
Ölçüler	5.75 x 5.61 x 9.02″ / 146 x 142.5 x 229 mm
Ağırlık	4.4 lb / 2 kg

PHANTOM FLEX 4K

Resolution	FPS
4096 x 2304	938
4096 x 2160	1,000
2048 x 1152	1,900
1920 x 1080*	1,977
1280 x 720*	2,932

*The Flex4K records at 4096 and 2048 width only. These are cropped resolutions that do not affect changes in frame rate.Common resolutions and frame-rates, other resolutions available.Short Description

• The Phantom Flex4K digital cinema camera records up to 1,000 fps at 4K resolution, provides exceptional image quality and offers production-friendly features like auxiliary power outputs and a full-featured on-camera control interface.

Throughput/Speed

• 9 Gpx/second.
• Max speed at full resolution of 4096 x 2304 is 938 fps
• At 4096 x 2160 max speed is 1000 fps
• At 2048 x 1080 max speed is 1977 fps

Sensor Specifications

• CMOS sensor
• 4096 x 2304 pixels
• 6.75 µm pixel size
• 27.6 mm x 15.5 mm
• Super-35mm; 31.7mm diagonal
• Super-16mm format at 1920 x 1080
• Base ISO Color 200D; 250T
• Exposure index range 250-1250
• Recommended EI 800-1000 Color
• Base ISO Monochrome 800D; 2000T
• 12-bit

Exposure

• Exposure time (shutter speed): 5μs to 1/frame rate
• Can be set in degrees or microseconds (μs)
• 1-millisecond progressive scan (aka rolling) shutter

Memory

• 64 or 128GB high-speed internal RAM
• CineMag V (2TB, 8TB), CineMag IV, CineMag IV PRO for non-volatile storage (1TB, 2TB)

Record Times

• 5 seconds at 1000 fps, 4096 x 2160 resolution and into 64 GB of internal memory
• 2TB CineMag IV holds 2 hours of 4K Cine raw playback at 24p
• 2TB CineMag IV holds over 4 hours of 4K ProRes HQ playback at 30p

Special Features

• Three main 3G HD-SDI outputs, supporting dual-link 4K video and simultaneous live monitoring / playback
• HD-SDI can switch between Rec709 and Log
• Supports both HD-SDI and component based viewfinders
• Standard internal mechanical shutter for automatic/remote Current Session Reference (CSR)
• Secondary IP address
• Segment memory for multi-cine acquisition
• Field-based firmware upgrade capable
• Several mounting holes for accessories on camera body

Triggering

• Programmable trigger location (pre/post trigger recording)
• Trigger from camera body or via software
• Hardware trigger via Sync port
• Trigger inputs also available on 3-pin accessory ports

Timing and Synchronization

• Frame synchronization to internal or external clock (FSYNC)
• Genlock sync available through HD-SDI return signal
• IRIG in/out (modulated or unmodulated)
• SMPTE time code support

Signaling

• 4x 3G HD-SDI output BNCs (one reserved for viewfinder)
• 1x 3G HD-SDI return BNC, supports Genlock
• Sync connector for Trigger, time code, F-sync, AES/EBU Audio (via MiniBob or Capture cable)
• Remote (RCU) port
• Component viewfinder port
• Four Aux ports for power and trigger
• (2x 12VDC and 2x 24V)

Connectivity

• Gb Ethernet for both control and data
• 10Gb Ethernet on CineStation IV

Camera Control

• Phantom Camera Control (PCC)
• On-Camera Controls
• Remote Control Unit (RCU), connects direct to camera
• SDK available

Video Out

• Three main 3G HD-SDI, supports dual-link 4K video or 3x scaled 1080p outputs.
• Additional HD-SDI reserved for viewfinder
• Component viewfinder port
• Video outputs switchable between Rec709 & Log

Lensing

• PL-mount standard
• Nikon F/G mount optional
• Canon EOS optional

Video Processing

• Brightness
• Gain
• Gamma
• Saturation
• Color temperature
• Color matrix
• Tone curve
• Log mode
• Image flip and rotate in PCC
• Crop & Scale

Motion Analysis

• Basic measurements via Phantom Application:
• Distance
• Speed
• Acceleration
• Angles and Angular Speed
• Manual and Automatic point collection for target tracking
• Compatible with 3rd party solutions

Supported File Formats

• Cine raw and Apple ProRes 422 HQ CineMag recording
• PCC Cine file conversion to: Cine Compressed, Cine RAW, AVI, h.264 mp4, Apple ProRes .mov, Multipage TIFF, MXF PAL, MXF NTSC, Uncompressed QuickTime, Windows BMP, OS/2 BMP, PCX, TGA, TIFF, LEAD, JPEG, JTIF, RAW, DNG, DPX

Power

• 100 – 240 VAC, 280 Watt power supply included
• Optional 26V Hawk-Woods and 12V V-Lock Anton-Bauer backs are available for battery power

Mechanical Specifications

• Size (without lens or viewfinder): 12 x 6 x 8 in. (L x W x H); 30.5 x 35.5 x 20.3 cm.
• Weight (without lens or viewfinder): 13 lbs; 5.9 kg

Environmental Specifications

• Temperature: -20° – +50° C

APIs

• Phantom SDK

Ships Standard With

• Power supply
• Ethernet cable
• Phantom PCC software
• 1 license of Mac-based Glue Tools Séance and Cine Toolkit for download and file conversion
• Getting Started guide
• Case

Popular Accessories

• CineMag V
• CineStation IV
• Riser for Arri baseplates
• Spare Cable Kit
• Battery Mounts
• Viewfinder

RED HELIUM DSMC2 8K

SENSOR TYPE	HELIUM 35.4 Megapixel CMOS
EFFECTIVE PIXELS	8192 × 4320
SENSOR SIZE	29.90 mm × 15.77 mm (Diagonal: 33.80 mm)
DYNAMIC RANGE	16.5+ stops
MAX DATA RATES	Up to 300 MB/s using RED MINI-MAG (480GB & 960GB) Up to 225 MB/s using RED MINI-MAG (120GB & 240GB)
MAX FRAME RATES	60 fps at 8K Full Format (8192 × 4320), 75 fps at 8K 2.4:1 (8192 × 3456) 60 fps at 7K Full Format (7168 × 3780), 75 fps at 7K 2.4:1 (7168 × 3024) 75 fps at 6K Full Format (6144 × 3240), 100 fps at 6K 2.4:1 (6144 × 2592) 96 fps at 5K Full Format (5120 × 2700), 120 fps at 5K 2.4:1 (5120 × 2160) 120 fps at 4K Full Format (4096 × 2160), 150 fps at 4K 2.4:1 (4096 × 1728) 150 fps at 3K Full Format (3072 × 1620), 200 fps at 3K 2.4:1 (3072 × 1296) 240 fps at 2K Full Format (2048 × 1080), 300 fps at 2K 2.4:1 (2048 × 864)
PLAYBACK FRAME RATES (PROJECT TIMEBASE)	23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions
REDCODE SETTINGS RANGE FROM 2:1 UP TO 22:1	5:1 REDCODE for 8K Full Format (8192 × 4320) at 24 fps 12:1 REDCODE for 8K Full Format (8192 × 4320) at 60 fps 2:1 REDCODE for 4K Full Format (4096 × 2160) at 24 fps 3:1 REDCODE for 4K Full Format (4096 × 2160) at 60 fps
REDCODE RAW ACQUISITION FORMATS	8K Full Format (8192 × 4320), 2:1, 2.4:1, 16:9, 14:9, 8:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x 7K Full Format (7168 × 3780), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 6K Full Format (6144 × 3240), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x 5K Full Format (5120 × 2700), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 4K Full Format (4096 × 2160), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, 1:1, and Ana 2x, 1.3x 3K Full Format (3072 × 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 2K Full Format (2048 × 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
APPLE PRORES	ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 4K (4096 × 2160) up to 30 fps ProRes 4444 XQ and ProRes 4444 at 2K (2048 × 1080) up to 120 fps ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 2K (2048 × 1080) up to 120 fps
AVID CODECS	DNxHR HQX at 4K (4096 × 2160) 12-bit up to 30 fps DNxHR HQ, SQ and LB at 4K (4096 × 2160) 8-bit up to 30 fps  DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 120 fps
CONSTRUCTION	Aluminum Alloy
WEIGHT	3.35 lbs (BRAIN with Integrated Media Bay)
OPERATING TEMPERATURE	0°C to 40°C (32°F to 104°F)
STORAGE TEMPERATURE	–20°C to 50°C (–4°F to 122°F)
RELATIVE HUMIDITY	0% to 85% non-condensing
COLOR MANAGEMENT	Supports 33×33×33, 32×32×32, 26×26×26, and 17×17×17 3D LUTs Variable number of 3D LUT outputs with DSMC2 expander module User programmable shaper 1D LUTs Tetrahedral interpolation, 16-bit processing
AUDIO	Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz Optional 2 additional channels with DSMC2 expander module, uncompressed, 24-bit 48 kHz
REMOTE CONTROL	Integrated R.C.P. WiFi antenna Ethernet, RS232, and GPI Trigger with DSMC2 expander module
MONITOR OUTPUTS	3G-SDI (HD-SDI) and HDMI with DSMC2 expander module 1080p RGB or 4:2:2, 720p RGB or 4:2:2 480p RGB or 4:2:2 (HDMI only) SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio
MONITOR OPTIONS	DSMC2® Touch 7.0″ Ultra-Brite LCD (Direct Mount), DSMC2® RED Touch 4.7″ LCD, DSMC2® RED Touch 7.0″ LCD and DSMC2® RED EVF (OLED) with cable-free connection. RED Touch 9.0″ LCD, RED Touch 7.0″ LCD, RED Touch 5.0″ LCD, RED PRO 7″ LCD, DSMC2 Touch 7.0″ Ultra-Brite LCD, BOMB EVF (OLED) and BOMB EVF (LCOS) compatible with DSMC2 LCD/EVF Adaptor A or DSMC2 LCD/EVF Adaptor D, and LCD/EVF cable.
REDCINE-X PRO DELIVERY FORMATS	4K: DPX, TIFF, OpenEXR (.RED via RRencode plugin) 2K: DPX, TIFF, OpenEXR (.RED via RRencode plugin) 1080p RGB 4:2:2, 720p 4:2:2 : QuickTime, JPEG, AVID AAF, MXF 1080p 4:2:0, 720p 4:2:0 : H.264, .MP4
VIDEO EDITING SOFTWARE COMPATIBILITY	Adobe Premiere Pro, AVID Media Composer, DaVinci Resolve, Edius Pro, Final Cut Pro, Vegas Pro

