ARRI acquires the Artemis line of stabilizers from Vitec Group

ARRI takes over the Artemis camera stabilization systems until now in the hands of Sachtler (Vitec Group) and at NAB 2016 shows an improved version of the cutting-edge Trinity system.

The German ARRI has surprised the market by announcing the purchase of Artemis' Trinity line of stabilizers. Until now in the hands of Sachtler (Vitec Group) these compact and lightweight stabilizers have two axes, a monitor support and joystick that are attached to the handle of the stabilizer, a battery module and a pendulum that allows perfect smooth movements. Modular design offers customized solutions and easy integration into existing workflows.

Trinity stands out from other systems by combining proven mechanical camera stabilization with modern 32-bit ARM-based stabilization technology. This combination offers uniquely fluid, wide and precise control movements for riding without restrictions and with total creative freedom.

New features for Alexa SXT

Alexa SXT not only meets UHD and 4K resolution needs with simple workflows, but is also uniquely equipped to create content that can take full advantage of emerging HDR (High Dynamic Range) display technologies. Additionally, the ability to record up to 120 fps at full image quality means that HFR (High Frame Rate) strategies to enhance the viewer experience can also be taken into consideration. The increasingly popular anamorphic shooting takes advantage of Alexa's unique high sensor and the new anamorphic recording formats offered in the SXT.

Whatever your budget, target market, resolution demands, aspect ratio, lens options or post-production intentions, there is an ideal Alexa SXT recording format to ensure easy on-set operation and a smooth feed of images. Alexa SXT cameras offer a total of 14 recording formats. These “out of the box” options offer the most economical path to the best overall image quality with anamorphic lenses.

The camera creates a display-ready ProRes image in DCI 2K or 4K delivery format, with no debayering, cropping, rescaling, or in-post decompression required. It offers the widest pixel raster and also fits within the image circle of most ARRI Super 35 PL mount lenses, achieving 120 fps. With less data load than 4K, but with enough resolution for boosting or interpolation.

Amira SUP 4.0

ARRI presents a ProRes S16 HD recording mode for Super 16 at NAB, in addition to the refinement of powerful Multicam functionalities with the Amira Software Update Package (SUP) 4.0.

Super 16 lenses are still widely available at rental outlets and are usually in fairly good condition. The new S16 HD recording mode makes high-quality, affordable lenses usable in AMIRA productions and extends the return on investment for these lenses from rental outlets.
Access to the NAB 2016 SPECIAL in Panorama