ARRI – MPS Film https://mpsfilm.com Camera Rental, Lighting & Studio Dallas - Fort Worth & Austin Thu, 20 Feb 2025 23:59:25 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 https://mpsfilm.com/wp-content/uploads/2021/06/MPS-Film-Favicon-White-70x70-1.jpg ARRI – MPS Film https://mpsfilm.com 32 32 ARRI ALEXA MINI – AVAILABLE WITH 4:3 LICENSE AND ARRI RAW LICENSE https://mpsfilm.com/product/arri-alexa-mini/ Mon, 20 Feb 2023 22:04:51 +0000 https://redfivellc.com/mpsfilm/?post_type=product&p=81 The ALEXA Mini offers up to 200 frames per second in a go-anywhere package! Car shots. Aerials. Steadicam. Record in any orientation, including upside down and portrait. Use with spherical glass, or our new Cooke Anamorphics. 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. Call us for your next ARRI ALEXA Mini Rental, and let us customize a package catered to your project.]]> The compact and lightweight ARRI ALEXA Mini is a highly versatile tool on set. In some productions it is used as a second or third camera, while in others it is the main camera throughout a shoot. As a result, it is frequently moved from one configuration to another. Any time savings that can be made during these transitions will have a big impact on the daily shooting schedule. Our kits include Gold Mount power box, CFast card reader, and camera cage with top handle. Contact us to customize an ARRI ALEXA Mini Kit for your next project!

ARRI ALEXA Mini Features:

  • Records ProRes or ARRI RAW in-camera on CFast cards
  • Up to 200 frames per second (ProRes)
  • 4:3 Sensor
  • Automatic anamorphic de-squeeze
  • High dynamic range
  • Low noise
  • Quality and reliable ARRI is known for
  • Available with ARRI RAW and Anamorphic Licenses

Pairs beautiful with our Cooke Anamorphic lenses, available in 25mm, 32mm, 40mm, 50mm, 65mm macro, 75mm, 100mm, 135mm, and 180mm.

Compact, lightweight, and self-contained – ARRI ALEXA Mini is the small and versatile allrounder in the ARRI camera family. Used on countless commercials and big budget features, the Alexa Mini quickly became the new industry standard. The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. An ALEXA Mini can be operated in number of ways: by wireless remote control, as an A-camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. Designed with new-generation brushless gimbals, multicopters and other specialized rigs in mind, ALEXA Mini is light enough to be comfortably held at arm’s length in a hand rig, while its compact size also makes it ideal for tight shooting conditions, as well as underwater, aerial, car, action, and 3D shoots. With an ALEXA Mini you can literally shoot everywhere with the best image quality. Offered with PL or EF mounts. Check out our lenses for spherical and anamorphic options.

Check out ARRI.com for a list of feature credits, including JOKER, THE IRISHMAN, DISNEY’S ALADDIN, KNIVES OUT, and ROCKETMAN.

Call us for your next ARRI ALEXA MINI Rental, and let us customize a package catered to your project.

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, must be requested at time rental is placed
**) requires ALEXA Mini ARRIRAW License Key, must be requested at time rental is placed
***) requires both ALEXA Mini 4:3 and ARRIRAW Licenses Keys, must be requested at time rental is placed

]]> ARRI ALEXA 35 https://mpsfilm.com/product/arri-alexa-35-rental/ Mon, 10 Oct 2022 04:32:57 +0000 https://mpsfilm.wpengine.com/?post_type=product&p=7742 ARRI ALEXA 35, the much anticipated new 4K Super 35 camera from ARRI is taking the world by storm! Boasting a new 4:3 4K.6 sensor that delivers 2.5 of additional dynamic range, improved performance in low light, and richer, more accurate color reproduction. This camera is new to the market, and new to MPS.]]>

ARRI ALEXA 35 RENTAL OVERVIEW

The ARRI ALEXA 35 rental, a Super35-format camera boasting a new 4:3 4K.6 sensor that delivers 2.5 of additional dynamic range, improved performance in low light, and richer, more accurate color reproduction. Compact and easy to operate, the ARRI ALEXA 35 offers both MFX/ARRIRAW and MFX/Apple ProRes capture to 1 or 2TB Codex drives with resolutions up to 4.6K and frame rates up to 120p.

