Our long uncut test video will be live on our Vimeo asap! This was rendered today so here's the list of things we’ve noticed post render that we wish we could have fixed! At 12:16 we think we have broken TH-cams data rate limits as in 4K we get a heavy stutter which isn’t there in the rendered file we uploaded. At 11:37 there should be a 7 and a ⅓ take instead a 7 stop on the Mini LF segment. We will be uploading full tests to our video so you can see the difference. Are you based in London? We are holding several events at our CVP ARRI Creative Space! You can sign up here - cvp.com/events Thanks so much for watching, we will be doing a follow-up video so let us know what you want to see in that below and what you think of the ALEXA 35 down below! Jake
nobody is choosing an EI for "evenest distribution of dynamic range". Everyone i know is looking to weight the dynamic range towards the highlights as much as they can without seeing noise, which is why the LF tends to be shot half a stop lower. If the native EI is 800, nobodys going to shoot at 400 just to even it out.
@@MrIsaacE well, yes and no. The guys have clearly stated that that's the midlle ground, not the default EI or "the best EI". It's up to a DP to choose the EI for a corresponding scene. Like it's always better to shoot dark scenes at lower EI/ISO values to have more room in shadows, and it's way safer to go higher on EI/ISO in bright daylight than say in dusk. Yet again, I agree with a statement that generally the highlight range is where the devil is and where everyone is usually trying to get the max out of and that most will shoot at 800 as a default value. It's just that I think guys really know what they are talking about and that's not what they've meant saying
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Dear CVP, thank you for everything you do for filmmakers. Your decision to go deep into the review space as a unique selling proposition for your store is so cool. You guys are legends.
The "Soft Nostalgic" Looks so much like film it's fantastic, and it's wonderful they are letting that look live in camera and not making it something you have to add in post. Arri has done it again.
Hello 👋Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
Agree)) I did test of this camera yesterday and what I see in Resolve is soft nostalgic is great. I also did these test using black diffusion FX 1 and 1/2. Together it gives soft and pleasant skin.
You guys do some of the best, or the best, reviews in the business. Really appreciate this one!! Especially being so quick on the release. Very in depth.
The color is clearly better. Many times I watch compare shots and think it's not worth the hype with certain cameras. But this is pretty insane. That is a gorgeous image. 75k gorgeous is in the eye of the beholder. Great work as usual.
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I think S35 is really the sweet spot for sensor size. Full-frame is sexy and it does let you make the most of your lenses' resolving power (plus capturing waterfall bokeh on the edges of vintage lenses), but especially when using longer lenses, the DOF can be too shallow to be usable. This forces you to stop down, so you lose light and also change the image characteristics. With S35 you can shoot wide open and still have enough DOF to work with, which makes it a lot more useful for shooting in natural light.
Pfft, what? No. I've learned one solid thing from internet comment sections, which is that if a camera isn't full frame it's dead on arrival and pointless. Apparently ARRI never got the memo!
The depth of field is the same, the angle of view has just changed. That's it. You can match blur circles and field of view if you wish. There's no 'more' resolving power with large format.
@@kedbear79 That's a theoretical point that misses the practical application. If you go from shooting S35 to shooting full-frame and someone asks for a closeup on the talent, do you give them a wider shot to preserve the DOF? No, you give them the same framing you did on S35, except now the DOF is shallower. If you want to have the same DOF at the same framing, you either need to use a wider lens or stop down, both of which will change the image characteristics. I like how I can shoot at f/2 on S35 and still get a usable DOF from longer lenses. I could have been more clear with the resolving power bit though, what I meant is that you can get more resolution out of your lenses with larger sensors. (Resolving power stays constant, but there's more lens to resolve, so more resolution captured by bigger image circles.)
Honestly, still a super 35 kinda guy. Love the lenses I have, love the lenses on offer. The only thing that the LF systems have is getting closer to that unique isolation in DoF that fast wide glass for Medium Format has. Thank you for this camera Arri. My DP cares less for LF haha.
I was first watching the official ARRI video, but this is SO much better. Really, really well done. Very detailed. You clearly put a lot of work into it, but it shows! Thank you!
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This is why Arri is the king of the cinema market. While RED and other manufactures are chasing K's, Arri is focused on what DOP's are actually looking for. Better color and texture. If you're wondering why the best DOP's don't really care about 6K and 8K look up Steve Yedlin's tests. And I don't really agree on your view of the new Arri Texture feature not being relevant on larger sets. Arri is giving back the control to the DOP's that they used to have over the look of their images. I think it's a very smart move that a lot of cinematographers will be really happy about. Hope the ARRI Alexa 35 starts a new trend in the entire camera market!
