I caught up with ARRI at IBC 2024 in Amsterdam to talk to them about the ALEXA 35 Live – Multicam System. The system is a major commitment to the live entertainment sector. The whole goal behind the system is to deliver the cinematic ARRI look to live productions by utilizing the best image quality from a Super 35 4K sensor.
ARRI sees the use of larger sensor cinematic cameras in live productions as a growing market and in the past, their products have been used to cover such events and concerts for Adele, Coachella MusicFestival, Coldplay, Dua Lipa, Ed Sheeran, and leading half time shows at major sporting events, Rae, the Rolling Stones album launch, and many Netflix Comedy Specials.
ARRI has had the Amira Live for quite a few years, but some people were hesitant to use it because they weren’t familiar with it, and arguably it wasn’t a complete end-to-end system. With this in mind, ARRI took the lessons they learned from the Amira Live to come up with a more complete system that could integrate seamlessly into broadcast and live environments.
When creating the ALEXA 35 Live – Multicam System, ARRI wanted to make sure that it supported all standard controls and interfaces and allowed for SMPTE 2110 IP connectivity. It needed to be designed with all the features of a systems camera that could easily integrate into existing live production infrastructures, while making sure that the Fiber Camera Adapter can be removed so the camera can also be used stand-alone.
The system also needed to be ultra-reliable. The ALEXA 35 Live, and LPS-1 FCA are specified and tested like any other ARRI camera. They feature sturdy aluminum housing with strict separation of cooling and electronics and they are splashproof, dustproof, and silent. In addition, they will work in temperatures ranging from -20° to +45° / -4° F to +113° F.
There is also a single point of contact for support; the same manufacturer supports the camera, Fiber Camera Adapter, Fiber Base Station, and accessories. ARRI also offers Live Production Service Contracts.
So what does the ALEXA 35 Live Multicam System consist of?
The system consists of five major components, the ALEXA 35 Live & Fiber Camera Adapter, the LPS-1 Fiber Base Station, the Skaarhoj RCP, and a range of new Multicam Accessories.
The main component of course is the ALEXA 35. It is ARRI’s most advanced camera to date and the ALEXA 35 Live has the same hardware as ALEXA 35, including the same sensor and image processing. The ALEXA 35 Live looks exactly the same as its sibling, except it has a yellow Live label.
ARRI states that the ALEXA 35 Live will be a fantastic camera system to use in live productions given its high dynamic range, image quality, low light capabilities, and performance in mixed lighting conditions.
The modular lens mounts allow you to utilize a wide array of lenses including LPL, PL, EF, and B4.
To further compliment the ALEXA 35 Live’s capabilities ARRI has also introduced new Look files and Textures that are designed for use in live production environments.
ARRI Look Files
- In-camera multicam looks are tailor-made for typical live production situations (Game Show. Talk Show. Winter Sports. etc.)
- In-camera ARRI Look Library offers 87 pre-made unique cinematic looks that can be activated at the push of a button
- Custom looks can be created and loaded into the camera
ARRI Textures
- Unique to ALEXA 35 and ALEXA 35 Live cameras
- Sophisticated custom grain and contrast settings
- In camera: 8 Cine Textures
- In-camera: 5 new Multicam ARRI Textures with different sharpening levels to match images
What ARRI recognized is that these Looks and Textures are important to help their cameras match other cameras that may also be used in multi-camera live productions. Often broadcast cameras tend to have a lot of sharpness applied and that is where the ARRI Multicam Textures come into play. These new Multicam ARRI Textures are essentially the default ARRI Texture with various levels of sharpening applied.
So what can the ALEXA 35 Live do?
The ALEXA 35 Live does somewhat differ from the ALEXA 35 when it comes to shooting options, resolutions, and framerates.
The ALEXA 35 Live can shoot at up to 60fps and only in resolutions of up to 4K. The resolution options you have are 4K 16:9, 4K 2:1, 3.8K 16:9, and 2K 16:9 S16. While it can internally record it can only do so in ProRes. There are no anamorphic modes available when using the ALEXA 35 Live.
Now, in saying that, you can get an optional Cine License for the ALEXA 35 Live that will give it all the same features and functionality of the standard ALEXA 35
The ALEXA 35 Live comes with the Multicam License that includes the following:
- Live painting
- Multicam Looks
- Multicam textures
- Remote tally control
As I mentioned earlier, you can remove the Fiber Camera Adapter if you want to put the ALEXA 35 Live on a Trinity, Crane, Spidercam, etc. Instead of using the Fiber Adapter, you would simply utilize a wireless video system to send the image.
LPS-1 Fiber Camera Adapter
The LPS-1 Fiber Camera Adapter attaches to the back of the ALEXA 35 LIVE using a very sturdy key-type docking mechanism.
An additional panel on the side of the adapter integrates and connects to the BNC ports on the camera body. There is only one cable that goes from the LPS-1 Fiber Camera Adapter to the camera.
It features familiar and intuitive controls for camera operators and a full complement of industry-standard interfaces. these include:
- SMPTE 311 hybrid cable
- 2 channel intercom
- Audio in and out, MIC & LINE level, analog & digital, with or without 48V
- 4 RETURN video inputs selectable on two separate controls
- GPIO
- TRACKER, etc
The unique features that the LPS-1 Fiber Camera Adapter offers include:
- SMPTE 311 cable: uncompressed 4K transmission over 2km with power
- At 1km 400W is available for camera and 12V or 24V accessories
- The camera can also be powered externally to use tactical fiber of up to 10Km
- Separate fiber tunnel for additional video, audio, or control signals
- Separate Ethernet tunnel for any Ethernet-enabled device like a separate focus assist
- Local RCP connection
Having a secondary separate fiber tunnel allows you to set up another camera close by and then route those cameras’ signal through the same LPS-1 Fiber Camera Adapter.