RED RANGER HELIUM

SENSOR TYPE	HELIUM 35.4 Megapixel CMOS
EFFECTIVE PIXELS	8192 × 4320
SENSOR SIZE	29.90 mm × 15.77 mm (Diagonal: 33.80 mm)
DYNAMIC RANGE	16.5+ stops
MAX DATA RATES	Up to 300 MB/s using RED MINI-MAG (480GB & 960GB) Up to 225 MB/s using RED MINI-MAG (120GB & 240GB)
MAX FRAME RATES	60 fps at 8K Full Format (8192 × 4320), 75 fps at 8K 2.4:1 (8192 × 3456) 60 fps at 7K Full Format (7168 × 3780), 75 fps at 7K 2.4:1 (7168 × 3024) 75 fps at 6K Full Format (6144 × 3240), 100 fps at 6K 2.4:1 (6144 × 2592) 96 fps at 5K Full Format (5120 × 2700), 120 fps at 5K 2.4:1 (5120 × 2160) 120 fps at 4K Full Format (4096 × 2160), 150 fps at 4K 2.4:1 (4096 × 1728) 150 fps at 3K Full Format (3072 × 1620), 200 fps at 3K 2.4:1 (3072 × 1296) 240 fps at 2K Full Format (2048 × 1080), 300 fps at 2K 2.4:1 (2048 × 864)
PLAYBACK FRAME RATES (PROJECT TIMEBASE)	23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions
REDCODE SETTINGS RANGE FROM 2:1 UP TO 22:1	5:1 REDCODE for 8K Full Format (8192 × 4320) at 24 fps 12:1 REDCODE for 8K Full Format (8192 × 4320) at 60 fps 2:1 REDCODE for 4K Full Format (4096 × 2160) at 24 fps 3:1 REDCODE for 4K Full Format (4096 × 2160) at 60 fps
REDCODE RAW ACQUISITION FORMATS	8K Full Format (8192 × 4320), 2:1, 2.4:1, 16:9, 14:9, 8:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x 7K Full Format (7168 × 3780), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 6K Full Format (6144 × 3240), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x 5K Full Format (5120 × 2700), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 4K Full Format (4096 × 2160), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, 1:1, and Ana 2x, 1.3x 3K Full Format (3072 × 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 2K Full Format (2048 × 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
APPLE PRORES	ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 4K (4096 × 2160) up to 30 fps ProRes 4444 XQ and ProRes 4444 at 2K (2048 × 1080) up to 120 fps ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 2K (2048 × 1080) up to 120 fps
AVID CODECS	DNxHR HQX at 4K (4096 × 2160) 12-bit up to 30 fps DNxHR HQ, SQ and LB at 4K (4096 × 2160) 8-bit up to 30 fps  DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 120 fps
CONSTRUCTION	Aluminum Alloy
WEIGHT	7.30 lbs (with Integrated Media Bay, PL Mount, and Gold Mount) 7.50 lbs (with Integrated Media Bay, PL Mount, and V-Lock)
OPERATING TEMPERATURE	0°C to 40°C (32°F to 104°F)
STORAGE TEMPERATURE	–20°C to 50°C (–4°F to 122°F)
RELATIVE HUMIDITY	0% to 85% non-condensing
COLOR MANAGEMENT	Supports 33×33×33, 32×32×32, 26×26×26, and 17×17×17 3D LUTs Variable number of 3D LUT outputs User programmable shaper 1D LUTs Tetrahedral interpolation, 16-bit processing
AUDIO	Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz Integrated dual channel 5-pin XLR with preamplifiers, uncompressed, 24-bit 48 kHz
REMOTE CONTROL	External R.C.P. WiFi antenna with SMA connector Ethernet, RS232, and GPI Trigger
MONITOR OUTPUTS	3G-SDI (HD-SDI) and MON-1 1080p RGB or 4:2:2, 720p RGB or 4:2:2 SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio
MONITOR OPTIONS	DSMC2® RED Touch 4.7″ LCD, DSMC2® RED Touch 7.0″ LCD and DSMC2® RED EVF (OLED) with cable-free connection. RED Touch 9.0″ LCD, RED Touch 7.0″ LCD, RED Touch 5.0″ LCD, RED PRO 7″ LCD, DSMC2® Touch 7.0″ Ultra-Brite LCD, BOMB EVF® (OLED) and BOMB EVF® (LCOS) compatible with DSMC2® LCD/EVF Adaptor A or DSMC2® LCD/EVF Adaptor D, and LCD/EVF cable.
REDCINE-X PRO DELIVERY FORMATS	4K: DPX, TIFF, OpenEXR (.RED via RRencode plugin) 2K: DPX, TIFF, OpenEXR (.RED via RRencode plugin) 1080p RGB 4:2:2, 720p 4:2:2 : QuickTime, JPEG, AVID AAF, MXF 1080p 4:2:0, 720p 4:2:0 : H.264, .MP4
VIDEO EDITING SOFTWARE COMPATIBILITY	Adobe Premiere Pro, AVID Media Composer, DaVinci Resolve, Edius Pro, Final Cut Pro, Vegas Pro

SONY VENİCE FULL FRAME

SONY VENİCE FULL FRAME  KAMERA

Görüntüleme Aygıtı

Full-Frame CMOS

Görüntüleme Cihazı Piksel Sayısı

24,7M (total), 24,4M (efektif)

Görüntüleme Cihazı Boyut

36,2×24,1 mm. 43,5 mm (diyagonal).

Dahili ND Filtreler

Net, 0,3(1/2), 0,6(1/4), 0,9(1/8), 1,2(1/16), 1,5(1/32), 1,8(1/64), 2,1(1/128), 2,4(1/256)

ISO Hassaslığı

ISO500

Lens Yuvası

PL Montaj
E yuva (kilitleme kolu tipi, birlikte verilen PL lens yuvası adaptörü olmadan)

Genişlik

15+ Durak

FPS seçimi*

Görüntüleyici modu:
3,8K 16:9, 4K 17,9: 1-60 FPS
4K 4:3: 1-48 FPS
4K 6:5, 5,7K 16:9, 6K 17:9, 6K 1,85:1, 6K 2,39:1: 1-30 FPS
6K 3:2: 1-24 FPS

Beyaz Dengesi

2000~15000 Kelvin ve Yeşil/Macenta ayarı, AWB*

Gama Eğrisi

S-Log3

Kayıt Formatı (Video)

XAVC 4K Sınıf 480: 23,98p, 24p, 25p, 29,97p
XAVC 4K Sınıf 300: 23,98p, 24p, 25p, 29,97p, 50p, 59,94p
XAVC QFHD Sınıf 480: 23,98p, 25p, 29,97p
XAVC QFHD Sınıf 300: 23,98p, 25p, 29,97p, 50p, 59,94p
MPEG HD422(1920×1080): 23,98p, 24p, 25p, 29,97p, 50i, 59,94i
HD ProRes 422HQ*: 23,98p, 24p, 25p, 29,97p, 50p, 59,94p, 50i, 60i
HD ProRes 422*: 23,98p, 24p, 25p, 29,97p, 50p, 59,94p, 50i, 59,94i
HD ProRes 422 Proxy*: 23,98p, 24p, 25p, 29,97p, 50p, 59,94p, 50i, 59,94i

Kayıt Formatı (RAW/X-OCN) *gerekir AXS-R7

RAW SQ:
4K 17:9 (4096 x 2160): 23,98p, 24p, 25p, 29,97p, 50p, 59,94p
3,8K 16:9 (3840 x 2160): 23,98p, 25p, 29,97p, 50p, 59,94p
X-OCN ST/LT:
6K 3:2(6048 x 4032)*: 23,98p, 24p,
6K 2,39:1 (6048 x 2530)*: 23,98p, 24p, 25p, 29,97p
6K 1,85:1 (6048 x 3270)*: 23,98p, 24p, 25p, 29,97p
6K 17:9 (6048 x 3190)*: 23,98p, 24p, 25p, 29,97p
5,7K 16:9 (5672 x 3190)*: 23,98p, 25p, 29,97p
4K 6:5(4096×3432)*:23,98p, 24p, 25p, 29,97p
4K 4:3(4096×3024) :23,98p, 24p, 25p*, 29,97p*
4K 17:9 (4096 x 2160): 23,98p, 24p, 25p, 29,97p, 50p, 59,94p
3,8K 16:9 (3840 x 2160): 23,98p, 24p, 25p, 29,97p, 50p, 59,94p

Kayıt Formatı (Ses)

LPCM 4 kanal, 24 bit 48 kHz

PHANTOM FLEX 2K

Sensor Size:	25.6 x 16mm
Resolution:	2560×1440, 1080
Frame Rate:	1-1617 @ 2560×1440 1-2564 @ 1080
Base ISO:	1250
Latitude:	10 Stops
Bit Rate / Format / Time	12 Bit RAW 32GB – 4.5sec @ 2500fps 512GB 1.25min @ 2500fps
Record Times	32GB @ 2,500 fps = 4.5 seconds
	512GB @ 2,500 fps = 1:15 minutes
Weight	12 lbs

Even with the excellent light sensitivity provided by the Phantom Flex 2K, shooting at high-speed frame rates requires a significant amount of light to properly expose a capture.  The following diagram is a good rule of thumb to compensate your ISO at select frame rates that the Flex is capable of recording.

Frames Per Second	ISO
25	800
50	400
100	200
200	100
250	75
500	40
1000	20
1500	15
2000	10
2500	7

Key Features

• Up to 2,570 fps at 1920×1080 in Standard Mode
• 12-bit pixel depth
• 1200 ISO (measured using ISO 12232 SAT method)
• HQ Mode provides ultimate in image stability under changing shooting conditions
• Phantom CineMag compatible, CineMag interface has field-replaceable pin array
• 2 x 4:2:2 HD-SDI video ports, can be configured as dual-link 4:4:4 video (4:4:4 not available at 60fps video formats)
• Global, electronic shutter to 1 μs (shutter angles in HQ mode dependent upon frame rate and resolution)
• Multi-cine capable via segmented memory
• Internal mechanical shutter for hands-free and remote Current Session References
• On-camera controls for camera modes, settings, playback, edit & save
• Frame synchronization to external signal, allows multiple cameras to be synchronized – essential for stereo 3D recording
• Three 12VDC, 1.5A auxiliary power outputs for powering external devices (one is on the Viewfinder port), 4A maximum load
• External trigger signal on camera connector panel and both 12VDC power ports
• Genlock for synchronizing video playback – essential for 3D video workflows

