Filmmaking cameras
Film cameras and Lenses used for
'The Batman'
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For The Batman DP Greig Fraser worked in close collaboration with Arri, to produce a new line of lenses based on their original Master Anamorphics. Fraser wanted a less clean version with that typical character of anamorphic lenses. The result is the Arri Alfa Series 2: beautiful sharpness and contrast and soft at the edges. Exactly what Fraser had in mind.
CAMERAS
Arri Alexa Mini
Compact, lightweight, and self-contained - ARRI ALEXA Mini is the small and versatile allrounder in the ARRI camera family. The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, ALEXA Mini comes with a series of interchangeable lens mount, allowing the use of B4 video, EF mount stills lenses, or with the even ARRI Signature Primes with the LPL mount for ALEXA Mini.
Sony Alta Venice
The VENICE camera is Sony's first full-frame sensor high-end digital cinematography camera. It is unmatched in the Sony range for the wide array of recording formats it supports, and features Dual Base ISO 500/ISO 2500.
This Sony Venice is meant to provide you with just the amount of camera you need, so you don't have to invest in more than necessary. It features a full-frame CMOS sensor with 15+ stops of dynamic range, but in its basic configuration it windows the sensor to shoot Super 35. The camera comes with a removable PL Mount that supports the Cooke /i Technology lens metadata protocols.
Eight integrated and motorized ND filters range from clear to seven stops of ND in one-stop increments. The camera features a built-in assistant-side info screen, along with a smaller basic info display screen on the operator side of the camera.
Arri Alexa LF
Featuring a sensor slightly larger than full frame, the ALEXA LF camera records native 4.5K with ARRI’s best overall image quality. This allows filmmakers to explore the immersive large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and stunning capability for HDR workflows. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, encompass all on-set workflow requirements.
Arri Alexa Plus 4:3
By 2012 the ALEXA Classic Plus had established itself as a the most popular high-end digital cinema camera in the world, and this model upgraded to a 4:3 sensor, associating it more closely with the Super 35 format and cementing the filmic reputation of the ALEXA system.
A thoughtful designed digital cinema camera, still going strong since it’s introduction. Delivering incredible production value at an affordable cost.
The Alexa Plus comes with a 16:9 (Super 35 format) image sensor and original SxS Module that accepts two SxS Pro or SxS Pro+ cards for in-camera ProRes or DNxHD recording. An external recorder is required for ARRIRAW recording. Additionaly this camera offers an integrated wireless remote control, ARRI Lens Data System (LDS), additional outputs, and built-in position & motion sensors.
LENSES
Atlas Orion
Orion Series lenses deliver the striking beauty of painterly waterfall bokeh, disproportionate breathing, and signature yet controlled flare. At the heart of Atlas Lens Co. Orion Series is a true front-anamorphic group. They offer vintage optical characteristics to include in your cinematic storytelling toolkit with a mechanical functionality that won't leave you feeling confounded by compromise.
Arri Prima DNA
DNA is a completely new concept in lens development, pioneered by ARRI Rental in collaboration with visually ambitious cinematographers. Sourcing vintage optics from different historical periods, we embrace unusual image attributes that arouse an emotional response.
Selected optics are rehoused into modern lens casings, with the manufacturing carried out in-house at ARRI Rental. Each lens has its own personality, often customized for individual filmmakers, allowing stories to be told with a new visual boldness.
Canon Xtal Express
Developed in the 1980s by Joe Dunton Cameras, anamorphic Xtals have been used to lens many high profile feature films, including Star Wars Episode VI, Layer Cake, Guardians of the Galaxy, .... They also remain a popular lens choice for cinematographers shooting music promos and commercials, especially when a striking and unique visual aesthetic is required.
Recommended cameras for use with Xtals: Sony Venice and ARRI Alexa Mini.
Cooke Xtal Express
Developed in the 1980s by Joe Dunton Cameras, anamorphic Xtals have been used to lens many high profile feature films, including Star Wars Episode VI, Layer Cake, Guardians of the Galaxy, .... They also remain a popular lens choice for cinematographers shooting music promos and commercials, especially when a striking and unique visual aesthetic is required.
Recommended cameras for use with Xtals: Sony Venice and ARRI Alexa Mini.
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Arri Alfa Series 2
The original idea behind ALFA lenses emerged from ARRI Rental's longstanding relationship with cinematographer Greig Fraser ACS, ASC, who was also a key collaborator on the DNA lens program. In response to Fraser's request for fresh large-format anamorphic options, ARRI Rental technicians modified sets of ARRI Master Anamorphic lenses, not just adapting them to cover the larger format, but redesigning and detuning them in pursuit of specific image attributes.
Overall, the ALFAs have a softer, more textured feel than Master Anamorphics, while still rendering all of the detail inherent to the larger format. Out-of-focus areas are more characterful and deconstructed, with enhanced edge fall-off contributing to the stunning bokeh. Point source highlights are livelier, with slightly more conspicuous halation.