回复: 蛋蛋到为何热爱日本？
鬼子来了是我们主任跟的录音，我不仅爱日本，也爱所有国家，不过如果没有日本，就无今日影视媒体，全世界的摄像机都是日本的吧？
没错，是日本的，但都是低端或者家用的，真正好的剧组拍戏用的是德国瑞典等欧洲机器比较多。Arriflex等
Arriflex
阿莱弗莱克斯（ARRIFLEX）
最新型阿莱416摄影机
德国摄影机品牌，起源于第二次世界大战德国生产的战地摄影机，后来发展成规格16mm和35mm的用于拍摄和平时期重大新闻和纪录用摄影机。16mm常用于拍摄新闻采访，商业广告和纪录片。35mm的也常用于拍摄商业广告，高预算纪录片和商业电影。Arriflex常被称为Arri(阿莱)，这名字起源于发明者的名字，"Ar"代表Arnold（August Arnold）和"ri"代表Richter（Robert Richter）。
编辑本段
历史
Arriflex 35在1937年的莱比锡博览会上首度亮相，就引起了业界的热烈反响：终于出现了适用于电影拍摄的单反摄像机了！单反镜头相机来源于照片摄影，这方面的第一项专利始于1860年。所谓单反，意思就是单镜头反光，即通过镜头进入的光经过一个45°角倾斜的反光镜和一个反向成像的镜头（五棱镜）两次反射，从而使摄影者在相片曝光之前就能够准确无误差观察到摄影对象。而在曝光时，反光镜则会弹起，使光线直射底片来进行曝光。每一个曾因为实际成像与预想相差甚远大动肝火的摄影者，都深知这一镜头反射系统的好处。然而，出于各种不同的原因，这一问题在电影拍摄方面就更为复杂。对于专业的电影拍摄来说，一段失败的场景往往意味着一笔极其可观的经济损失。随着电影镜头中出现越来越多的动态场面（摆动、驾车、飞行等），视差的问题也就越来越成为摄影师的障碍。而在特技镜头的拍摄过程中，则出现了更多的复杂问题。另一方面，电影的摄像机与静态的照相机相比，还存在着其他一些技术上的难题。换言之，必须找出一种能够将反射镜以每秒24次的速度沿着光轴转动的装置，同时，摄像机的体积还不能太庞大，噪音也不能太大，以免造成摄影师手持以及操作上的困难。
1917年，年仅19岁的August Arnold和Robert Richter就在慕尼黑创建了他们的摄影技术公司，并以两人姓氏的头两个字母将其命名为ARRI。此公司早期的成果包括印片机、聚光灯、便携相机（Kinarri），摄影技术的出租服务以及一系列独立制作的动作片，其中最具有传奇色彩的就是云集慕尼黑Schwabing区的众多名流人士的Isar-Western。后来，ARRI公司还制作了一些地方影片，还与Karl Valentin有过多次合作。
ARRI 公司自从1932年在主任工程师 Erich Kästner 的带领下从事单反相机的研究工作。1936年研究出一个样机。但是在专利申请时却发现，把单反相机用于电影的主意早在1913年就已经申请专利了（专利号 ，275404， 由斯图加特的Anton Aretz 申请）。
Arriflex D-20
From Wikipedia, the free encyclopedia
The Arriflex D-20 is a film-style digital motion picture camera made by Arri first introduced in November 2005. The camera's attributes are its optical viewfinder, modularity, and 35mm-width CMOS sensor. The camera was discontinued in 2008 and the Arriflex D-21 was introduced.
Contents [hide]
1 Overview
2 Distinctive characteristics
3 Films shot with Arriflex D-20
4 Similar cameras
5 External links
[edit]Overview
The D-20 uses a single CMOS sensor the width of a Super 35 film gate aperture. Effectively the D-20, when used with current 35 mm PL mount motion picture lenses, yields the same field of view and depth of field as Super 35 mm film motion picture cameras.
The D-20 captures images in two main modes.