ALEXA SXT PLUS

ALEXA SXT Plus Technical Data

Camera Type	35 format film-style digital camera with an electronic viewfinder, a 16:9, 6:5, 4:3 or Open Gate switchable active sensor area, built-in support for the ARRI Wireless Remote System and the cmotion cvolution lens control system, built-in filter holder, Lens Data System, integrated shoulder arch and receptacles for 15 mm lightweight rods
Sensor	35 format ALEV III CMOS sensor with Bayer pattern color filter array.
Photo Sites	Sensor Mode 16:9 2880 x 1620 used for 16:9 ARRIRAW 2.8K 3168 x 1782 used for 16:9 ARRIRAW 3.2K 2880 x 1620 down sampled to 1920 x 1080 16:9 ProRes HD 2880 x 1620 down sampled to 2048 x 1152 for 16:9 ProRes 2K 3200 x 1800 used for 16:9 ProRes 3.2K 3200 x 1800 up sampled to 3840 x 2160 for 16:9 ProRes 4K UHDSensor Mode 6:5 2578 x 2160 used for 6:5 ARRIRAW 2.6K 2560 x 2146 down sampled to 2048 x 858 for 6:5 ProRes 2K Anamorphic 2560 x 2146 re-sampled to 4096 x 1716 for 6:5 ProRes 4K AnamorphicSensor Mode 4:3 2880 x 2160 used for 4:3 ARRIRAW 2.8K 2880 x 2160 used for 4:3 ProRes 2.8KSensor Mode Open Gate 3424 x 2202 used for Open Gate ARRIRAW 3.4K 3424 x 2202 used for Open Gate ProRes 3.4K 3414 x 2198 up sampled to 4096 x 2636 for Open Gate ProRes 4K Cine
Operating Modes	16:9, 6:5, 4:3 or Open Gate sensor modes. Switching takes approx. 60 seconds. All sensor modes available in ARRIRAW and ProRes.
Frame Rates	16:9 0.75 – 120 fps 6:5 0.75 – 96 fps 4:3 0.75 – 96 fps Open Gate 0.75 – 90 fpsAll speeds adjustable with 1/1000 fps precision. Some limitations based on recording media or recording format apply. For a detailed table of frame rates click here
Shutter	Electronic rolling shutter, 5.0º – 358.0º up to 60 fps; 5.0° to 356° above 60 fps. Shutter angle adjustable with 1/10 degree precision.
Filters	Permanent filters in front of the sensor: optical low pass, UV, IR. Includes a built-in Internal Filter Module (IFM-1) filter holder that accepts one of eight Full Spectrum Neutral Density (FSND) filters through manual insertion/removal.
Exposure Latitude	14+ stops for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC). For a graphic of how the exposure latitude shifts at different EIs, click here
Exposure Index	Values behind the exposure index are the number of stops above and below 18% grey.
White Balance	Presets for 3200 (tungsten), 4300 (fluorescent), 5600 (daylight) and 7000 (daylight cool). Automatic calculation or manual white balance for 2000 to 11000 Kelvin, adjustable in 100 K steps
Color Correction	While white balance changes the red/blue hue of the image, color correction changes green/magenta. Adjustable range from -12 to +12 CC. 1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values.
Sound Level	Under 19 db(A) while recording ProRes 4444 16:9 HD @ 24 fps and ≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to ‘Regular’, measured 1 m/3 feet in front of the lens. Silent operation at higher temperatures possible with fan mode set to ‘Rec low’.
Power In	Three possible inputs: BAT connector, optional battery adapter back or optional battery adapter top. All inputs accept 10.5 to 34 V DC. Approx. 90 W power draw for camera and EVF-1 in typical use recording ProRes at 24 fps to an SxS PRO card at room temperature, without accessories. Initial power draw during power up is higher.
Power Out	12 V connector: limited to 12 V, up to 2.2 A. RS, EXT and ETHERNET: input below 24 V is regulated up to 24 V; above 24 V: input voltage = output voltage. RS and EXT connectors combined are limited to 2.2 A. ETHERNET is limited to 1.2 A. Maximum power draw is also limited by the power source.
Weight	ALEXA SXT Plus body with PL mount: 6.9 kg/15.1 lbs. ALEXA SXT Plus body with PL mount, electronic viewfinder, viewfinder cable, viewfinder mounting bracket and handle: 8.4 kg/18.6 lbs.
Dimensions	ALEXA SXT Plus body with PL mount: Length: 331 mm/13.03”, width: 189 mm/7.44”, height: 157.8 mm/6.21”; dimensional drawings available in the ALEXA manual
Environmental	-20° C to +45° C (-4° F to +113° F) @ 95% humidity max, non-condensing. Splash and dust proof through sealed electronics. System cooling through radiator/single fan.
Lens Mount	54 mm stainless steel LDS PL mount, Super 35 centered. 52.00 mm nominal flange focal depth without FSND filters.
Viewfinder	Low latency (≤1 frame delay) electronic color viewfinder ARRI EVF-1 with 1280 x 784 F-LCOS micro display (image: 1280 x 720, status bars: 1280 x 32 above and 1280 x 32 below image) and ARRI LED illumination, both temperature controlled. Image can be flipped for use of viewfinder on camera left or right. Viewfinder Mounting Bracket allows movement of viewfinder forward/backwards, left/right, up/down, 360 degree rotation and placement on camera left or right. EVF-1 controls: viewfinder and basic camera settings, ZOOM button (2.25x magnification ‘pixel to pixel’), EXP button (false color exposure check) and jog wheel.
Assistive Displays	For EVF-1 and MON OUT: preset and custom frame lines, user rectangles, surround view, 180º image rotation, camera status, false color exposure check, peaking focus check, compare stored image with live image, RETURN IN video and anamorphic de-squeeze. For MON OUT additionally: Reel & clip number. For a graphic of which false color indicates which exposure level click here
Control	Camera right: Main user interface with a 3” transflective 400 x 240 pixel LCD color screen, illuminated buttons, button lock and jog wheel. Camera left: Operator interface with illuminated buttons and button lock. Camera acts as a web server, displaying the ALEXA Web Remote on web browsers of computers connected to ETHERNET connector. Optional accessory Remote Control Unit RCU-4 for cabled remote control via camera ETHERNET connector. Optional accessory Wireless Compact Unit WCU-4 for wireless remote control (UMC 3A or UMC-4 required).
Recording Codecs	Uncompressed and unencrypted ARRIRAW or compressed and unencrypted QuickTime/ProRes recording. All formats include embedded audio, timecode and metadata. For more details click here
Recording Media	SxS PRO or SxS PRO+ cards (requires SxS Adapter 2) CFast 2.0 cards (requires CFast 2.0 Adapter 2) XR Capture Drives (requires XR Adapter) SXR Capture Drives (requires SXR Adapter)Note: XR Capture Drive Docks require Codex Production Suite to read XR Capture Drives recorded with ALEXA SXT.
Supported Media	SxS PRO 64 GB (SBP-64A) SxS PRO+ 64 GB (SBP-64B & SBP-64C) SxS PRO+ 128 GB (SBP-128B & SBP-128C) LEXAR 3600x CFast 2.0 cards 256 GB XR Capture Drives 512 GB SXR Capture Drives 1 TB SXR Capture Drives 2 TB
Monitor Outputs	4x MON OUT BNC connector for uncompressed 1.5 G HD-SDI video: 1920 x 1080 (16:9), 4:2:2 YCbCr; legal range HD video at 23.976, 24, 25, 29.97, or 30 fps. MON OUT 1b is a clone of MON OUT 1a. Embedded audio, time code, metadata and recording flag.
Image Processing	16 bit linear internal image processing in full ALEXA Wide Gamut/Log C color space. Target output color spaces: Log C, Rec 709 or Rec 2020. An ARRI Look File (ALF-2) containing the name of the target color space, CDL values and a 3D LUT can be applied to ProRes or MON OUT images and will be saved in metadata. Optional horizontal image mirroring.
Synchronization	Master/Slave mode for precision sync of settings, sensor, processing, HD-SDI outputs and ARRIRAW or ProRes recording for 3D applications. PHASE user button for shifting camera phase to move phase artifacts out of frame, i.e. when shooting a CRT monitor or rear screen projector (works in Rec Run TC mode).
Playback	Playback of ARRIRAW or ProRes recorded material visible on EVF-1 and MON OUT. Playback audio available over headphone jack and embedded in the MON OUT signal.
Audio	1x XLR 5 pin AUDIO IN for 2 channel, line level, balanced audio. 24 bit/48 kHz A/D conversion. Uncompressed PCM audio recording to ARRIRAW, ProRes and embedded in all HD-SDI outputs. Only available with same project/sensor speed at 23.976, 24, 25, 29.97 and 30 fps. Max of 2.5 dBm output from AUDIO OUT headphones connector.
Connectors	1x media slot 4x BNC monitoring out HD-SDI, 1.5G MON OUT 1x XLR 5-pin analog audio in AUDIO IN 1x BNC return video in HD-SDI, 1.5G RET/SYNC IN 1x LEMO 16-pin external accessory interface EXT 1x Fischer 2-pin 24 V power in BAT 3x 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 AUDIO OUT 1x custom LEMO 16-pin electronic viewfinder EVF 1x custom LEMO 10-pin Ethernet with 24 V power ETHERNET 1x Fischer 5-pin Lens Data Display LDD 2x Fischer 5-pin Lens Control System LCS 1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later IRIS 1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later FOCUS 1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later ZOOM BNC connectors are designed for fast exchange without camera disassembly. These connectors require a special tool (ALEXA Plus BNC Removal Tool, K5.72915.0).
SD Card	For importing and storing of ARRI Look Files, camera set up files, frame line files and user pixel masks and custom lens tables for the Lens Data Archive (LDA). Stores frame grabs in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) or JPEG (.jpg, 8 bit) format. Stores log files. Also used for installing Software Update Packets (SUPs).
Upgrades	The Storage Interface Module 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. An easily exchangeable lens mount allows other lenses beyond LDS PL mount lenses to be used. Simple camera software updates via free of charge Software Update Packets (SUPs).
Software Tools (apps)	ARRIRAW Converter (ARC) ARRI Color Tool  ARRI Meta Extract
Software Tools (online)	ALEXA Camera Simulator Lens Illumination Guide  ARRI Frame Line Composer (AFC)  LUT Generator  ARRI Formats & Datarate Calculator

ARRI ALEXA MINI

ALEXA Mini Technical Data

Product	ALEXA Mini
Camera type	35 mm format film-style digital camera with lightweight and compact carbon body, switchable active sensor area, support for ARRI MVF-1 viewfinder, built-in remote control capabilities via ARRI Electronic Control System and Wi-Fi, support for cforce motors, built-in motorized ND filters, interchangeable lens mounts and ARRI Lens Data System as well as Lens Data Archive.
Dimensions	Length: 185 mm/7.3″ Width: 125 mm/4.9″ Height: 140 mm/5.5″ (camera body with PL lens mount) Click here for dimensional drawings
Weight	~ 2.3 kg/5 lbs (camera body with titanium PL lens mount)
Sensor	35 mm format ARRI ALEV III CMOS with Bayer pattern color filter array
Active photo sites (with surround view)	S16 HD: 1600 x 900 (1760 x 980) HD: 2880 x 1620 (3168 x 1772) 2K: 2868 x 1612 (3154 x 1764) 3.2K: 3200 x 1800 (3424 x 1926) 4K UHD: 3200 x 1800 (3424 x 1926) 4:3 2.8K: 2880 x 2160 (3168 x 2160) 2.39:1 2K Ana.: 2560 x 2145 (3424 x 2202) HD Ana.: 1920 x 2160 (3424 x 2202) Open Gate 3.4K: 3424 x 2202 (3424 x 2202)
Shutter	Electronic shutter, 5.0° to 356.0°
Exposure latitude	14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
Exposure index	EI 800 base sensitivity
Filters	Built-in motorized ND filters 0.6, 1.2, 2.1
Lens mounts	Titanium PL mount with L-Bus connector and LDS EF mount PL mount with Hirose connector and LDS B4 mount with Hirose connector(A)
Recording media	CFast 2.0 memory cards
Recording formats	ProRes: S16 HD: 1920 x 1080 (up-sampled from 1600 x 900) HD: 1920 x 1080 2K Cine 16:9: 2048 x 1152 3.2K: 3200 x 1800 4K UHD: 3840 x 2160 (up-sampled from 3.2K) 4:3 2.8K: 2880 x 2160 (padded to 2944 x 2160)Anamorphic ProRes formats with 2x in-camera de-squeeze: HD Anamorphic: 1920 x 1080* 2.39:1 2K Anamorphic: 2048 x 858*MXF/ARRIRAW (in-camera recording to MXF-wrapped ARRIRAW files): 2.8K 16:9: 2880 x 1620** Open Gate: 3424 x 2202***MXF/ARRIRAW Open Gate modes with active image area matching 4:3 ProRes modes: 4:3 2.8K (OG 3.4K): 2880 x 2160 (Recording in Open Gate 3.4K)*** 2.39:1 Ana. (OG 3.4K): 2560 x 2145 (Recording in Open Gate 3.4K)*** 16:9 HD Ana. (OG 3.4K): 1920 x 2160 (Recording in Open Gate 3.4K)****) requires ALEXA Mini 4:3 License Key, **) requires ALEXA Mini ARRIRAW License Key, ***) requires both ALEXA Mini 4:3 and ARRIRAW Licenses Keys Click here for a drawing with details about the recording areas, surround views and framelines
Recording codec	ProRes 4444XQ, 4444, 422 (HQ), 422, 422(LT), MXF/ARRIRAW
Recording frame rates	16:9 ProRes HD 0.75 – 200 fps ProRes S16 HD 0.75 – 200 fps ProRes 2K 0.75 – 200 fps ProRes 3.2K 0.75 – 60 fps ProRes UHD 0.75 – 60 fps MFX/ARRIRAW 16:9 2.8K 0.75 – 48 fps4:3 ProRes 4:3 2.8K 0.75 – 50 fps6:5* ProRes 2:39:1 2K Ana. 0.75 – 120 fps8:9** ProRes HD Ana. 0.75 – 120 fpsOpen Gate MFX/ARRIRAW 3.4K Open Gate 0.75 – 30 fps * 4:3 cropped ** Center crop from anamorphic (1) Minimum frame rate is always 0.75 fps (2) The „recording resolution“ determines the number of horizontal pixels that will be recorded (the number of vertical pixels is dependent on the recording file type and sensor mode) Click here for a detailed table of frame rates
Color output	Rec 709, custom look or Log C
Look control	Import of custom 3D LUT, ASC CDL parameter (slope, offset, power, saturation)
Adjustable image parameters	Knee, gamma, saturation, black gamma, saturation by hue
Focus and exposure control	Peaking, zebra, false color, waveform
White balance	Manual and auto white balance
Sound level	< 20 dB(A) at standard frame rates
Environmental	‘-20° C to +45° C (-4° F to +113° F) @ 95% humidity max, non-condensing splash and dust-proof through sealed electronics
Viewfinder	Multi Viewfinder MVF-1 (OLED and LCD) with flip-out LCD screen and military-grade connector to camera Camera Control Panel (CCP-1) LCD control panel with option to daisy-chain MVF-1
Control interface	Soft buttons and OSD on SDI output, integration of Transvideo Starlite HD5-ARRI touch interface WCU-4 hand-unit with control over operational parameters.
ARRI lens motor control	Built-in white coded radio interface for ARRI lens and camera remote control LBUS motor output for daisy-chainable cforce lens control motors Lens Data Archive
Wi-Fi remote control	Built-in Wi-Fi interface and web-based remote control from phones, tablets and laptops
Custom control	Optional GPIO interface for integration with custom control interfaces
Power input	Lemo 8-pin, 10.5-34 V DC
Video outputs	2x HD-SDI out 1.5G and 3G: uncompressed HD video with embedded audio and metadata, 6G SDI in UHD and 3.2K recording modes.
Inputs	SDI-Genlock (optional activation through ARRI Service), Timecode (in and output)
Other interfaces	USB 2.0 (for user sets, looks etc.) Ethernet for service and web remote control EXT accessory interface w. RS pin and unregulated power output (outputs battery voltage)

