ARRI Artemis Vitec Group acquires line stabilizers ARRI se hace cargo de los sistemas de estabilizaci n de c mara Artemis hasta ahora en manos de Sachtler (Grupo Vitec) y en NAB 2016 muestra una versi n mejorada del puntero sistema Trinity.
The German ARRI ha sorprendido al mercado al anunciar la compra de la l nea de estabilizadores Trinity de Artemis. Hasta ahora en manos de Sachtler (Grupo Vitec) estos estabilizadores compactos y ligeros cuentan con dos ejes, un soporte para monitor y joystick que se unen al asa del estabilizador, un m dulo para la bater a y un p ndulo que permite movimientos suaves perfectos. El dise o modular ofrece soluciones personalizadas y una integraci n sencilla en los flujos de trabajo existentes.
Trinity destaca entre los dem s sistemas por combinar una consolidada estabilizaci n mec nica de c mara con una tecnolog a moderna de estabilizaci n basada en ARM de 32 bits. Esta combinaci n ofrece movimientos singularmente fluidos, amplios y de control preciso para rodar sin restricciones y con total libertad creativa.
New features for Alexa SXT
Alexa SXT no solo satisfice las necesidades de resoluci n UHD y 4K con flujos de trabajo sencillos, sino que tambi n cuenta con un equipamiento nico de cara a crear contenido que podr beneficiarse al m ximo de las emergentes tecnolog as de pantalla HDR (High Dynamic Range). Adem s, la capacidad de grabar hasta 120 fps con plena calidad de imagen supone que las estrategias de HFR (High Frame Rate) para mejorar la experiencia del espectador pueden tambi n tomarse en consideraci n. El cada vez m s popular rodaje anam rfico aprovecha el sensor alto nico de Alexa y los nuevos formatos anam rficos de grabaci n que se ofrecen en el SXT.
Cualquiera que sea el presupuesto, el mercado de destino, las exigencias de resoluci n, la relaci n de aspecto, las opciones de lentes o las intenciones de postproducci n, existe un formato de grabaci n Alexa SXT ideal para asegurar una operaci n f cil en el set y una fuente de im genes fluida. Las c maras Alexa SXT ofrecen un total de 14 formatos de grabaci n. Estas opciones listas para usar ofrecen el camino m s econ mico hacia la mejor calidad de imagen en general con lentes anam rficas.
La c mara crea una imagen ProRes lista para su visualizaci n en formato de entrega DCI 2K o 4K, sin que se requiera debayer, cropping, re-escalado, ni descompresi n en el puesto. Ofrece el r ster de pixels m s amplio y tambi n encaja dentro del c rculo de imagen de la mayor a de lentes con montura Super 35 PL de ARRI, alcanzando 120 fps. Con menos carga de datos que 4K, pero con suficiente resoluci n para refuerzo o interpolaci n.
Amira SUP 4.0
ARRI presenta en NAB un modo de grabaci n ProRes S16 HD para Super 16, adem s del perfeccionamiento de las potentes funcionalidades Multicam con el Amira Software Update Package (SUP) 4.0.
Las lentes Super 16 est n todav a ampliamente disponibles en los establecimientos de alquiler y normalmente se encuentran en bastante buen estado. El nuevo modo de grabaci n S16 HD hace que lentes con precios asequibles de alta calidad puedan utilizarse en producciones AMIRA y ampl a el retorno de la inversi n en estas lentes de los establecimientos de alquiler.
Access to special NAB 2016 in Panorama
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ARRI Artemis Vitec Group acquires line stabilizers ARRI se hace cargo de los sistemas de estabilizaci n de c mara Artemis hasta ahora en manos de Sachtler (Grupo Vitec) y en NAB 2016 muestra una versi n mejorada del puntero sistema Trinity. 
