![]() That’s not just my opinion, that’s what most top level DP’s think. It uses the same 3.4K ALEV III sensor found in previous Alexas that produces digital imagery of the highest fidelity with the closest proximity and organic texture and dynamic range to celluloid of any other. The SXT range retain the XT body for the most part. The SXT range will replace the ALEXA XT cameras (except the Alexa XT M, the Alexa Classic remains). ARRIRAW and ProRes available as recording options on all models in the range. The ALEXA SXT will do 4K DCI/True 4K/Cine whatever you call it (4096 x 2637 – more than 2160 because of the square-ish sensor size) to be exact and UHD in ProRes in camera among many other complex things – like Open Gate and 4:3 for anamorphic shooting. Less than a month ago we saw the ALEXA Mini at BVE 2015, and now it’s Part II of new cameras from ARRI.Įarlier today, the most respectable brand in the film industry, announced the next step in the evolution of their legendary ALEXA cameras – the ALEXA SXT. The last bit stands for Super Xtended Technology. This is what it is and this is what it does. ![]() No fluff, just the facts. For ARRI a new camera is business as usual – the images is what matters the most and this is just another (premium) tool for filmmakers to tell their stories. “The Best Just Got Better” – No teasers, no fanfares, no gimmicks – when ARRI releases a camera it’s a straightforward press release in a succinct, disciplined and clean German way.
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