SONY F65

The Sony F65 Camcorder Camera is a flagship model belonging to the large sensor camcorder family backed by the advanced sensor acquisition technology. The Sony camera belongs to the Cine Alt camera lineup which has products that are capable of delivering the real expression as the art by a digital cinematographer. The F65 is optimized to take TV production and motion picture to new heights. The Sony 20 Megapixel camera is capable of offering images without any compromise in quality with breathtaking colors, depth as well as details. When shot with the Sony F65 camera, every frame will have more color, expression, emotion and dynamics that makes it a favorite choice of world class cinematographers and directors. The Sony F65 Camcorder camera is capable of fully integrating with any live production conditions in 4K. the super 35 mm CMOS sensor captures each frame with 20 MP effective resolution with the weight of 5000 grams and compact dimensions, the Sony camera is capable of delivering pictures with unprecedented fidelity and impressive dynamic range.
Focal Length & Aperture: 
The flange focal length of the Sony Black camera is 52 mm with 14 stop latitude, less than 0.02% registration and has 17:9 aspect ratio. It is capable of recording at the rate of 120 fps and has 0.04 to 0.01 mm as the focal length.
Multiple Options: 
The Sony CMOS camera uses the Sony S gamut to deliver wide color range with linear RAW (16 bit) with high precision. The mechanical rotary shutter maintains very strict geometric integrity that makes Camcorder camera it a perfect choice for recording TV episodes, movies, music videos, commercials and movies. The Camcorder camera also offers S-Log3 grey scale encoding and HD 12 bit 4:4:4.
Storage:
The Sony Camcorder camera is compatible with SD memory cards up to class 10.

Sony F65 Camcorder Camera Specs

Camera Type:	Camcorder
Colour:	Black
Connectivity:	USB
Weight:	5000
Focal Length:	0.04 to 0.01 mm
Storage Media:	SD, SDHC
Power Source:	DC 10.5 V to 17 V Battery
Dimension:	0
Warranty:	1
Battery Type:	Lithium ion Battery
Effective MegaPixels:	20
Image Format:	JPEG, RAW
Lens:	PL mount
Screen Inches:	3
Sensor Type:	CMOS
Aspect Ratio:	17:9
Features:	Built-in ND Filters, Compact and light-weight, Fully integrates into Sony 4K live production environment, Records at up to 120 FPS, Records on to SRMemory with dockable SR-R4 SRMASTER Portable Recorder, Rotary shutter, Super 35mm CMOS sensor with 20 Mega pixels, Wide range of interfaces for on-set workflow

SONY F35

General

Power Requirements

DC 10.5 V to 17 V

Power Consumption

56 W (without lens, viewfinder, at 23.98PsF mode)

Operating Temperature

0°C to 40°C
32°F to 104°F

Storage Temperature

-20°C to +60°C
-4°F to +140°F

Mass

5.0 kg
11 lb

Camera Section

Imaging Device (Type)

1-chip Super 35 mm type Progressive CCD

Aspect Ratio

16:9

Effective Picture Elements

1920 x 3 (RGB) x 2160 (Camera output: 1920 x 1080 RGB)

Lens Mount

o54 mm PL mount

Flange Focal Length

52.00 mm (+/-0.15 mm adjustable)

Latitude

12-stop

Registration

Within 0.02% (all zones, without lens)

Distortion

Below measureable level (without lens)

Horizontal Resolution

1000 TV lines

Input/Output

DC Input

Lemo 8-pin (male) (x1), DC 10.5 V to 17 V, DC 20 V to 30 V

DC Output

DC 12 V: 11-pin (x1), max. 4 A
DC 24 V: 3-pin (x1), max. 5.5 A

Viewfinder

20-pin (x2)

Lens

12-pin (x1)

Monitor Output

BNC (x2), HD-SDI (4:2:2)

Test Output

BNC (x1), VBS/HD Y

Genlock Input

BNC (x1), 75 Ω, HD 3-level sync, 0.6 Vp-p

Remote

8-pin (x1)

External Input/Output

Lemo 5-pin (female) (x1)

Ethernet

RJ-45 type (x1), 10BASE-T/100BASE-TX

Lens Mount Hot Shoe

4-pin (x2), conforming to ARRI LDS (Lens Data System) and Cooke /I Intelligent Electronic Lens System)

“Memory Stick” (MS)/SD Memory Card

“Memory Stick” connector (x1)
Supports “Memory StickPRO”, “Memory Stick PRO Duo

Interface Box (Supplied) General

Power Requirements

DC 10.5 V to 17 V

Operating Temperature

0°C to 40°C
32°F to 104°F

Storage Temperature

-20°C to +60°C
-4°F to +140°F

Mass

560 g
1 lb 4 oz

Dimensions *1

138 x 104 x 79 mm
5 1/2 x 4 1/8 x 3 1/8 inches

Interface Box (Supplied) Input/Output

Audio Input (CH1/CH2)

XLR-type 3-31 (female), line/mic/mic +48 V selectable

HD-SDI Output

A: BNC (x1)
B: BNC (x1)
(1.485 Gbps) (SMPTE-292M/372M, BTA-S004B standard)

DC Input

XLR-type 4-pin (male) (x1)

SONY F55

General

Power Requirements

DC 12 V (11 V to 17 V)

Power Consumption

Approx. 25 W (while recording XAVC 4K 60p, EVF Off, LCD monitor Off, 4K SDI On)

Operating Temperature

0°C to 40°C
32°F to 104°F

Storage Temperature

-20°C to +60°C
-4°F to +140°F

Mass

2.2 kg (without lens, handle, audio box and accessories)
4 lb 14 oz (without lens, handle, audio box and accessories)

Dimensions (W x H x D) *1

130 x 125 x 191 mm (without protrusions)
5 1/8 x 5 x 7 5/8 inches (without protrusions)

Battery Operating Time

Approx. 150 min with BP-FL75
Approx. 210 min with BP-GL95A

Recording Format (Video)

XAVC (AVC/H.264 High 4:2:2 Intra Profile)
4K: VBR, 600 Mbps max.
HD: SMPTE RP2027 Class100 compliant
MPEG2 HD (MPEG-2 Long GOP)
HD 422 mode: CBR, 50 Mbps max., MPEG-2 422P@HL
*2

Recording Format (Audio)

LPCM 8CH (2CH recording/playback), 24-bit, 48-kHz

Recording Frame Rate

XAVC 4K (4096 x 2160):
23.98p/24p/25p/29.97p/50p/59.94p
XAVC QFHD (3840 x 2160): 23.98p/25p/29.97p/50p/59.94p
XAVC 2K (2048 x 1080):
23.98p/24p/25p/29.97p/50p/59.94p
XAVC HD (1920×1080):
23.98p/25p/29.97p/50p/59.94p
MPEG4 SStP (1920 x 1080):
23.98p/24p/25p/29.97p
MPEG2 HD (1920×1080):
23.98p/25p/29.97p/50i/59.94i
MPEG2 HD (1280 x 720):
50p/59.94p
*3

Recording/Playback Time

XAVC 4K, 23.98p: Approx. 25 min (SBP-64B)/Approx. 50 min (SBP-128B)
59.94p: Approx. 10 min (SBP-64B)/Approx. 20 min (SBP-128B)
XAVC HD, 23.98p: Approx. 70 min (SBP-64B)/Approx. 140 min (SBP-128B)
59.94p: Approx. 30 min (SBP-64B)/Approx. 60 min (SBP-128B)
MPEG2 HD: Approx. 60 min (SBS-32G1A)/Approx. 120 min (SBS-64G1A)

Camera Section

Imaging Device (Type)

Super 35mm equivalent Single-chip CMOS

Imaging Device (Pixel Count)

11.6M (total), 8.9M (effective)

Aspect Ratio

17:9

Built-in Filters

Clear, 0.9 (1/8ND), 1.8 (1/64ND)

Sensitivity (2000 lx, 89.9% reflectance)

Video Gamma: T12@24p (3200K light source)

ISO Sensitivity

S-Log2 Gamma: ISO 1250 (D55 light source)

Lens Mount

PL mount (with supplied lens mount adapter)
FZ mount (without supplied lens mount adapter)

Latitude

14-stop

S/N Ratio

57dB (Video Gamma, 24p, Noise Suppression OFF)

Shutter Speed

1/24s to 1/6,000s (23.98PsF)

Shutter Angle

4.2°to 360°(electrical shutter)

Slow Shutter (SLS)

2, 3, 4, 5, 6, 7, 8-frame accumulation

Slow & Quick Motion Function

XAVC 4K/QFHD: 1-60p (NTSC), 23.98p/29.97p
XAVC 4K/QFHD: 1-50p (PAL), 25p
XAVC 2K/HD: 1-180p (NTSC), 23.98p/29.97p
XAVC 2K/HD: 1-150p (PAL), 25p

White Balance

Preset (3200K, 4300K, 5500K), Memory

Gain

-3, 0, 3, 6, 9, 12, 18 dB, AGC

Gamma Curve

Standard (x6)
HG1, HG2, HG3, HG4, HG7, HG8
S-Log2 Gamma

Input/Output

Audio Input

CH-1/CH-2: XLR-type 3-pin (female) (x2), Line/Mic/Mic +48V (AES/EBU) *4  switchable

DC Input

XLR-type 4-pin (male) (x1), 11 V to 17 V DC

DC Output

4-pin (x2), 11 V to 17 V DC (max. 1.8 A) with battery adapter

Viewfinder

Digital viewfinder interface (x1)

SDI Output

BNC (x4), HD mode: SDI 1/2 Line Output, SDI 3/4 Monitor Output
4K mode: SDI 1/2/3/4 Line Output, Display On/Off switchable

Test Output

BNC (x1), HD-Y or HD Sync (tri-level) V1.0

Timecode Input/Output

TC IN/OUT (x1) switchable

Genlock Input

BNC (x1)

Remote

8-pin (x1)

HDMI Output

A Type (x1)

USB

USB host, type-A (x1)

USB

USB device, Mini-B (x1)

Headphone Output

Stereo mini jack (x1)

Speaker Output

Monaural

Shutter

BNC (x1) *4

Wi-Fi

USB host, type-A (x1)

Media

Type

ExpressCard/34 slot (x2)
SD card slot (x1)

RED EPIC MYSTERIUM-X

SENSOR	14 Megapixel MYSTERIUM-X®
PIXEL ARRAY	5120 (h) x 2700 (v)
MAX IMAGE AREA	5120 (h) x 2700 (v)
DYNAMIC RANGE	13.5+ stops, up to 18 stops with HDRx®
S/N RATIO	66 dB
LENS COVERAGE	27.7 mm (h) x 14.6 mm (v) = 31.4 mm (d)
MAX DEPTH OF FIELD	Equivalent to S35mm (Motion)/APS-H (Still) lenses
PROJECT TIMEBASE	23.98, 24, 25, 29.97, 47.96, 48, 50, 59.97 fps, all resolutions
REDCORDING FRAME RATES	1–120 fps @ 5K 1–150 fps @ 4K 1–200 fps @ 3K 1–300 fps @ 2K
REDCODE® COMPRESSION	Compression choices of 18:1 to 3:1
REDCODE RAW ACQUISITION FORMATS	5K (Full Format, 2:1, 2.4:1, 16:9, 1.22:1 and Anamorphic 2x 1.22:1) 4K (Full Format, 2.4:1, 16:9 “UHD”) 3K (Full Format, 2.4:1, 16:9) 2K (Full Format, 2.4:1, 16:9 “HD”) 1K (2.4:1, 720p “HD”)
DELIVERY FORMATS	4K : DPX, TIFF, OpenEXR (.RED via RRencode Plugin) 2K : DPX, TIFF, OpenEXR (.RED via RRencode Plugin) 1080p RGB or 4:2:2, 720p 4:2:2 : Quicktime, JPEG Avid AAF, MXF. 1080p 4.2.0, 720p 4:2:0 : H.264, .MP4
PROGRAM OUTPUT	3G-SDI (HD-SDI) Clean Feed SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio
MONITOR OUTPUT	3G-SDI (HD-SDI) and HDMI with Frame Guides and Look Around or Clean Feed 1080p 4:2:2, 720p 4:2:2 SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio
MONITORING OPTIONS	RED Touch 5.0″ LCD RED PRO 7″ LCD RED Touch 7.0″ LCD RED Touch 9.0″ LCD BOMB EVF (LCOS) High Definition Viewfinder BOMB EVF (OLED) High Definition Viewfinder
DIGITAL MEDIA (SSD)	REDMAG® 1.8″, RED MINI-MAG®
AUDIO	2 channel, uncompressed, 24-bit 48 kHz Optional 4 channel, and AES/EBU digital audio
REMOTE CONTROL	RED COMMAND PROTOCOL (R.C.P.) Wireless, Ethernet, RS232, GPI Trigger
CONSTRUCTION	Aluminum Alloy
WEIGHT	5 lbs (BRAIN only)
OPERATING TEMPERATURE	0°C to 40°C (32°F to 104°F)
STORAGE TEMPERATURE	–20°C to 50°C (–4°F to 122°F)

