Main Features >>
- 4:3 Super 35 sensor
- Switch between 16:9 and 4:3 sensor modes
- Anamorphic de-squeeze license included
- High speed license included
- DNxHD license included
Shooting with anamorphic lenses for 2.39:1 widescreen distribution, a process often referred to as CinemaScope (trademark 20th Century Fox), results in unique images that have long been appreciated by cinematographers, directors and the viewing public alike. The fundamentals of the process apply to digital acquisition in exactly the same way as they always have done to film, so long as one has a sensor that is the size and shape of a film frame, and a viewfinder that can de-squeeze the compressed image. The ALEXA system ticks both of these boxes.
At NAB 2012 ARRI is announcing the ALEXA Plus 4:3, a new ALEXA model that has similar functionality to the ALEXA Plus but features a 4:3 Super 35 sensor, the ability to switch from 16:9 sensor mode to 4:3 sensor mode, and built-in licenses for high speed shooting, DNxHD recording and anamorphic de-squeeze.
The ALEXA Plus 4:3 joins the ALEXA Studio and ALEXA M, which already have 4:3 sensors, rounding out a line-up that now represents the perfect solution for anamorphic productions. The Studio might typically function as an A-camera, the Plus 4:3 as a B-camera and the M as a compact, versatile C-camera for handheld, Steadicam, aerial and action photography.
Anamorphic lenses squeeze the image by a factor of two, thus projecting a 1.195:1 aspect ratio image onto the sensor. When using sensors that are natively 16:9 or even wider, it is necessary to crop the sides, resulting in a much smaller used sensor area and a different angle of view for the lens.
With the ALEXA 4:3 cameras, the full area of the sensor is used and a much higher image quality retained. In addition, the unique optical characteristics of anamorphic lenses the magic at the heart of anamorphic cinematography are rendered faithfully and fully in the digital image.
The new ARRI Anamorphic Ultra Wide Zoom AUWZ 19-36/T4.2 is the widest professional anamorphic lens in the world. It allows anamorphic productions to incorporate visually stunning and distortion-free wide-angle perspectives into their storytelling.
Cinematographer Tom Faehrmann tests the new Master Anamorphic Flare Sets, which enhance on-set creativity by giving each of the seven focal lengths three additional looks without sacrificing the resolution, lack of distortion or corner-to-corner optical performance for which the Master Anamorphics are famous.