The ARRI ALEXA 35 expands your creative control options using the new REVEAL color science, color matching with existing ARRI cameras, and multiple Texture Files that bestow an ability to select looks akin to choosing a film stock, both during capture and in post-production. Although housed in a compact form, the ARRI ALEXA 35 camera incorporates a full feature set, including a left-side display, independent SDI outputs, audio inputs, motorized ND filters, two wireless radios, and both 12 and 24V accessory ports.

4.6K Super35 ARRI ALEV 4 CMOS Sensor

Key to the ARRI ALEXA 35’s amazing image quality is a new 4.6K Super35 CMOS sensor offering 17 stops of dynamic range, which is a robust 2.5 stops greater than prior ARRI cameras. Those 2.5 stops are split between 1.5 stops at the top end, resulting in filmlike highlight roll-off, and 1 stop at the lower end to see even deeper into shadows without overexposing other areas. Ideal for HDR projects and any backlit setups, the ALEXA 35’s wide dynamic range can also be a boon when tweaking your images in post.

Video Recording Formats

In-camera down-sampling and anamorphic de-squeezing enable the ARRI ALEXA 35 to offer a robust array of 19 ARRIRAW and Apple ProRes recording formats with different resolutions, data rates, aspect ratios, and other factors, suiting the camera to a range of production styles. Recording resolutions include 4.6, 4, 3.3, 3, 2.7, and 2K options.

Stray Light Suppression

Stray-light suppression technology is used in both the camera and the new ARRI PL (Hirose or LBUS) lens mounts to deliver the full contrast range from your choice of lenses while eliminating any grayish tones.

High ISO Camera

With an EI of 160 to 6400, the ALEXA 35 offers higher sensitivity and lower noise than ever before in the ARRI lineup, even in low-light settings. An optional Enhanced Sensitivity Mode (EI 2560-6400) works with the camera’s wide dynamic range to produce nuanced images in darker environments and is ideal for impromptu or available-light capture.
REVEAL Color Science

Created with the input of both cinematographers and colorists, ARRI’s REVEAL color science employs six factors to create improved color, contrast, sensitivity, and dynamic range.

  • A new debayering algorithm combines with the ALEXA 35’s impressive processing power to create cleaner-edged images that are perfect for compositing work.
  • The new ACE4 color engine converts RGB image data into the ARRI Wide Gamut color space (AWG4), producing more accurate colors and improving color saturation and tracking, even with subtle tones and lower light levels.
  • The AWG4 camera color space is larger than Rec. 2020 but bypasses “virtual” colors that are outside the human visual spectrum, providing faster grading, easier color space conversion, and compatibility with the ACES system.
  • A new Log-C 4 tonal curve enables the ALEXA 35’s larger 17-stop dynamic range; note that the Log-C 4 look appears darker before conversion to Rec. 709 or another color space.
  • New LUTs use the improved sensor, color space, and Log-C 4 to produce optimal shadow tonality, color fidelity, and color-grading base. These new LUTS must be used with Log-C 4; they do not offer the manual control that some used with Log-C 3.
  • The ALEXA 35 offers backward compatibility for intercutting with ALEXA, ALEXA Mini, and AMIRA images, and the ALEXA Mini LF and ALEXA LF images may be processed via REVEAL to match your ALEXA 35 footage. Processed images will not offer the higher dynamic range nor ARRI Textures but will have cleaner edges, better color, easier grading, and ACES, Log-C 4, and new LUT compatibility.