RED DRAGON

SENSOR	19 MEGAPIXEL DRAGON™
PIXEL ARRAY	6144 (h) x 3160 (v)
S/N RATIO	80db
DYNAMIC RANGE	16.5+ stops
MAX IMAGE AREA	6144 (h) x 3160 (v)
LENS COVERAGE	30.7mm (h) x 15.8mm (v) x 34.5 mm (d)
ACQUISITION FORMATS	6K RAW (2:1, 2.4:1) 5K RAW (Full Frame, 2:1, 2.4:1 and Anamorphic 2:1) 4.5K RAW (2.4:1) 4K RAW (16:9, HD, 2:1 and Anamorphic 2:1) 3K RAW (16:9, 2:1 and Anamorphic 2:1) 2K RAW (16:9, 2:1 and Anamorphic 2:1) 1080p RGB (16:9) 720p RGB (16:9)
PROJECT FRAME RATES	23.98, 24, 25, 29.97, 47.96, 48, 50, 59.94 fps, all resolutions
DELIVERY FORMATS*	4K : DPX, TIFF, OpenEXR (RED RAY via optional encoder) 2K : DPX, TIFF, OpenEXR (RED RAY via optional encoder) 1080p RGB or 4:2:2, 720p 4:2:2 : Quicktime, JPEG Avid AAF, MXF. 1080p 4.2.0, 720p 4:2:0 : H.264, .MP4
PROGRAM OUTPUT	HD-SDI Clean Feed SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio
MONITOR OUTPUT	HD-SDI and HDMI with Frame Guides and Look Around 2K RGB, 1080p RGB or 4:2:2, 720p RGB or 4:2:2 SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio
DIGITAL MEDIA REDMAG (SSD) Module	(64, 128, 256, 512GB Media)
REDCODE™	Compression choices of 18:1 to 3:1 12 and 16-bit RAW : Compression choices of 18:1 to 3:1 1-100 fps 6K 1-120 fps 5K, 4.5K 1-150 fps 4K 1-200 fps 3K 1-300 fps 2K
AUDIO	2 channel, uncompressed, 24 bit, 48kHz. Optional 4 channel, and AES / EBU digital audio.
MONITORING OPTIONS	RED LCD 5″ and 9” Touchscreen Display BOMB EVF™ High Definition Viewfinder
REMOTE CONTROL	Wireless, Ethernet, RS232, GPI Trigger
WEIGHT	5lbs. Body only
CONSTRUCTION	Aluminum Alloy
TEMPERATURE RANGES	Operating Range: 0˚C to +40˚C (32˚F to 104˚F) Storage Range: -20˚C to +50˚C (-4˚F to 122˚F)

PHANTOM HD GOLD

Phantom HD Gold Digital Highspeed Camera
Technical Data:
Framerate at full resolution	554 fps
Framerate maximum	1.052 fps (HD 1920×1080) 1.576 fps (HD 1280×720) Even higher framerates at decreased resolution.
Sensor Size	25.5mm x 25.5mm 1.0039″ x 1.0039″
Sensor Resolution	2048 pixel wide x 2048 pixel high
Sensitivity	about 500 ISO
Shutter	Electronic Progressive
Minimum Exposure Time	2 microseconds
Lens Mount	PL-Mount, compatible with most 35mm cine lenses
Viewfinder	Electronic 3.5″ LCD Color Viewfinder Sony HDVFC35W
Preview, Focusing and Playback	SVGA Computer Monitor, Continuous Video Out, Viewfinder
Video Out	NTSC, PAL, and HD-SDI, (720p, 1080p, 1080i at 24, 25, 59.9, 60fps)
Memory in Camera	16 GB High-Speed (DRAM)
Non-volatile Memory	CineMag 256 GB optional
Recording Format	.cine
Format Conversion	Cine Compressed, Cine RAW, AVI, MPEG, Multipage TIFF, MXF PAL, MXF NTSC, Quick Time, Windows BMP, OS/2 BMP, PCX, TGA, TIFF, LEAD, JPEG, JTIF, RAW, DNG, DP
Power Input	24 Vdc nominal
Size[1]	13.97cm x 19.4cm x 30.8cm (5.47in x 7.62in x 12.13in)
Weight[1]	5.5 kg / 12.125 lbs

PANASONIC AJ-HPX3100

General Specifications		Power Supply	DC12V (11V to 17V)
		Power Consumption	34 W (main unit only)
		Operating Temperature	0°C to 40°C (32 °F to 104 °F)
		Operating Humidity	10 % to 85 % (relative humidity)
		Keeping Temperature	−20 °C to 60 °C (−4 °F ro 140 °F)
		Operating Time	Approx. 150 min., when using DIONIC90 battery
		Weight	Approx. 3.9 kg/8.6 lbs (main unit only)
		Dimensions (W x H x D)	14.0 cm x 27.05 cm x 33.58 cm excluding handle and option cove
Camera Section		CCD Elements	CCD x 3 (2/3-type interline transfer type, RGB, 2,200,000 pixel)
		Picture Elements	Total: 2010 (H) x 1120 (V)
		Lens Mount	Optical image stabilizer lens, 22x motorized zoom, F1.6 – 3.2 (f=0.39 cm – 8.6 cm), 3.5 cm conversion: 2.8 cm – 61.6 cm (16:9)
		Filter Diameter	2/3-bayonet type
		Optical Color Separation	Prism system
		CCl Filters	A: 3200K, B: 4300K, C: 5600K, D: 6300K
		ND Filters	1: CLEAR, 2: 1/4ND, 3: 1/16ND, 4: 1/64ND
		Quantizing	14 bits
		Horizontal Drive Frequncy	59.94 Hz: 74.1758 MHz, 50 Hz: 74.25 MHz
		Sampling Frequncy	59.94 Hz: 74.1758 MHz, 50 Hz: 74.25 MHz
		Digital Signal Process	59.94 Hz: 74.1758 MHz, 50 Hz: 74.25 MHz
		Programmable Gain	−6 dB, −3 dB, 0 dB, 3 dB, 6 dB, 9 dB, 12 dB, 15 dB, 18 dB, 21 dB, 24 dB, 27 dB, 30 dB selectable
		Digital Super Gain	6 dB, 10 dB, 12 dB, 15 dB, 20 dB, 24 dB, 28 dB, 34 dB selectable
		Super Gain	30 dB, 36 dB, 42 dB selectable
		Shutter Speed	1/60 (50 Hz) sec., 1/100 (59.94 Hz) sec.,1/120 sec., 1/250 sec.,1/500 sec., 1/1000 sec., 1/2000 sec., HALF 180.0 deg, 172.8 deg, 144.0 deg, 120.0 deg, 90.0 deg, 45.0 deg
		Shutter Speed (Syncro Scan)	1/61.7 sec. to 1/7200 sec. (1080/59.94i, 480/59.94i) 1/30.9 sec. to 1/3600 sec. (1080/29.97p,480/29.97p) 1/24.7 sec. to 1/2880 sec. (1080/23.98p,480/23.98p) 1/51.4 sec. to 1/6000 sec. (1080/50i,576/50i) 1/25.7 sec. to 1/3000 sec. (1080/25p,576/25p)
		Sensitivity	1080/59.94i: F11, 1080/50i: F12 (2000 lx, 89.9 % reflect)
		Minimum Luminance	0.005 lx (F1.4, S.GAIN 42 dB + DS.GAIN 34 dB)
		Video S/N	DNR ON: 59 dB, DNR OFF: 54 dB (standard)
		Registration	Less than 0.03 % (whole zone, without lens distortion)
		Horizontal Resolution	1,000 TV lines (at center standard)
Memory Card Recorder Section	Recording Media		P2 card
	Recording Formats		AVC-Intra 100/AVC-Intra 50/DVCPRO HD/ DVCPRO50/DVCPRO/DV Format switchable
	Recording Video Signal		1080/59.94i, 1080/29.97p over 59.94i, 1080/23.98p over 59.94i, 1080/23.98pA over 59.94i, 1080/29.97pN, 1080/23.98pN, 1080/50i, 1080/25p over 50i, 1080/25pN, 480/59.94i, 480/29.97p over 59.94i, 480/23.98p over 59.94i, 480/23.98pA over 59.94i, 576/50i, 576/25p over 50i
	Recording Audio Signal		AVC-Intra 100/50: 48 kHz, 16 bit/24 bit switchable, 4ch DVCPRO HD/DVCPRO 50: 48 kHz, 16 bit, 4ch DVCPRO/DV: 48 kHz, 16 bit, 2ch/4ch switchable
	Recording/Playback Time* with a 64 GB P2 card x 1	AVC-Intra 100	approx. 64 min
		AVC-Intra 50	approx. 128 min
		DVCPRO HD	approx. 64 min
		DVCPRO50	approx. 128 min
		DVCPRO/DV	approx. 256 min
	Recording/Playback Time* with a 64 GB P2 card x 2	AVC-Intra 100	approx. 128 min
		AVC-Intra 50	approx. 256 min
		DVCPRO HD	approx. 128 min
		DVCPRO50	approx. 256 min
		DVCPRO/DV	approx. 512 min
	Recording/Playback Time* with a 32 GB P2 card x 1	AVC-Intra 100	approx. 32 min
		AVC-Intra 50	approx. 64 min
		DVCPRO HD	approx. 32 min
		DVCPRO50	approx. 64 min
		DVCPRO/DV	approx. 128 min
	Recording/Playback Time* with a 32 GB P2 card x 2	AVC-Intra 100	approx. 64 min
		AVC-Intra 50	approx. 128 min
		DVCPRO HD	approx. 64 min
		DVCPRO50	approx. 128 min
		DVCPRO/DV	approx. 256 min
	Recording/Playback Time* with a 16 GB P2 card x 1	AVC-Intra 100	approx. 16 min
		AVC-Intra 50	approx. 32 min
		DVCPRO HD	approx. 16 min
		DVCPRO50	approx. 32 min
		DVCPRO/DV	approx. 64 min
	Recording/Playback Time* with a 16 GB P2 card x 2	AVC-Intra 100	approx. 32 min
		AVC-Intra 50	approx. 64 min
		DVCPRO HD	approx. 32 min
		DVCPRO50	approx. 64 min
		DVCPRO/DV	approx. 128 min
Digital Video Specification		Sampling Frequency	AVC-Intra 100/AVC-Intra 50/DVCPRO HD: Y: 74.1758 MHz, PB/PR: 37.0879 MHz (59.94 Hz) Y: 74.2500 MHz, PB/PR: 37.1250 MHz (50 Hz) DVCPRO50: Y: 13.5 MHz, PB/PR: 6.75 MHz DVCPRO: Y: 13.5 MHz, PB/PR: 3.375 MHz
		Quantizing	AVC-Intra 100/AVC-Intra 50: 10 bit DVCPRO HD/DVCPRO50/DVCPRO/DV: 8 bit
		Video Compression	AVC-Intra100/AVC-Intra50: MPEG-4 AVC/H.264 Intra Profile DVCPRO HD: DV base compression (SMPTE 370M) DVCPRO 50/DVCPRO: DV base compression (SMPTE 314M) DV: DV compression (IEC 61834-2)
Digital Audio Specification		Frequncy Response	20 Hz to 20 kHz ±1.0 dB (reference level)
		Dynamic Range	More than 85 dB (1 kHz, AWTD, 16 bit) More than 93 dB (1 kHz, AWTD, 24 bit)
		Distortion: Within	0.1 % (1 kHz, reference level, 16 bit) 0.05 % (1 kHz, reference level, 24 bit)
		Headroom	18/20 dB selectable
Video Input/Output		GENLOCK IN	BNC x 1, 1.0 V [p-p], 75 Ω (switchable to VIDEO IN or Return Video on menu)
		SDI OUT	BNC×1 HD SDI: 0.8 V [p-p], 75 Ω, SMPTE292M/299M standards SD SDI: 0.8 V [p-p], 75 Ω, SMPTE259M-C/272M-A/ ITUR. BT656-4 standards
		MON OUT	BNC×1 (switchable to HD SDI/SD SDI/Composite on menu) HD SDI: 0.8 V[p-p], 75 Ω SD SDI: 0.8 V[p-p], 75 Ω, SMPTE259M-C/272M-A/ ITUR. BT656-4 standards Composite: 1.0 V [p-p], 75 Ω
		SDI IN	BNC×1 (switchable for VIDEO IN/Return Video/ GENLOCK IN, on menu) HD SDI: 0.8 V[p-p], 75 Ω, SMPTE292M/299M standards SD SDI: 0.8 V[p-p], 75 Ω, SMPTE259M-C/272M-A/ ITUR. BT656-4 standards
Audio Input/Output		AUDIO IN	CH1/CH2: XLR 3 pin x 2, LINE/MIC/MIC + 48 V switchable LINE: 4 dBu (−3 dBu/0 dBu/4 dBu selectable on menu) MIC: −60 dBu (−60dBu/–50 dBu selectable on menu) MIC + 48 V: Phantom +48 V, −60 dBu (−60dBu/−50 dBu selectable on menu)
		MIC IN	XLR 5 pin x 1, Phantom +48 V (ON/OFF selectable on menu) −40 dBu (−50 dBu/−40 dBu selectable on menu)
		WIRELESS IN	25 pin D-SUB, −40 dBu
		AUDIO OUT	CH1/CH2: XLR 5 pin x 1, balanced, low-impedance 4 dBu (−3 dBu/0 dBu/4 dBu selectable on menu)
		PHONES OUT	Stereo mini jack x 2 (3.5 cm diameter)
		Speaker	2.8 cm round shape x 1
Other Input/Output		TC IN	BNC×1, 0.5 V [p-p] to 8 V [p-p], 10 kΩ
		TC OUT	BNC×1, low impedance, 2.0 V [p-p] ±0.5 V [p-p]
		DC IN	XLR 4 pin x 1, DC 12 V (DC 11 V–17 V)
		DC OUT	4 pin, DC 12 V (DC 11 V–17 V), max 1.5 A
		Lens	12 pin
		Right Connector	2 pin, DC 12 V (DC 11 V–17 V) Output current: max. 4.5 A (to 50 W)
		EVF	20 pin
		REMOTE	10 pin for AJ-RC10G, AG-EC4G
		GPS	6 pin for AJ-GPS910G
		USB 2.0	HOST: 4-pin Type-A, DEVICE: 4-pin Type-B
		Monitor	8.128 cm LCD monitor, approx. 921,000 dots (16:9)
Included Accessories			Shoulder strap, Front audio volume knob (with screw), AUDIO connector cap, Mount cap, XLR connector cap, GPS connector cap, Software CD-ROM
NOTE			* Time shown above is when you record a series of 1 shot to P2 card. Depending on numbers of shots you record, time will get shorter than the number shown above. Weight and dimensions shown are approximate. Specifications are subject to change without notice.

