ARRI’s new ALEXA SXT (Super Xtended Technology) cameras represent the next exciting step in the continuing evolution of the ALEXA family. Retaining the rock-solid foundation on which ALEXA is built, ALEXA SXT cameras additionally offer ProRes 4K recording, improved image quality, powerful color management and three fully independent HD-SDI outputs.
With in-camera recording of ProRes 4K UHD (3840 x 2160 pixels) and ProRes 4K Cine (4096 x 2637 pixels), ALEXA SXT cameras are the ideal choice for productions that need 4K UHD TV or 4K DCI cinema deliverables, so filmmakers can continue using the ARRI ALEXA platform they know and love.
ALEXA SXT cameras keep the 3.4K ALEV III sensor of previous ALEXAs and add the state-of-the-art electronics of ARRI’s groundbreaking ALEXA 65 camera. These high-performance electronics combine the latest generation of FPGA processors with a lightning-fast internal backplane and form the basis of a completely overhauled image processing chain, advanced pixel correction and optional noise reduction. This results in a further improvement in overall image quality. Like their XT predecessors, ALEXA SXT cameras retain the unique and popular Open Gate, 4:3 and 16:9 sensor modes, which can be recorded in ARRIRAW or ProRes.
The creation of new, powerful and unique looks has been made possible by utilizing the advanced color management engine originally developed for the ARRI AMIRA camera. Taking advantage of the extremely wide native color gamut of the ALEXA sensor, this new engine allows unprecedented control, which in the end means greater creative freedom for the filmmaker. A new type of look file, the ALF-2 (ARRI Look File 2), contains an ASC CDL (Color Decision List) as well as a 3D LUT (Look-Up Table). The new color management engine can easily match the look of current ALEXA cameras, but also provides the basis for radically different looks. In addition, previewing of looks on set is improved, including the option to use the wide color gamut of Rec 2020 gamma, while dailies creation is made more efficient and final grading made faster. ALF-2 files and the tools that create them are compatible between ALEXA SXT, ALEXA Mini and AMIRA.
To further streamline on-set workflows and deliver what has been asked for by crews all over the globe, ALEXA SXT cameras include three fully independent HD-SDI outputs. This allows, for instance, a Log C image to be used to show the director a pristine image with live grading, a clean Rec 709 image to be fed to video village, and a Rec 709 image with status information overlays to be displayed on the camera’s on-board monitor.
ALEXA SXT cameras are designed to keep up with the growing needs of changing production methods: their powerful electronics offer significant potential for future hardware and software upgrades, illustrating ARRI’s continuing commitment to the future-proof technology concept behind the ALEXA system.
The first ALEXA SXT cameras are planned for release around mid-2015; the full range will comprise ALEXA SXT EV, SXT Plus and SXT Studio models, replacing current ALEXA XT cameras (though the ALEXA Classic EV model will remain in the line-up). ALEXA XT cameras (except ALEXA XT M cameras) shipped between Jan. 1, 2015 and the first shipment of SXT cameras will be eligible for a full SXT upgrade, free of charge.
Concurrent with the ALEXA SXT release ARRI will offer an SXR (Super Xtended Recording) Module upgrade to owners of existing ALEXA XT, XT Plus and XT Studio cameras. The SXR Module upgrade delivers all the features of the SXT cameras, although it might not offer all the future upgrade potential.
The fundamental advantage of the ARRI ALEXA system is its unique combination of the highest overall image quality with the most efficient workflows on set and in post.
Oscar and Emmy-Winning Composer Kris Bowers Joins Barking Owl For Advertising, Branded Content
Music, audio post and sonic branding house Barking Owl has taken on exclusive representation of Oscar and Emmy-winning composer Kris Bowers for advertising and branded content.
Bowers’ recent film scores include The Wild Robot and Bob Marley: One Love, alongside acclaimed past works such as The Color Purple (2023), King Richard and Green Book. His contributions to television are equally impressive, with scores for hit series like Bridgerton, When They See Us, Dear White People, and his Daytime Emmy Award-winning score for The Snowy Day.
In addition to his work as a composer, Bowers is a visionary director. He recently took home the Academy Award for Best Documentary Short Subject for his directorial work on The Last Repair Shop. The emotionally touching short film spotlights four of the people responsible for repairing the musical instruments used by students in the Los Angeles Unified School District (LAUSD). The Last Repair Shop reflects the positive influence that musical instruments have on the youngsters who play them, and the adults in the LAUSD free repair service who keep them working and in tune.
Barking Owl CEO Kirkland Alexander Lynch said of Bowers, “His artistry, diversity of style and depth of storytelling bring an unparalleled edge to the work we create for global brands. His presence on our roster reflects our continued commitment to pushing the boundaries of sound and music in advertising.”
Johanna Cranitch, creative director, Barking Owl, added, “Kris first caught my attention when he released his record ‘Heroes + Misfits’ where he fused together his jazz sensibility with a deeply ingrained aptitude for melody, so beautifully.... Read More