@@morucek Don't be so sure about that. Remember that most RED projects on Netflix use the VistaVision sensor. That would mean that they would've gone for the Alexa LF (and Mini LF) when it became available (not many did). And the 8K Red had a Super 35 version that people also could've used in Netflix projects but most don't. It seems like the new standard is going to be LF/VistaVision/Full frame and this is just going to be another option for those projects in Netflix that would've gone to Super 35 anyway and so they now could choose between Panavision Millennium DXL2, Red's whatever Super 35 they want, using the 4K crop to Super 35 on the Venice 1 and 2, and this Alexa 35.
There's a place for all tools. Options and competition are good. " the best DOP's don't really care about 6K and 8K" Ok, well that's only part of the equation. Directors/Producers telling certain VFX heavy stories might value 8k or higher capture as it results in more post options and/or composting. Or a production might want to capture expensive action pieces in 8k for reframing purposes, or if it's going to be chaotic to shoot.
Such a great surprise to get coverage this early. Can't wait for the ALEXA 65 9.4k and the LF 6K - maybe they are bluffing If the camera can handle 7 stops over but only 4 stops under - shouldn't you meter for 1 or two stops under to begin with? Behaves more like film I suppose and exposing to the right will have a lot of headroom. It being 13bit capture is odd. The texture settings being baked in raw are odd, as that is something I always thought about being one of the never mentioned advantages of raw recording: you can fine tune how the interpolation ads sharpness and reduces noise.
any digital camera, regardless of brand, should ETTR imo. before it clips of course. im not a dp but i think we should really pay attention to waveform more than the light meter anyways. my philosophy is to over expose at any given chance. past arriraw captures 12bit log, as the new sensor captures more dynamic range, they feel 12bit is no longer enough. they also put file size into consideration, and they decided 1 more bit depth is all they need. file size is important because large file size impact performance while capturing and in post production. we don't need more junk that slow down our digital devices. the new texture feature is happening at the earliest level of image processing. it has to do with how the sensor sees the image or something, i can't explain. that's why it's baked into raw. check out Potato Jet's video, he has an actual guy at arri explaining this. if you want the raw advantages you mentioned, i guess you can just use default texture. it's basically the same as anything before i think. also check out arri's video regarding image quality on their channel. this new texture feature really is a new and weird one. feels like a digital-y rather than organic kind of feature, and i'm not so sure i'm a big fan of that direction.
to explain why i think we should always ettr, because the brighter stops hold more information, because of how light works in an exponential kind of way
@@danielhuang2488 In an ideal, one really should always ETTR before clipping as it provides a technically high quality image. Instead of underexposing, with help of one’sDIT on set, adjust the image with CDLs to achieve the desired look.
I have never seen the Arri menu but just from seing these shor snippets of it I must say it is so simple and self explainatory. Stuff is actually named after what it does. i wish other manufacturers would learn from that
As an analog film hardliner I’m very impressed with the Alexa 35. And I’m very happy we’re back to Super 35. I can’t wait for DPs and colorist to screw up again and make people look like plastic.
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I hope this has effect on other manufacturers obsession with resolution and sensor size. They are important but not to the detriment of DR, rolling shutter, recording capability etc.
Well it’s possible to have a sensor to pretty much all of those things, you just need to not to intentionally cripple the camera. The Sony A1 (for the mirrorless lovers) and Venice (for the cinema camera users) have high resolution 8k, unlimited recording in said 8k mode, great rolling shutter for a non global shutter, and good dynamic range. Not Arri good but still incredible Dynamic range.
@@RiceCubeTech My comment was in regards to the irrespective tradeoff in manufacturing cost of the individual aspects mentioned, not the possibility of it.
You say the Enhanced Sensitivity is very similar to temporal noise reduction - and yes in some ways it is, but sampling the noise from the "dark side" of every frame, and nothing more, is a much more mechanical/engineered solution, rather than the computationally intensive way temporal noise reduction works in post. It's very elegant.
awesome video! i would love to see a dynamic range comparison between the Alexa 35 and the 8k Venice 2. Is there really an extra stop in the highlights? Also interested in a color comparison using their rec709's. appreciate all the great info so far!
Nice comprehensive look at this amazing camera. A few shots had missed focus but overall great. Don't tell anyone but I have missed focus a time or two. Thanks
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Looks great, damn shame Arri aren't planning on making a2x (Alexa LF) or a3x (Alexa 65) versions of the alev 4, at least from when I talked to them a while ago, I hoped they changed their mind.
I've always felt that s35 was the best sensor size. I will never buy this camera, but enjoy the FX30 and previously enjoyed the FS7, FS5 etc. For some reason, FF looks a bit overly modern or TH-camrish to me. I know that's not right, but I can't help but feel it.