Versatile Lens Choices

This Lightweight Set comes with both an LBUS LPL mount and a PL to LPL adapter, providing compatibility with a wide array of cine-style lenses.  The ALEXA 35 is compatible with all common metadata standards and can stream metadata in real time using an optional plug-in.
At 8 x 6 x 5.8″, the ALEXA 35’s compact, rugged form is similar to that of the ALEXA Mini, but it incorporates the features of the larger ALEXA camera. Assistants and operators will appreciate familiar features like a simple menu structure, recording to 1 or 2TB Codex Compact drives, and a temperature-resistant, splash- and dust-proof housing. Updates include the addition of HDR viewing with the MVF-2 viewfinder, adjustable SDI text overlay, the ability to turn individual frame lines on and off, and Info Panels that present camera information in an easy-to-read form.
Interfaces
  • Left display: The new left-side display is ideal for stabilizer, drone, and crane use, enabling you to view the status and change settings without having an EVF attached. You can even select the ND filter setting to show as the display “screensaver”, creating a quick visual reminder for any stop compensation needed.
  • Connectors: The right side of the ARRI ALEXA 35 offers a full interface, including a second EVF port, two 1.5/3/6/12G-SDI outputs with a return option on the second one, timecode in/out, and both 12 and 24V accessory output ports.
  • Ethernet: An Ethernet port offers real-time streaming of metadata for use in mixed reality productions (MRP).
  • Audio: The ALEXA 35 audio options include two internal microphones like the ALEXA Mini LF, one 6-pin LEMO input, one 3.5mm headphone jack, embedded SDI audio, and compatibility with the AEM-1 audio module.

Dedicated Accessories

  • Mechanical accessories in this 19mm Production Set include dedicated top, side, and bottom components like an EVF support, a top plate and top handle, a bridge plate adapter, side brackets, and a baseplate and dovetail system.
  • Electronic accessories include the Multi Viewfinder MVF-2 and PDM-1 power distribution module that are part of this set and the separately available AEM-1 audio extension module with one AES3/AES42 and two mic/line mini-XLR inputs.

24V B-Mount Battery Power

The 24V ARRI ALEXA 35 camera can be powered using the included ARRI B-Mount battery adapter and separately available batteries. The versatile B-Mount system can also power both 12 and 24V accessories, saving you the weight and space required when using two separate batteries. Third-party adapters from Anton Bauer, Hawk-Woods, and CORE SWX can be used with compatible 26V batteries. A PDM-1 Power Distribution Module is also available separately for adding seven more accessory power ports.

ARRI Tools and Apps

Make both capture and post-production easier with the range of free tools, apps, and tutorials found on the ARRI website. Use the Camera Companion app for single or multicamera remote control, the ARRIRAW HDE Transcoder for reducing ARRIRAW file sizes, and the ARRI Reference tool to create and look at files, for SDR and HDR conversions, and to export Apple ProRes, OpenEXR, and TIFF files.
]]> ARRI ALEXA MINI LF https://mpsfilm.com/product/arri-alexa-mini-lf/ Tue, 31 Aug 2021 17:00:54 +0000 https://redfivellc.com/mpsfilm/?post_type=product&p=6659 The ARRI ALEXA MINI LF! The ARRI MINI LF has quickly become the industry standard in large-format recording, and pairs perfectly with our Cooke S7 Primes and Angenieux EZ-1 and EZ-2 zooms. The ARRI ALEXA MINI LF combines the compact size and low weight of the popular ALEXA Mini with the large-format ALEXA LF sensor, ARRI Mini LF brings exciting new creative possibilities to ARRI’s large-format camera system. Robust and reliable, it provides the best overall image quality for large-format shooting, and features three internal motorized FSND filters, 12 V power input, extra power outputs, a new Codex Compact Drive, and a new MVF-2 high-contrast HD viewfinder. ALEXA MINI LF Rental Texas has never been easier! Simply contact or Austin or Dallas office to book yours today.]]> ARRI ALEXA MINI LF FULL FRAME CAMERA SYSTEM

ARRI ALEXA MINI LF Rental is now in inventory at MPS Studios! ALEXA MINI LF Rental Texas has never been easier! Simply contact or Austin or Dallas office to book yours today. Pairs perfectly with our Cooke S7 Primes!