ARRI D 21

 ARRIFLEX D-21

Camera Type	35 format digital film style camera with an optical viewfinder
HD-SDI Connections	2x dual link HD-SDI out
Frame Rate	HD Mode HD422 (16:9): 1-60 fps HD Mode HD444 (16:9): 1-30 fps Mscope™ HD422 (4:3): 1-25 fps Data Mode ARRIRAW (16:9): 1-30 fps Data Mode ARRIRAW (4:3): 1-25 fps Frame rates other than the standard HD video frame rates of 23.976 PsF, 24 PsF, 25 PsF, 29.97 PsF, 30 PsF, 48 PsF, 50 PsF, 59.94 PsF and 60 PsF can be achieved with a recorder that can interpret the Variframe Flag. All frame rates are crystal controlled and can be set with 0.001 fps precision. Exposure compensated speed ramps are supported by the electronic-mirror shutter.
Aperture	23.760 x 13.365 mm/0.9354″ x 0.5262″ in HD Mode 23.760 x 17.820 mm/0.9354″ x 0.7016″ max. in Data Mode & Mscope™
Signal Output	HD Mode – HD-DSI (SMPTE 292M): 1920 x 1080 4:2:2 YCbCr 10 bit @ 23.976, 24, 25, 29.97, 30 PsFHM Mode – dual link HD-SDI (SMPTE 372M): 1920 x 1080 4:4:4 RGB 10 bit @ 23.976, 24,25, 29.97, 30 PsF 1920 x 1080 4:2:2 YCbCr 10 bit- 1920 x 1080 4:4:4 RGB 10 bit @ 23.976, 24,25, 29.97, 30 PsF @ 48, 50, 59.94, 60 PsF Mscope™ – dual link HD-SDI (SMPTE 372M): 1920 x 1080 4:2:2 YCbCr 10 bit @ 23.976, 24, 25 PsF Data Mode – ARRIRAW T-Link (ARRIRAW transmission protocol mapped into RGBA dual link HD-SDI stream according to SMPTE 372M): 2880 x 2160 RAW 12 bit Bayer data @ 23.976p, 24p, 25p 2880 x 1620 RAW 12 bit Bayer data @ 29.97p, 30p
Weight (without lens)	Body only: 8.6 kg/19.0 lbs Body and viewfinder: 10.9 kg/24.0 lbs
Lens Mount	54 mm PL, centered for Super 35, with Lens Data System (LDS) contacts Flange focal depth 52mm nominal
Display	Camera display on left side with individual buttons for: Camera RUN, PHASE (electronic inching & mirror rotation). NORM-PS/CCU control, LOCK, MODE, SEL, and SET. Video menu over composite video output for control of operational parameters: Output mode, standard frame rates, white balance and color matrix, signal output range, contrast characteristic and sensitivity.
Shutter	Spinning, electronically adjustable reflex mirror shutter. Adjustable to 11.2°, 22.5°, 30°, 45°, 60°, 75°, 90°, 105°, 120°, 135°, 144°, 150° 172.8° and 180°.
Viewfinder	Optical reflex viewfinder with interchangeable ground glass. Spherical or universal (adjustable to spherical or anamorphic) viewfinders available. Viewfinders are adjustable in two axes with automatic or manual image compression, laterally extendable for left eye operation and show illuminated frame lines (ARRIGLOW, adjustable in brightness). Optional medium or long finder extender including magnifier. Optional heated eyecup.
Video Assist	SD monitoring (PAL/NTSC video downscaled from captured image) with composite video or S-Video outputs.
Recording	HD recording devices supporting HD-SDI (SMPTE 292M) or dual link HD-SDI (SMPTE 372M) signals for HD Mode operation. Optional on-board HD recording using solid state memory recorder Flash Mag.
Common Connections	2x composite video out (CVBS) 1x S-Video out (Y/C) 1x power in (BAT) 1x 12 V accessory power out (Fisher 11-pin) 1x 24 V accessory power out (RS) 1x lens data display (LD) 2x lens control system bus (LCS) 1x accessory interface (AC) 1x camera control unit (CCU), 1 each focus, iris, zoom for lens monitors
Power	24V DC (acceptable voltage range: 20.5 to 36 V DC)
Power Consumption	2.1 A @ 24 fps, 1.9 A in Standby
Sound	less than 20 dB(A) @ 24 fps
Dimensions	Length: 39 cm/15.35″ Width (viewfinder left): 27 cm/10.83″ Height with handle: 30 cm/11.81″ Height without handle: 23 cm/9.06″
Accessories	Accepts the whole range of ARRI matte boxes (15 or 19mm rods), follow focus and ARRI electronic accessories, Lens Data System (LDS). Wireless Remote System (WRS), Wireless Remote Control WRC-2, Iris Control Unit for speed/iris ramps (ICU-1), Remote On/Off switch (RS-4), External Synchronization Unit (ESU-1). Specficially for ARRIFLEX D-21/D-21 HD: Low mode support set for Steadycam operation or underslung use and top-mounting of accessories without bridge plate, Flash Mag Mounting Adapter (FMA-1), Fibre Unit and Fibre Remote for an optical link to the recorder.
Misc	Extra attachment points for rigging.