Thank you as always for a fantastic in-depth video. Very keen to see your video on power could you please go in-depth about how to properly build your rig with accessories and power draw in mind. There’s lots of videos on how to work out watt hours for batteries but not many about how to manage powering all the necessary equipment for a cinema rig motors, rangefinder (cinetape) monitor Teradek etc. I think especially moving to 24V I would love to know how this will Impact my builds as a focus puller!
The URSA has compressed RAW. Other than that the Alexa is better in everyway. It should be for $60,000 + dollars. You could buy 10 ursas for that amount.
I would suggest trying to get your hands on both cameras and test them yourself. Both can produce beautiful images and handle great, but there certainly are differences you need to decide between. If you have any specific questions let me know. Jake
God how useful this video is!!! thanks Man, I watched whole video and I found that I knew about camera. please make more useful contents like this about alphabetic expressions of photography and Video camera. thanks a lot, subscribed
I really want to the see the difference of two cameras exposure like arri 35 and sony a7s3 not the color difference but exposure at same lighting conditions....which camera takes more light or which image gives clean signal without noise
Thank you for this amazing review! I’m looking for footages shot with this new Alexa 35 but I did not found anything on ARRI's dedicated web page. Do you know where I can find ones?
I know you link to this in the description, but it doesn't seem to lead to the software download. Any idea where to download arri reference tool? thanks, and thanks for making this video!!
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24:55 so what's the "full frame look" then? also, as far as I know, 23:33 this isn't true, at least not on high end productions. super 35 is still the standard.
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Isn't HDE the compression that you say is missing from ARRIRAW? The point of ARRIRAW is that it is RAW and only a lossless technique can be used, which is what HDE is accomplishing. Otherwise it wouldn't be called ARRIRAW.
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Watched all the short films with this camera release - definitely looks sharper - but to my eye the Reveal colour science looks a bit more Fuji-esque than Kodak-like the colour science of old. Looks like Arri have gone for a more scientific and accurate rendition of colour.
Quick Question. Whats the whole point of Arri adding the LPL mount on this camera if it isn't a large format sensor? I understand that a simple answer can be if you own large format lenses, you can still have the option to use them. But... is there any kind of advantage/difference of using a large format lens with a super35 sensor?
In theory LPL would allow for smaller, lighter and faster S35 glass to be designed due to the larger mount diameter and shorter flange depth. Also stray light performance seems to be better, on the LPL-Mount, which is why ARRI have also announced two redesigned PL-Mounts.
@@oscarstegland Those are their large format flagships. Also its obvious that they would leave the mount to support those lenses. What Im asking is if there's any advantage towards using the large format lenses with the s35 sensor.
@@jorgesuarez2912 they're currently the only Arri primes (bar rental only lenses for LF/65) being manufactured so they're the crown jewel for Arri regardless of format. Ever since they ceased their relationship with Zeiss, they obviously want you to choose these over Zeiss Supremes or even Master Primes. In terms of advantages, I believe the larger rear opening of LPL allows for the light convergence on the sensor to be different than with standard PL. Don't know how much of a need there is for that on S35 sensors. But afaik there's no disadvantage. I think it just comes down to the fact that they didn't want to put out a camera that can use pretty much every type of cinema lens except for their own.
Raptor is better in lowlight IMO. If you look at the underexpose the Raptor is less noisy. If you watch the underexposure parts of this test the 35 doesn't look any better than the LF or Mini underexposed. Color holds up well on ARRI but they get noisy.
Several of your samples shots seem they may have clipped white and black levels. The clipped black levels seem particularly noticeable in side-by-side shots where the other cameras do not appear to have clipped black levels.
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Make a camera stand with also joystick 🕹️ Gaming button system exhaust box system make a top and up. Font or back panel back panel used used camera system and setting and other functionality.
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I wonder why Arri uses proprietary storage and not CFExpress since they do like standards unlike RED, for example by creating the B mount standard and without licensing
hii cvp.i have a question : so you have a super 35 sensor built in alexa 35 and it can shoot 4.6 k and it uses the whole surfaces of the sensor my first question is : when i want to shoot 1080p with alexa 35 , does it use a small part of the sensor only for this to achieve ? what if it use the whole surface of the sensor for shooting lower resolutions like 1080 p and 720 but instead it will have bigger pixel size,bigger than 6.5 micro meter is it possible that the camera merges some 4 pixels together so they represent one pixel to shoot 720p for example?
The Alexa35 allows you to shoot any of the resolution options using essentially the full width of the sensor, when shooting ProRes. You separate select the sensor area to shoot with and then the resolution and framerate you want to shoot, meaning that a full sensor area shooting at 1080p is downscaled. RAW is a different story however, as the whole point is to capture the sensor readout rather than a "video" file, this means that downscaling isn't really a thing and you're only able to shoot RAW in whatever resolution the sensor area you're shooting in allows.