The ARRI ALEXA AMINI LF combines the compact size and low weight of the popular ALEXA Mini with the large-format ALEXA LF sensor, ARRI ALEXA Mini LF brings exciting new creative possibilities to ARRI’s large-format camera system. Robust and reliable, it provides the best overall image quality for large-format shooting and features three internal motorized FSND filters, 12 V power input, extra power outputs, a new Codex Compact Drive, and a new MVF-2 high-contrast HD viewfinder.

ARRI’s large-format camera system launched in 2018 and is based around a 4.5K version of the ALEXA sensor, which is twice the size and offers twice the resolution of ALEXA cameras in 35 format. This allows filmmakers to explore their own take on the large-format look, with improvements on the ALEXA sensor’s famously natural colorimetry, pleasing skin tones, low noise, and suitability for High Dynamic Range (HDR) and Wide Color Gamut (WCG) workflows. ALEXA Mini LF now joins the existing system elements: the high-speed ALEXA LF camera, ARRI Signature Prime lenses, LPL lens mount, PL-to-LPL adapter, and Lens Data System LDS-2. The combined feature sets and form factors of ARRI’s two large-format cameras encompass all on-set requirements.

Used on countless commercials, movies, and tv shows, the ARRI ALEXA MINI LF has quickly become the industry standard in large-format recording. Check out the ARRI website for credits, including 1917, OUTLANDER, NOMAD, KING FURY 2, and THE WHITE TIGER.

The ALEXA Mini LF utilizes the same ALEV 3 A2X sensor as the ALEXA LF, though the electronics of the Mini LF have been modified to meet the size, power, and cooling requirements of such a compact camera system. While this does not affect image quality in any way, it is important to note that maximum framerates achievable in different recording formats are limited, compared to the full-size ALEXA LF:

  • ARRIRAW
    • LF Open Gate 4.5K: 40 fps (max.) @ 4448 x 3096
    • LF 2.39:1 4.5K: 60 fps (max.) @ 4448 x 1856
    • LF 16:9 UHD: 60 fps (max.) @ 3840 x 2160
  • Apple ProRes
    • LF Open Gate 4.5K: 40 fps (max.) @ 4448 x 3096
    • LF 2.39:1 4.5K: 60 fps (max.) @ 4448 x 1856
    • LF 16:9 UHD: 60 fps (max.) @ 3840 x 2160
    • LF 16:9 2K: 90 fps (max.) @ 2048 x 1152
    • LF 16:9 HD: 90 fps (max.) @ 1920 x 1080
    • LF Open Gate ProRes 4444 XQ: 40 fps (max.)
    • LF 2.39:1 ProRes 4444 XQ: 60 fps (max.)
  • NOTE: These specifications are preliminary values and subject to change.

The ALEXA Mini LF is natively compatible with ARRI and cmotion wireless lens control systems for easy integration with your existing equipment. A new, high definition, high-contrast MVF-2 electronic viewfinder has also been developed specifically for use with this camera (sold separately).

All components in the ARRI Large Format Camera System are designed to take full advantage of the larger sensor while offering compatibility with existing lenses, accessories, and workflows. The ALEXA Mini LF is compatible with LPL & PL Mount Full Format (Full Frame) and Super35 lenses, when the corresponding interchangeable lens mount or adapter is installed. LDS-2 or /i lens metadata is accessible via the LPL mount, and LDS-1 or /i metadata is supported via the PL-to-LPL Adapter (included). Other manufacturers offer proprietary lens mounts for both the ALEXA LF and ALEXA Mini LF cameras to support their own lenses. All anamorphic de-squeeze ratios are supported.

ALEXA MINI LF Rental Dallas and ALEXA MINI LF Rental Austin in has never been easier! Simply contact or Austin or Dallas office to book yours today.