ARRI ALEXA STUDIO

ALEXA Studio Technical Data

Camera Type	35 format film-style digital camera with optical viewfinder, rotating mirror shutter, integrated shoulder arch, built-in support for the ARRI Wireless Remote System (WRS), cmotion cvolution lens control system and ARRI Lens Data System (LDS).
Sensor	35 format ALEV III CMOS with Dual Gain Architecture (DGA) and Bayer pattern color filter array.
Photosites	16:9 sensor mode: 2880 x 1620 for ARRIRAW, 2880 x 1620 down sampled to 1920 x 1080 for HD video and ProRes 4:3 sensor mode: 2880 x 2160 for ARRIRAW, 2880 x 2160 down sampled to 1440 x 1080 (pillar box) for monitoring in EVF-1 and HD video (MON OUT only)
Operating Modes	Mirror shutter on or off. Switching takes approximately 3 seconds through camera display. 16:9 or 4:3 sensor mode. Switching takes approximately 15 minutes (currently update to a different SUP necessary). 4:3 is currently only available for ARRIRAW; a pillar box format is used for 16:9 EVF-1 as well as HD-SDI MON OUT; ProRes or DNxHD recording is currently not supported. Regular or High Speed mode. High Speed mode requires license purchase. Switching takes approximately 40 seconds. 4:3 High Speed mode currently limited to 16:9.
Filter	Sealed behind-the-lens motorized filter mechanism provides optical flat or ND 1.3 (4.3 stops)
Frame Rate	16:9, mirror shutter off: 0.75 – 120 fps 16:9, mirror shutter on: 0.75 – 60 fps  4:3, mirror shutter off or on: 0.75 – 48 fps Frame rate setting precision: 1/1000 fps
Shutter	Rotating mirror shutter (11.2º – 180.0º) or electronic rolling shutter (0.75 – 60 fps: 5.0º – 358.0º; 60 – 120 fps: 356º). Shutter angle setting precision: 1/10 degree. At some frame rates mirror shutter needs to be less than 180º.
Exposure Latitude	14 stops for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC).
Exposure Index	Values 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 are the same except for 0.5 stops fewer 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.
White Balance	Separate white balance (red/blue) and color correction (green/magenta) adjustment through Auto or manual setting. Red/blue: 2000 to 11000 Kelvin, adjustable in 100 K steps, with presets of 3200 (tungsten), 4300 (fluorescent), 5600 (daylight) and 7000 (daylight cool). Green/magenta: -8 to +8 color correction (CC), 1 CC = 035 Kodak CC values or 1/8 Rosco values.
Sound Level	Under 20 db(A) @ 24 fps, mirror shutter on and ≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to ‘Regular’, measured 1 m/3 feet in front of the lens. Silent operation at higher temperatures possible with fan mode set to ‘Rec low’.
Power In	Three inputs: BAT connector, battery adapter back and battery adapter top. All accept 10.5 to 34 V DC. When running over 30 fps with mirror shutter on, voltage of 18V or more is recommended. 90 W power draw for camera and OVF-1 in typical use recording 24 fps to SxS PRO cards, mirror shutter on, without accessories.
Power Out	12V connector: limited to 12 V, up to 2.2A. RS, EXT and ETHERNET: input below 24V is regulated up to 24V, above 24V: input = output voltage. 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 Studio camera body + SxS Module: 8.0 Kg/17.6 lb ALEXA Studio camera body + SxS Module + OVF-1 + Center Camera Handle CCH-1: 10.2 Kg/22.5 lb
Dimensions	With OVF-1 and SxS Module: Length: 402 mm/15.83″, width: 268 mm/10.55”, height: 241 mm/9.49” Dimensional drawings available at www.arri.com/alexa/downloads
Environmental	-10° C to +45° C (+14° F to +113° F) @ 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 with LDS contacts, 54 mm stainless steel PL mount, Super 35 centered
Flange Focal Depth	52.00 mm nominal
Viewfinder	Optical viewfinder OVF-1 shows a bright, high contrast image for through-the-lens viewing with low distortion, accurate color fidelity and no delay. Can be used camera left or right and the viewfinder arm telescopes closer/farther from the camera body. Automatically keeps an upright image in all positions with an optional override for manual image rotation. Includes a flip in ND 0.6 contrast filter and 2x de-squeeze module for 2x anamorphic lenses (a 1.3x de-squeeze module is also available for retrofit). Includes Basic Insert Module BIM-1 for RGB frameglow. Accepts 8x and 10x 435 eyepieces, 435 eyepiece extensions and heated eyecups. With the optional ARRICAM Eyepiece Adapter AEA-1, the OVF-1 can accept the 8x ARRICAM Studio eyepiece, ARRICAM Studio Viewfinder Extension Medium and ARRICAM Studio Viewfinder Zoom Extension. Not compatible with Lite Universal Eyepiece. Can be replaced with the ALEXA Electronic Viewfinder EVF-1 by using the Electronic Viewfinder Adapter EVA-1
Assistive Displays	For EVF-1 and MON OUT: frame lines, surround view, camera status, false color exposure check, peaking focus check, electronic level, compare stored image with live image, RETURN IN video and anamorphic de-squeeze. MON OUT only: Reel & clip number. For OVF-1: Warning LEDs for REC (recording), BAT (battery low), FULL (SxS PRO card full). ALEXA Studio uses the same physical ground glass holder and frameglow frames as ARRICAMs, so ARRICAM ground glasses and frameglow masks could be used. However, the actual frameline dimensions are different, so for a precise alignment of framelines and captured pixels only ALEXA Studio ground glasses and frameglow masks are recommended.
Control	Camera right: main user interface with a 3” transflective 400 x 240 pixel LCD color screen, illuminated buttons, button lock and jog wheel. Camera left: operator interface with illuminated buttons, button lock and card swap button.
In-camera Recording	Records Apple QuickTime files with ProRes encoding onto either one or two (Dual Recording) SxS PRO cards in 16:9 mode only. All codecs legal range with embedded audio, timecode and metadata.   Codec: QuickTime/ProRes 4444 Compression (1): ‘5:1 Bit Rate in Mb/s at 30 fps: 330 Bit Depth: 12 Color Coding: 4:4:4 RGB Recording time in hrs:min (2): ‘0:22 Application: High
Recording Outputs	2x 1.5 G or 3G REC OUT BNC connectors for ARRIRAW (4:3 or 16:9) or HD-SDI video (16:9 only). Both with embedded audio, timecode, metadata and optional recording flag. ARRIRAW 16:9: 2880 x 1620, 4:3: 2880 x 2160. Both uncompressed 12 bit log without white balance or exposure index processing applied. Requires an ARRIRAW T-Link certified recorder. HD-SDI video 16:9: uncompressed 1920 x 1080 4:4:4 RGB or 4:2:2 YCbCr; both 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	2x MON OUT BNC connector for uncompressed 1.5G HD-SDI video (4:3 or 16:9): 1920 x 1080, 4:2:2 YCbCr; legal range.
Image Processing	16 bit linear internal image processing. Target color spaces for ProRes, REC OUT and MON OUT: Log C (film matrix off), Log C (film matrix on), Rec 709 or DCI P3. For Rec 709 and DCI P3 a customized look can be applied during record and playback with ARRI Look Files. Optional horizontal image mirroring.
Synchronization	Master/Slave mode for precision sync of settings, sensor, processing, HD-SDI outputs and QuickTime/ProRes recording for 3D applications. Automated sync of lens settings for 3D applications in Master/Slave mode.
Playback	QuickTime/ProRes clips can be played back from SxS PRO cards to the EVF-1, MON OUT and REC OUT. Playback audio is available embedded in the MON OUT and REC OUT signals and on the headphones jack.
Audio	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. Audio is recorded uncompressed into the QuickTime/ProRes files and embedded uncompressed in all HD-SDI outputs, including ARRIRAW T-Link. 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 (REC OUT 1/REC OUT 2) 2x BNC monitoring out HD-SDI, 1.5G (MON OUT) 1x XLR 5 pin audio in (AUDIO IN) 1x BNC return signal HD-SDI, 1.5G (RET/SYNC IN) 1x LEMO 16 pin external accessories (EXT) 1x Fischer 2 pin 24 V power in (BAT) 3x 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 24 V power (ETHERNET) 2x Fischer 5 pin Lens Control System (LCS) 1x Fischer 5 pin Lens Data Display (LDD) 1x Fischer 12 pin for CLM-2, CLM-3 or later (IRIS) 1x Fischer 12 pin for CLM-2, CLM-3 or later (ZOOM) 1x Fischer 12 pin for CLM-2, CLM-3 or later (FOCUS)
SD Card	For importing ARRI Look Files, camera set up files, frame line files, feature license keys and custom lens tables for the Lens Data Archive (LDA). Stores captured stills from the REC OUT image path in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) and JPEG (.jpg, 8 bit) format as well as logging files. 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 can be exchanged for future control electronics. Exchangeable Lens Mount (ELM) allows other lenses beyond PL mount lenses to be used. Simple camera software updates. License keys included in purchase: Anamorphic De-squeeze and High Speed.
	Note: All technical data based on Software Update Packet (SUP) 5.1 (16:9) and SUP 5.2 Open Beta (4:3). A SUP that makes switching between 16:9 and 4:3 and further features possible will be available in 2012.

ALEXA PLUS

ALEXA Plus Technical Data

Camera Type	35 format film-style digital camera with electronic viewfinder, integrated shoulder arch, built-in support for the ARRI Wireless Remote System (WRS), cmotion cvolution lens control system and ARRI Lens Data System (LDS).
Sensor	35 format ALEV III CMOS with Dual Gain Architecture (DGA) and Bayer pattern color filter array.
Photosites	2880 x 1620 for ARRIRAW, 2880 x 1620 down sampled to 1920 x 1080 for HD video and ProRes
Operating Modes	Regular or High Speed mode. High Speed mode requires license purchase. Switching takes approximately 40 seconds.
Frame Rates	ProRes 422 (Proxy), 422 (LT), 422 and 422 (HQ): 0.75 – 60 fps ProRes 422 (Proxy), 422 (LT), 422 and 422 (HQ) with High Speed license: 0.75 – 120 fps Prores 4444 with 32 GB SxS PRO cards: 0.75 – 40 fps ProRes 4444 with 64 GB SxS PRO cards, SUP 5.0 or later: 0.75 – 60 fps DNxHD 145 and 220x: 0.75 – 60 fps DNxHD 145 and 220x with High Speed license: 0.75 – 120 fps HD-SDI: 0.75 – 60 fps ARRIRAW SUP 5.0 or later: 0.75 – 60 fpsAll speeds adjustable with 1/1000 fps precision
Shutter	Electronic rolling shutter, 0.75 – 60 fps: 5.0º – 358.0º, 60 – 120 fps: 356º. Shutter angle setting precision: 1/10 degree.
Exposure Latitude	14 stops for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC)
Exposure Index	EI 160 (+5.0 / -9.0), EI 200 (+5.3 / -8.7), EI 400 (+6.3 / -7.7), EI 800 (+7.4 / -6.6), EI 1600 (+8.4 / -5.6), EI3200 (+9.4 / -4.6) Values 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 are the same except for 0.5 stops fewer 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.
White Balance	Separate white balance (red/blue) and color correction (green/magenta) adjustment through Auto or manual setting. Red/blue: 2000 to 11000 Kelvin, adjustable in 100 K steps, with presets of 3200 (tungsten), 4300 (fluorescent), 5600 (daylight) and 7000 (daylight cool). Green/magenta: -8 to +8 color correction (CC), 1 CC = 035 Kodak CC values or 1/8 Rosco values.
Sound Level	Under 20 db(A) @ 24 fps and ≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to ‘Regular’, measured 1 m/3 feet in front of the lens. Silent operation at higher temperatures possible with fan mode set to ‘Rec low’.
Power 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 24 fps to SxS PRO cards, without accessories.
Power Out	12V connector: limited to 12 V, up to 2.2A. RS, EXT and ETHERNET: input below 24V is regulated up to 24V, above 24V: input = output voltage. 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 Plus camera body + SxS Module: 7.0 Kg/15.4 lb ALEXA Plus camera body + SxS Module + EVF-1 + Viewfinder Mounting Bracket VMB-2 + viewfinder cable + Center Camera Handle CCH-1: 8.4 Kg/18.5 lb
Dimensions	Length: 332 mm/12.95”, width: 175 mm/6.89”, height: 158 mm/6.22 Dimensional drawings available at www.arri.com/alexa/downloads”
Environmental	-20° C to +45° C (-4° F to +113° F) @ 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 with LDS contacts, 54 mm stainless steel PL mount, Super 35 centered
Flange Focal Depth	52.00 mm nominal
Viewfinder	Low latency (≤1 frame delay) electronic color viewfinder ARRI EVF-1 with 1280 x 784 F-LCOS micro display (image: 1280 x 720, status bars: 1280 x 32 above and 1280 x 32 below image) and ARRI LED illumination, both temperature controlled. Image can be flipped for use of viewfinder on camera left or right. Viewfinder Mounting Bracket allows movement of viewfinder forward/backwards, left/right, up/down, 360 degree rotation and placement on camera left or right. EVF-1 controls: viewfinder and basic camera settings, ZOOM button (2.25x pixel to pixel magnification), EXP button (false color exposure check) and jog wheel.
Assistive Displays	For EVF-1 and MON OUT: frame lines, surround view, camera status, false color exposure check, peaking focus check, electronic level, compare stored image with live image, RETURN IN video and anamorphic de-squeeze. Anamorphic de-squeeze requires license purchase. MON OUT only: Reel & clip number.
Control	Camera right: main user interface with 3” transflective 400 x 240 pixel LCD color screen, illuminated buttons, button lock and jog wheel. Camera left: operator interface with illuminated buttons, button lock and card swap button.
In-camera Recording	Records Apple QuickTime/ProRes files or MXF/DNxHD files onto one or two (Dual Recording) SxS PRO cards. All codecs record legal range video with embedded audio, timecode and metadata.   Codec: QuickTime/ProRes 4444 Compression (1): ‘5:1 Bit Rate in Mb/s at 30 fps: 330 Bit Depth: 12 Color Coding: 4:4:4 RGB Recording time in hrs:min (2): ‘0:22 Application: High
Recording Outputs	2x 1.5G or 3G REC OUT BNC connectors for ARRIRAW or HD-SDI video. Both with embedded audio, timecode, metadata and optional recording flag. ARRIRAW: 2880 x 1620, uncompressed 12 bit log without white balance or exposure index processing applied. Requires an ARRIRAW T-Link certified recorder.   HD-SDI video: uncompressed 1920 x 1080 4:4:4 RGB or 4:2:2 YCbCr; both 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 1.5 G HD-SDI video: 1920 x 1080, 4:2:2 YCbCr; legal range.
Image Processing	16 bit linear internal image processing. Target color spaces for SxS, REC OUT and MON OUT: Log C (film matrix off), Log C (film matrix on), Rec 709 or DCI P3. For Rec 709 and DCI P3 a customized look can be applied during record and playback with ARRI Look Files. Optional horizontal image mirroring.
Synchronization	Master/Slave mode for precision sync of settings, sensor, processing, HD-SDI outputs and SxS recording for 3D applications.
Playback	QuickTime/ProRes and MXF/DNxHD clips can be played back from SxS PRO cards to the EVF-1, MON OUT and REC OUT. Playback audio is available embedded in the MON OUT and REC OUT signals and on the headphones jack.
Audio	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. Uncompressed audio is recorded into the QuickTime/ProRes file or MXF/DNxHD file and embedded in all HD-SDI outputs, including ARRIRAW T-Link. Max of 2.5 dBm output from AUDIO OUT headphones connector.
Connectors	Slots for SxS PRO cards (SxS), Camera body 2x BNC recording out HD-SDI, 1.5G/3G (REC-OUT 1/2), Camera body 1x BNC monitoring out HD-SDI, 1.5G (MON OUT), Camera body 1x XLR 5 pin audio in (AUDIO IN), Camera body 1x BNC return signal HD-SDI, 1.5G (RET/SYNC IN), Camera body 1x LEMO 16 pin external accessories (EXT), Camera body 1x Fischer 2 pin 24 V power in (BAT), Camera body 2x Fischer 3 pin 24 V remote start and accessory power out (RS), Camera body 1x LEMO 2 pin 12 V accessory power out (12 V), Camera body 1x LEMO 5 pin timecode in/out (TC), Camera body 1x TRS 3.5 mm headphone mini stereo jack out (AUDIO OUT), Camera body 2x LEMO 10 pin Ethernet with 24 V power (ETHERNET), Camera body 1x LEMO SMPTE 304M hybrid fiber connector (Optical Link), Camera body 1x LEMO SMPTE 304M hybrid fiber connector (Optical Link), Camera head 1x LEMO custom 16 pin electronic viewfinder (EVF), Camera head 1x Fischer 2 pin 24 V power in (BAT), Camera head 2x Fischer 3 pin 24 V remote start and accessory power out (RS), Camera head 1x LEMO 10 pin Ethernet with 24 V power (ETHERNET), Camera head
SD Card	For importing ARRI Look Files, camera set up files, frame line files, feature license keys and custom lens tables for the Lens Data Archive (LDA). Stores captured stills from the REC OUT image path in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) and JPEG (.jpg, 8 bit) format as well as logging files. 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) allows other lenses beyond PL mount lenses to be used. Simple camera software updates. Licenses available for purchase: Anamorphic De-squeeze, High Speed, DNxHD.