In Data mode the sensor uses 2880x2160 active pixels generating RAW Bayer-data at 12 bit in a 4:3 aspect ratio. The RAW data then needs to be processed outboard to generate a full color image. A delivery aspect ratio for theatrical release, commonly 1.85:1, is achieved by cropping from the original image, similar to the cropping necessary when shooting 35 mm film. In Data mode the sensor size also allows for the use of anamorphic lenses, producing the 2.35:1 widescreen aspect ratio from the full sensor height. Captured data is recorded to either flash or hard drives, notably the sTwo data recorder.
In HD mode the sensor uses 2880x1620 active pixels to generate an image with a 16:9 aspect ratio downsampled to 1920x1080 pixels in either YUV 4:2:2 10 bit (via single link HD-SDI) or RGB 4:4:4 10 bit (via dual link HD-SDI). Typically, the D-20 is tethered to a Sony HDCamSR recorder. Other recording options exist, including the Grass Valley flash mag which provides untethered recording of up to 15 minutes per "mag" in RGB 4:4:4.
Following recording formats are possible:
Data Mode:
- 2880 x 2160 RAW 12 bit Bayer data @ 23.976p, 24p, 25p
- 2880 x 1620 RAW 12 bit Bayer data @ 29.97p, 30p
HD Mode HD-SDI (SMPTE 292M):
- 1920 x 1080 4:2:2 YCbCr 10 bit @ 23.976, 24, 25, 29.97, 30 PsF
HD Mode dual link HD-SDI (SMPTE 372M):
- 1920 x 1080 4:4:4 RGB 10 bit @ 23.976, 24, 25, 29.97, 30 PsF
- 1920 x 1080 4:2:2 YCbCr 10 bit @ 48, 50, 59.94, 60PsF*
The D-20 has a mechanical shutter, variable from 11.2° to 180° or an electronic shutter that simulates a 270° mechanical shutter at 24frame/s. The camera is capable of running at speeds from 1 to 60frame/s. Numerous components of the camera were borrowed from Arri film camera models (most notably the 435ES), assuring compatibility with Arri film camera accessories and support equipment.
Though the D-20 system is capable of variable speeds from 1 to 60 frames per second, in RAW Data mode these are currently limited to 23.976 frame/s, 24 frame/s, 25 frame/s, 29.97 frame/s & 30 frame/s per second.
The sensitivity of the D-20 in video mode is regulated by the application of LUTs (Look Up Tables) prior to output. With sensitivity settings ranging from ISO 100 to ISO 800 with linear responses, the D-20 also offers log curve options designed to mimic the response of film negative. Unlike some other digital cameras, the D-20 does not offer gain boost, instead relying on the advantages of adding gain in the post production process. The sensitivity of the camera in Data mode is regulated by applying LUTs in the outboard processing of the image.
[edit]Distinctive characteristics
Of the currently available high resolution digital motion picture cameras, the Dalsa Origin, the SI 2K and the D-20 feature detachable optical viewfinders.
Some advantages of an optical over purely electronic viewing systems include:
extremely high viewfinder resolution, with the option to zoom in on the image to check critical focus
ability to set camera framing without need of a power supply
Some disadvantages an optical viewing introduces to a camera system:
loss of light and sensitivity, as light has to go to the viewfinder instead of the sensor
no monitoring of what is recorded on the sensor, only what appears in front of the sensor.
Electronic viewing options can be added to the camera. Typically, an additional monitor is used to both view and evaluate images for the camera.
The D-20 also accepts a traditional film style video assist system, sharing the image available through the optical viewfinder. This can be useful in Steadicam and remote crane applications where visibility outside the sensor capture area is preferable.
Like Arri mechanical cameras, the D-20 is modularly constructed so that both the mechanical and electronic components are upgradable over time, the camera however was discontinued in 2008 and the D-21 was introduced.
[edit]Films shot with Arriflex D-20
The Bank Job
RocknRolla
The Andromeda Strain
Uncertainty
Captain Abu Raed
[edit]Similar cameras
所以他只要见到日本二字,就象见到亲爹亲娘一样亲.