]]> ARRI AMIRA https://mpsfilm.com/product/arri-amira/ Tue, 31 Aug 2021 17:00:31 +0000 https://redfivellc.com/mpsfilm/?post_type=product&p=6632 The ARRI AMIRA – the “go anywhere, shoot anything” camera! A versatile documentary-style camera that combines exceptional image quality and affordable CFast 2.0 workflows with an ergonomic design optimized for single-operator use and extended shoulder-mounted operation. Ready to pick up and shoot straight out of the camera bag, AMIRA is hardy enough to take anywhere and features in-camera grading with preloaded 3D LUTs, as well as 100 fps slow motion. It is suitable for a great variety of production types, from reportage and corporate films to TV drama and low-budget movies – wherever you’re going, the ARRI AMIRA is ready to go with you!

The ARRI AMIRA features:

  • Fast boot-up time – AMIRA boots up in about 13 seconds.
  • Color bar – a color bar is used mainly to judge the colorimetry of the monitor displaying the camera output.
  • Waveform display –a further tool for judging exposure levels.
  • Enhanced HD-SDI outputs: AMIRA’s HD-SDI outputs allow the overlay of information about timecode and other parameters that is seen in the viewfinder, to also be seen on monitors. Additionally, it is also possible to use an HD-SDI signal input as a further ‘genlock-like’ sync option.
  • LDS functionality: ARRI’s Lens Data System® (LDS) comprises a range of products generating highly accurate lens metadata for use on set and in post. When using an LDS lens on AMIRA’s LDS mount, lens data about iris, focus and zoom positions is visible in the viewfinder and all lens data will be embedded in the recorded QuickTime files.
  • 14 stops of dynamic range
  • Records up to 4K UHD
  • Records up to 200 FPS
  • Natural skin tones
  • Optimized for single operator
  • Internal ND filters (ND 6, ND 1.2, ND 2.1)
  • Sliding dovetails and perfect should balance
  • OLED eyepiece and fold away LCD monitor
  • Pre-load 3D LUTs and looks
  • ARRI Look Library
  • Cost-effective option with the reliability of ARRI manufacturing
  • In-camera color grading
  • Super 35 sensor
  • Weight: 9.2 lbs

The ARRI AMIRA – the perfect tool for your job – is a truly versatile camera that combines exceptional image quality and affordable CFast 2.0 workflows with an ergonomic design optimized for single-operator use and extended shoulder-mounted operation. Ready to pick up and shoot straight out of the camera bag, AMIRA is hardy enough to take anywhere and features in-camera grading with preloaded 3D LUTs, as well as 200 fps slow motion. The AMIRA ARRIRAW License Key enables in-camera 16:9 2.8K (2880 x 1620) MXF/ARRIRAW recording at frame rates of up to 48fps.

Enhanced HD-SDI outputs on the AMIRA allow the overlay of timecode and other information parameters which is seen within the optional viewfinder to also be seen on connected monitors. Per ARRI, you use an HD-SDI signal as further gunlock-like sync options.

The ARRI AMIRA is suitable for a great variety of production types, from TV drama and low-budget movies to nature films, sports coverage, commercials, reportage, branded content and multi-camera live TV. Wherever you are headed and whatever you need to shoot, let AMIRA be your companion. Works great as A Camera, also pairs beautifully with our ARRI ALEXA Mini‘s for multi-cam set ups. Speaking of set ups, this camera sets up in a matter of minutes, and is ready roll quickly and easily. Simply, put on a battery, lens, and media, and you’re ready to go. The ARRI AMIRA has been used on projects like Yellowstone, Ballers, and Sakawa.

Recording formats:

  • ARRIRAW
  • Apple ProRes 4444 XQ
  • Apple ProRes 4444
  • Apple ProRes 422 HQ
  • Apple ProRes 422
  • Apple ProRes 422 LT
  • MPEG-2 HD
]]>