ARRI ALEXA M

ALEXA M Technical Data

Camera Type	35 format film-style digital camera with separate camera head and body.
Photosites	16:9 sensor mode: 2880 x 1620 for ARRIRAW, 2880 x 1620 down sampled to 1920 x 1080 for HD video, ProRes and DNxHD4:3 sensor mode: 2880 x 2160 for ARRIRAW, 2880 x 2160 down sampled to 1440 x 1080 (pillar box) for monitoring in EVF-1 and HD video (MON OUT only)
Operating Modes	16:9 or 4:3 sensor mode. 4:3 mode is currently only available for ARRIRAW. Regular (max. 60 fps) or High Speed mode (max. 120 fps).
Frame Rates	16:9 sensor mode: ProRes 422 (Proxy), 422 (LT), 422 and 422 (HQ), DNxHD 145 and 220x: 0.75 – 120 fps; ProRes 4444: 0.75 – 60 fps; HD-SDI: 0.75 – 60 fps; ARRIRAW: 0.75 – 60 fps4:3 sensor mode: ARRIRAW: 0.75 – 48 fps
Shutter	Electronic rolling shutter, 0.75 – 60 fps: 5.0º – 358.0º, 60 – 120 fps: 356º. Shutter angle setting precision: 1/10 degree.
Exposure Latitude	14 stops for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC)
Exposure Index	Values 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 are the same except for 0.5 stops fewer 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.
White Balance	Separate red/blue and green/magenta balance available through Auto White Balance or manual setting. Red/blue: 2000 to 11000 Kelvin, adjustable in 100 K steps, with presets of 3200 (tungsten), 4300 (fluorescent), 5600 (daylight), 7000 (daylight cool). Green/magenta: -8 to +8 color correction (CC), 1 CC = 035 Kodak CC values or 1/8 Rosco values.
Sound Level	Under 20 db(A) @ 24 fps and ≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached, measured 1 m/3 feet in front of the lens.
Power In	Three inputs at the camera body: BAT connector, battery adapter back and battery adapter top. All accept 10.5 to 34 V DC. 85 W power draw for body in typical use recording to SxS PRO cards, without accessories. 40W power draw for head in typical use without accessories. A 24 V power input to the body is required to power the camera head from the body through a standard SMPTE 311M hybrid fiber cable up to 50 meters, without accessories. The camera head has one 10.5 to 34 V DC power input that can be used to power the head independently from the camera body.
Power Out	Several outputs at the camera body: 12 V connector: limited to 12 V, up to 2.2 A. RS, EXT and ETHERNET: input below 24 V is regulated up to 24 V, above 24 V: input = output voltage. Both RS and EXT connectors combined: up to 2.2 A. ETHERNET: up to 1.2 A. Maximum power draw is also limited by the power source. The camera head offers two RS connectors and one ETHERNET connector, with the same specifics as on the camera body.
Weight	ALEXA camera body + SxS Module: 5.5 kg/12.1 lbs; ALEXA camera head: 2.9 kg/6.4 lbs
Dimensions	Body: Length: 323mm, width: 153mm, height: 158mm; Head: Length: 212mm, width: 129mm, height: 149mm. Dimensional drawings available at www.arri.com/alexa/downloads
Environmental	-20° C to +45° C (-4° F to +113° F) @ 95% humidity max, non condensing. Splash and dust proof through sealed electronics. System cooling through radiator/single fan on camera head and body.
Lens Mount	ARRI Exchangeable Lens Mount (ELM); ships with Lens Adapter PL Mount with LDS contacts, 54 mm stainless steel PL mount, Super 35 centered.
Flange Focal Depth	52.00 mm nominal
Viewfinder (optional)	Low latency (≤1 frame delay) electronic color viewfinder ARRI EVF-1 with 1280 x 784 F-LCOS micro display (image: 1280 x 720, status bars: 1280 x 32 above and 1280 x 32 below image) and ARRI LED illumination, both temperature controlled. Image can be flipped for use of viewfinder on camera left or right. Viewfinder Mounting Bracket allows movement of viewfinder forward/backwards, left/right, up/down, 360 degree-rotation and placement on camera left or right. EVF-1 controls: viewfinder and basic camera settings, ZOOM button (2.25x pixel to pixel magnification), EXP button (false color exposure check) and jog wheel.
Assistive Displays	For EVF-1 and MON OUT: frame lines, surround view, camera status, false color exposure check, peaking focus check, compare stored image with live image, RETURN IN video and anamorphic de-squeeze. MON OUT only: Reel & clip number.
Control	Camera body right: main user interface with 3” transflective 400 x 240 pixel LCD color screen, illuminated buttons, button lock and jog wheel. Camera head back: REC button and POWER button (POWER button is active when head is run by local power supply through the head’s BAT input).
In-camera Recording	Records Apple QuickTime files with ProRes encoding or MXF files with DNxHD encoding onto either one or two (Dual Recording) SxS PRO cards. All codecs legal range with embedded audio, timecode and metadata.
Recording Outputs	2x 1.5 G or 3G REC OUT BNC connectors on the camera body for ARRIRAW T-Link or HD-SDI video. Both with embedded audio, timecode, metadata and optional recording flag. ARRIRAW 2880 x 1620 (16:9), 2880 x 2160 (4:3) uncompressed 12 bit log without white balance or exposure index processing applied. Requires an ARRIRAW T-Link certified recorder. HD-SDI video: uncompressed 1920 x 1080 (16:9) 4:4:4 RGB or 4:2:2 YCbCr; both 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 on the camera body for uncompressed 1.5G HD-SDI video: 1920 x 1080 (16:9), 4:2:2 YCbCr legal range.
Image Processing	16 bit linear internal image processing. Target color spaces for all ProRes codecs, DNxHD 220x, REC OUT and MON OUT: Log C (film matrix off), Log C (film matrix on), Rec 709 or DCI P3. Target color spaces for DNxHD 145: Rec 709 or DCI P3. For Rec 709 and DCI P3 a customized look can be applied during record and playback with ARRI Look Files. Optional horizontal image mirroring.
Synchronization	Master/Slave mode for precision sync of settings, sensor, processing, HD-SDI outputs and QuickTime/ProRes or MXF/DNxHD recording for 3D applications.
Playback	QuickTime/ProRes or MXF/DNxHD clips can be played back from SxS PRO cards to the EVF-1, MON OUT and REC OUT. Playback audio is available embedded in the MON OUT and REC OUT signals and on the headphones jack.
Audio	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. Audio is recorded uncompressed into the QuickTime/ProRes or MXF/DNxHD files and embedded uncompressed in all HD-SDI outputs, including ARRIRAW T-Link. Max of 2.5 dBm output from AUDIO OUT headphones connector.
Connectors	Slots for SxS PRO cards (SxS), Camera body 2x BNC recording out HD-SDI, 1.5G/3G (REC-OUT 1/2), Camera body 1x BNC monitoring out HD-SDI, 1.5G (MON OUT), Camera body 1x XLR 5 pin audio in (AUDIO IN), Camera body 1x BNC return signal HD-SDI, 1.5G (RET/SYNC IN), Camera body 1x LEMO 16 pin external accessories (EXT), Camera body 1x Fischer 2 pin 24 V power in (BAT), Camera body 2x Fischer 3 pin 24 V remote start and accessory power out (RS), Camera body 1x LEMO 2 pin 12 V accessory power out (12 V), Camera body 1x LEMO 5 pin timecode in/out (TC), Camera body 1x TRS 3.5 mm headphone mini stereo jack out (AUDIO OUT), Camera body 2x LEMO 10 pin Ethernet with 24 V power (ETHERNET), Camera body 1x LEMO SMPTE 304M hybrid fiber connector (Optical Link), Camera body 1x LEMO SMPTE 304M hybrid fiber connector (Optical Link), Camera head 1x LEMO custom 16 pin electronic viewfinder (EVF), Camera head 1x Fischer 2 pin 24 V power in (BAT), Camera head 2x Fischer 3 pin 24 V remote start and accessory power out (RS), Camera head 1x LEMO 10 pin Ethernet with 24 V power (ETHERNET), Camera head
SD Card	For importing ARRI Look Files, camera set up files, frame line files and feature license keys. Stores captured stills from the REC OUT image path during Regular Speed (not High Speed) in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) and JPEG (.jpg, 8 bit) format as well as log files. 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 can be exchanged for future control electronics. Exchangeable Lens Mount (ELM) allows other lenses beyond PL mount lenses to be used. Simple camera software updates.

RED ONE MYSTERIUM-X

SENSOR	14 MEGAPIXEL MYSTERIUM-X™
PIXEL ARRAY	5120 (h) x 2700 (v)
S/N RATIO	66db
DYNAMIC RANGE	13+ stops
MAX IMAGE AREA	4480 (h) x 2304 (v)
LENS COVERAGE	24.2mm (h) x 12.5mm (v) x 27.3 mm (d)
DEPTH OF FIELD	Equivalent to S35mm (Motion) lens Equivalent to 16mm (Motion) lens in 2K RAW
ACQUISITION FORMATS	4.5K RAW (2.4:1) 4K RAW (16:9, HD, 2:1, and Anamorphic 2:1) 3K RAW (16:9, 2:1, and Anamorphic 2:1) 2K RAW (16:9, 2:1, and Anamorphic 2:1)
PROJECT FRAME RATES	23.98, 24, 25, 29.97 fps @ 4.5K, 4K plus 50, 59.94fps @ 3K, 2K
DELIVERY FORMATS *	4K : DPX, TIFF, OpenEXR (RED RAY via optional encoder) 2K : DPX, TIFF, OpenEXR (RED RAY via optional encoder) 1080p RGB or 4:2:2, 720p 4:2:2 : Quicktime, JPEG Avid AAF, MXF. 1080p 4.2.0, 720p 4:2:0 : H.264, .MP4
MONITOR OUTPUTS	HD-SDI and HDMI with Frame Guides and Look Around 720p RGB or 4:2:2 SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio
DIGITAL MEDIA	REDFLASH (CF) Module : (16GB Media) RED SSD™ (64GB, 128GB, 256GB Capacity)
REDCODE™	12-bit RAW : RC28, 36, 42 Quality Levels 1-30 fps 4.5K, 4K 1-60 fps 3K 1-120 fps 2K
AUDIO	4 channel, uncompressed, 24 bit, 48KHz.
MONITORING OPTIONS	RED LCD 5″ Flat Panel Display RED PRO LCD 7″ Flat Panel Display BOMB EVF™ High Definition Viewfinder
REMOTE CONTROL	USB-2, GPI Trigger
WEIGHT	10lbs. Body
CONSTRUCTION	Aluminum Alloy
TEMPERATURE RANGES	Operating Range: 0˚C to +40˚C (32˚F to 104˚F) Storage Range: -20˚C to +50˚C (-4˚F to 122˚F)