If you don’t want to use the SMPTE 311 cable you can also just use Tactical Fiber and then power the camera separately.
LPS-1 Fiber Base Station
The LPS-1 Fiber Base Station receives the signals from the LPS-1 Fiber Camera Adapter. This was designed to seamlessly integrate into live production environments.
It features the following capabilities:
- 4X RETURN IN
- 15× SDI outputs, including 3G, 6G, and 12G as well as single, dual or quad link
- Simultaneous output of UHD and HD (progressive or interlaced)
- SMPTE 2110 IP: Video, audio & control signals over Ethernet for cost-savings and easy scalability
Above you can see all of the inputs and outputs that are available.
ARRI also recognized that reliability is king in live production environments. With this in mind, they designed the LPS-1 Fiber Base Station with redundancy features.
There is a separate SMPTE 2022-7 redundant network for 2110 IF and dual hot-swappable, redundant power supplies.
Easy Setup & Configuration
The LPS-1 Fiber Camera Adapter and Fiber Base Station both feature the same type of display screen that is found on the regular ALEXA 35. This has been done on purpose to provide a familiarity with the controls and menus.
There is also the ability to control the camera via a web interface or through the ARRI Webremote. This allows for the camera and settings to be changed remotely.
Remote Control Panel
The system can be controlled via the Skaarhoi Remote Control Panel (RCP Pro ARRIV2B), however, ARRI is open to supporting other established RCPs as well.
The Skaarhoi Remote Control Panel (RCP Pro ARRIV2B) provides the following features:
- Combines classical RCP handling with a powerful. fully customizable interface
- Can be powered by PoF (Power over Ethernet)
- Extensive Reactor web interface
- Simple, free-of-charge SW update by user
- Live painting as with other RCPs
Extra features not found in other RCPS
- Use standard dial and button designations or design your own user interface
- Greater camera and image control, including
- REC start/stop for ISO reel in camera
- Playback: play/pause, select clip, Jog, playback speed
- Select looks, Textures, camera setup files
- Remote focus and zoom
- ASC DL values: RGB slope. offset and power
- Tint (green/magenta balance)
Multicam Accessories
As usual, ARRI has thought long and hard about what accessories would be needed for the ALEXA 35 Live.
They have come up with quite a few new accessories that were designed specifically for this camera.
Tally Light Module
- LBUS tally light with 16-segment camera ID display
- Mount with RIA-1 bracket. use BUS cable to camera
Live Production hande
• Perfect balance and reach with numerous mounting points
ARRI Touchdown System
- ARRI Touchdown Base Plate TBP-1
- ARRI Touchdown Receiver Plate TRP-1
- Self-aligning, fast and secure mounting system
- Built-in long shoulder pad
CCM-1 for LIVE Production set
- Camera Control Monitor CCM-1
- Monitor Yoke Support MYS-1L
ARRI is also currently working on a 10″ monitor solution which will essentially be a larger version of the CCM-1 with a built-in tally light.
The ARRI Touchdown System looks very interesting as it looks like a modern-day replacement for the VCT-14. It features a self-aligning design so it is very easy to use and provides a solid locking connection between the baseplate and the camera. This would actually work well with the standard ALEXA 35 as well.
If that wasn’t enough ARRI also has the LLA-1 Large lens Adapter that was designed to be used with lenses like the FUJINON Duvo 25-1000mm. This is essentially a raised pedestal mount that allows the ALEXA 35 Live to align perfectly with a large box style lens.
The LLA-1 Large lens Adapter has the following items and features:
Large Lens Adapter
- QUICK-FIT Clamping mechanism for fast camera mounting
- Precision mounting plates for different cameras
Compatibility
- Fits all PL or B4 box lenses
- Clamping mechanism range also fits PL/B4 adapter
Cable Hirose to Box Lens
- Connection between PL Mount (Hirose and Box lens)
LLA-1 Control Module
- Planned for Q3 2024
- Replaces cable
- Additional connections for BUS accessories
You also get a camRade rainCover OB/EFP Large and a LLA-1 Case.
Who is ARRI targeting with this system?
ARRI is targeting three different types of customers:
- Traditional broadcasters covering sports, concerts, etc.
- Production companies that specialize in using larger sensor cinema cameras for live productions
- Traditional rental houses that already own ALEXA 35 cameras that want to expand into live production
ARRI ALEXA 35 Live Configurations
The ALEXA 35 Live Multicam System is available in several configurations.
If you already own ALEXA 35 cameras you can also just purchase the Multicam Extension sets.
The Multicam Extension sets include:
Multicam license
- Live Painting, Multicam Looks, Multicam Textures, and remote tally control
- Not included in ALEXA 35
For ALEXA 35 Extension Sets
- When the Fiber Camera Adapter is attached to an ALEXA 35 (≥ SUP 1.3.0). it enables the Multicam license in that camera (Reboot twice)
- Extension Sets also come with a voucher for 60% discount on one Multicam license
Availability
The ARRI ALEXA 35 Live Multicam System is now shipping.
