Arri's new AMIRA is designed specifically with documentary, run'n'gun type shooters in mind and this past May, the camera was put to the test by award-winning DP Buddy Squires, ASC.

One of the most important features of the new Arri AMIRA is its ability to load 3D LUTs (Look Up Tables), which really allows you to modify the way the camera looks. The ALEXA allows for basic LUTs with ASC CDL adjustments, but the AMIRA goes a step beyond that to allow for full customization of the image.

If you've ever browsed the Tools section of Arri's website, you've probably seen their ALEXA simulator, along with a number of other great resources. Well, here's some good news for those of you who are curious about the new AMIRA - Arri recently released the first version of their AMIRA simulator.

Arri's website has a great set of resources for anyone interested in working with the ALEXA / ALEXA XT, from a menu simulator to downloadable footage, to videos explaining how to work with ARRIRAW. One of the best of these resources is their comprehensive ALEXA XT FAQ.

We've discussed many of the advantages of shooting Log C on the ALEXA before, but often one of the biggest roadblocks is the preconceived notion of an overly complex workflow. While this can be true if you need to grade the majority of your footage, often times (especially if you nail your exposure), a simple translation is all that is necessary.

AbelCine client Nicholas Matthews is a cinematographer who has worked on varied projects such as award-winning commercials, music videos, and features like In Loving Memory (International Film Festival of LA Official Selection). Recently, he started work on a new project - an indie film called Jackrabbit 29 .

The Arri ALEXA XT, featuring a new XR recording module and in-camera ARRIRAW recording up to 120fps, has started shipping across the US. In this three part video series, Andy Shipsides goes hands-on with the camera and takes us through the technical details and workflow processes.

There is no denying that anamorphic has come back in a big way this year, and it is more accessible than ever. With the increase of anamorphic glass in the market and the 4:3 sensor of the ALEXA Plus 4:3, more filmmakers are able to find an affordable way to get the anamorphic look.

The Alexa XTand Alexa Classic with the XR recording module both have the ability to read ASC CDL (Color Decision List) LUT settings as they record.