Protected: HHF Tee-Shirt Design
April 3, 2012
Alexa SUP 6.0
March 28, 2012
We are happy to announce that we have updated all of our Alexas to the newly release Software Update Package 6.0. This update introduces:
• Enables DNxHD license (paid option)
• SMTPE color bars in REC OUT and MON OUT, 1Khz audio tone on HD-SDI outputs and headphones • New User Button option: Display of False Color index on GUI • New User Button option: Auto White Balance • New User Button option: Turn Anamorphic de-squeeze on and off separately for EVF and MON OUT • Icons in electronic viewfinder for: Smooth Mode active.
• Icons in electronic viewfinder and MON OUT for: ARRI Look File active (since SUP 5.0).
You can download the official Arri Release Notes about SUP 6.0. here.
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New Alexa Licenses Option
December 9, 2011
ARRI recently released a High Speed and Anamorphic De-Squeeze licenses for the ALEXA camera family. With the High Speed license installed, you are able to shoot up to 120 FPS in the 422 HQ codec and up to 60 FPS in 444. To use this feature, you need to use the Sony 64GB Pro SxS cards as opposed to the usual 32 GB cards used on most shoots, because of the amount and pace of information being transfered with this higher frame rate. It is really easy to get to the high speed mode menu since it’s located under the regular FPS button on the home screen. The only small issue to be aware of is that there is a 40 seconds loading time when entering and exiting the high speed mode, which is good to know when on set.
The Anamorphic Desqueeze licence as its name implies, allows for an accurate view of an anamorphic image through the Electronic Viewfinder and the Monitor Out outputs. You have the option of desqueezing the image for a 1.3x or 2.0x image, depending on which lens you are using. You also have the option to zoom in or “magnify” the image in order to only see the frame without the borders. All modes have the option of being viewed with out without surround view.
More info on this can be found on the Arri website.
We have installed both licenses on several of our cameras, but not all. Please mention when asking for a quote whether you would want any of these options to come with the camera, so we can put one aside for you that will fullfil your project’s need.
New Codex OnBoard Recorder for ARRI Alexa is here!
November 30, 2011
Today we are very excited to announce the arrival of four brand new Codex OnBoard Recorders for the ARRI ALEXA camera family here at Hand Held! The Codex is an external recorder that captures in the uncompressed ARRIRAW format onto 256 GB solid state data packs, giving you a wonderful image at 2880 x 1620 resolution, which is the highest quality recording format when shooting with the ALEXA. It boasts a sleek touch-based control interface which can be mounted on either side of the unit for easy access, and only adds 5.7LBS to the total weight of the camera. Click on the image below to get more in-depth specs or go to the Codex website
We currently have a Codex on display in our camera department, come by and check it out!
Note: Graphic cards available upon request. Please contact rentals@handheldfilms.com for availability, pricing and info.
RED Epic M & X
November 30, 2011
This month, our family of RED Epics has grown from two to five. We now carry two Epic-Ms and three Epic-Xs outfitted with the brand new ViewFactor Full-Metal Jacket! This “cage” provides multiple mounting points which makes the use of various accessories, such as the EVF and LCD, much easier. Each of our EPICs come with the groovy 5″ Pro LCD touch screen. However, if you prefer a more traditional way to control the camera, we offer the DSMC side handle, as well as the all-new REDMOTE for wireless fun.
Feel free to give us a call at 212-502-0900 if you’d like to check one out for yourself.
Hawk Anamorphic V-Lite Series 2x Squeeze
November 30, 2011
We are very proud to introduce the new Hawk V-Lite Anamorphic 2x lens set into the Hand Held Films inventory. Manufactured in Germany by Vantage Film these new lenses are guaranteed to redefine what it means to “shoot anamorphic” as they provide superior optics combined with an incredible lightweight feel. Every lens in the set has seen a weight reduction of 20% from their V-series brethren.
Now, previously strenuous anamorphic applications such as Steadicam and Jib work are destined to be made as easy as they are with spherical primes. With their new design the Hawk V-Lites maintain a constant exposure and suffer no light-loss from close focus to infinity. Retuned focus gearing create a relative ease when pulling focus. The V-Lite set is optically matched to all other Hawk Anamorphic so there is no worry about differing image quality when bouncing between sets. The V-Lite set itself contains the following focal lengths: 28mm, 35mm, 45mm, 55mm, 80mm, and 110mm. All focal lengths open to a T2.2 (except for the 110mm which open to a T3.)
We are the only place in New York where you can rent these revolutionary lenses.
Red Epic-M Arrives At Hand Held
August 9, 2011
The compact, 5K capable, and revolutionary Red Epic has arrived at Hand Held Films. While the camera is still in its early firmware, its initial features and capabilities are still impressive and promise exciting possibilities for the future.
From Red’s Product Description:
In a package one third the size of a RED ONE, resides a 5K Mysterium-X™ sensor and a 27 layer ASIC, the most advanced processor of its type in the world, enabling EPIC to capture up to 120 frames per second, each frame at full 14MP resolution. EPIC is engineered to be a DSMC™ (Digital Still & Motion Camera), a camera that excels in both worlds … by design. Providing native dynamic range of over 13 stops and resolution that exceeds 35 mm motion picture film, this is the camera of the epoch. Add to that RED’s newly developed HDRx™ extended dynamic range technology and EPIC boasts an amazing dynamic range of up to 18 stops. Purpose-built for perfect multi-camera synchronization, EPIC comes to market at a time when 3D capture requires the sophistication of a new generation of innovative technology. EPIC, very simply, is epic.
You can check out this video that gives a run down of the epic’s capabilities from Digital FX, the Louisiana based post production facility and self proclaimed Red Camera experts:
New Production Vehicles at HHF
June 15, 2011
Hand Held Films is proudly introducing the first of three brand new production vehicles we recently acquired!
Check out our 2010 Mitsubishi Fuso with 22′L x 7 1/2′ H box. This truck comes fully equipped with jockey boxes, 72″x94″ hydraulic controlled leveling lift gate, and custom-built steel shelving to accommodate all of your production needs. Ask Rentals at rentals@handheldfilms.com for more informations about our deals including equipment, truck and driver!
Truck Side View
Truck Back View
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Check out the “Shot with our Gear” section!
June 15, 2011
Howdy howdy!
Just a quick note from the “webmaster desk” to remind everyone that we are continually adding material shot by our clients to the “Shot with our Gear” section of the blog.
Take a look around by clicking right here or using the top menu to access this section.
See what our clients have been up to and how they make a wonderful use of our equipment from commercial to feature films, shorts to music videos! If you are interested in us sharing your project “Shot with our Gear”, feel free to email us at camera@handheldfilms.com, subject “Shot with our Gear” Project.
We’d like to once again warmly thank everyone that authorized us to publish their work, keep on making great films and we hope to see you soon!
In the meantime, enjoy the latest music video by Lloyd Banks “So Forgetful” (Dir. Armen Djerrahian/DP Jeffrey Kim/Prod. Gaetan Rousseau/Editor Karen Kourtessis). Shot on an Arri Alexa and a set of Zeiss Ultra Primes lenses provided by HandHeld Films.
Lloyd Banks feat. Ryan Leslie – “So Forgetful” from Paradoxal Inc on Vimeo.