It would be funny if they posted this video about the new Arri and everyone commented on how awesome the new image is. Then months later they came out with a second video telling us it was actually shot with a blackmagic camera and a cheap kit lens.
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![โอ้เธอช่าง... - บี้เดอะสกา ft. ต๋อง เทวัญ (Prod. by ป๋าเพชร) [Official MV]](http://i.ytimg.com/vi/zbWhiLFmVL0/mqdefault.jpg)
Our long uncut test video will be live on our Vimeo asap! This was rendered today so here's the list of things we’ve noticed post render that we wish we could have fixed!
At 12:16 we think we have broken TH-cams data rate limits as in 4K we get a heavy stutter which isn’t there in the rendered file we uploaded.
At 11:37 there should be a 7 and a ⅓ take instead a 7 stop on the Mini LF segment. We will be uploading full tests to our video so you can see the difference.
Are you based in London? We are holding several events at our CVP ARRI Creative Space! You can sign up here - cvp.com/events
Thanks so much for watching, we will be doing a follow-up video so let us know what you want to see in that below and what you think of the ALEXA 35 down below! Jake
nobody is choosing an EI for "evenest distribution of dynamic range". Everyone i know is looking to weight the dynamic range towards the highlights as much as they can without seeing noise, which is why the LF tends to be shot half a stop lower. If the native EI is 800, nobodys going to shoot at 400 just to even it out.
@@MrIsaacE well, yes and no. The guys have clearly stated that that's the midlle ground, not the default EI or "the best EI". It's up to a DP to choose the EI for a corresponding scene. Like it's always better to shoot dark scenes at lower EI/ISO values to have more room in shadows, and it's way safer to go higher on EI/ISO in bright daylight than say in dusk. Yet again, I agree with a statement that generally the highlight range is where the devil is and where everyone is usually trying to get the max out of and that most will shoot at 800 as a default value. It's just that I think guys really know what they are talking about and that's not what they've meant saying
Would love more Logc3 vs Logc4 side by side comparison! Excellent review 👏
Would love to see the Alexa 35 against Panasonic S1H on the under/over DR test and straight out of camera test LogC4 vs Vlog 🤔 👏 thank you
Hello 👋 I'm so Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
I would have bought the ARRI but it has no flip screen
Same here!!!! Such a deal breaker 😂😂😂😂😂😂😂😂😂😂😂😂
and autofocus. pitty
LOL
Omg how could ARRI not add IBIS to their camera, cRiPpLe hAMmeR 🔨
No IBIS? No buy..bis
Dear CVP, thank you for everything you do for filmmakers. Your decision to go deep into the review space as a unique selling proposition for your store is so cool. You guys are legends.
Yet I find myself around midnight watching the full video, while having exactly $7.89 in my bank account.
PLEASE! I'd LOVE to see it compared to the Venice 2 especially in that dynamic range.
YES! Let's compare two fantastic cameras I will never be able to afford!
The "Soft Nostalgic" Looks so much like film it's fantastic, and it's wonderful they are letting that look live in camera and not making it something you have to add in post. Arri has done it again.
Hello 👋Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
For real but you know every other company focus on 4K,6K,8K rather than image quality
That one immidiately stood out to me too, it looks lovely
Agree)) I did test of this camera yesterday and what I see in Resolve is soft nostalgic is great. I also did these test using black diffusion FX 1 and 1/2. Together it gives soft and pleasant skin.
You guys do some of the best, or the best, reviews in the business. Really appreciate this one!! Especially being so quick on the release. Very in depth.
Thanks for the kind words and for watching! Jake
The color is clearly better. Many times I watch compare shots and think it's not worth the hype with certain cameras. But this is pretty insane. That is a gorgeous image. 75k gorgeous is in the eye of the beholder. Great work as usual.
It really is a big step up, and TH-cam compression doesn't do it justice! Thanks for watching! Jake
Hello 👋 I'm so Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
Could you make a comparing video with Canon C300 mark III in raw @@CVPTV
I think S35 is really the sweet spot for sensor size. Full-frame is sexy and it does let you make the most of your lenses' resolving power (plus capturing waterfall bokeh on the edges of vintage lenses), but especially when using longer lenses, the DOF can be too shallow to be usable. This forces you to stop down, so you lose light and also change the image characteristics. With S35 you can shoot wide open and still have enough DOF to work with, which makes it a lot more useful for shooting in natural light.
Pfft, what? No. I've learned one solid thing from internet comment sections, which is that if a camera isn't full frame it's dead on arrival and pointless. Apparently ARRI never got the memo!
@@SamEmilio2 sarcasm at it' finest
The depth of field is the same, the angle of view has just changed. That's it. You can match blur circles and field of view if you wish. There's no 'more' resolving power with large format.
@@kedbear79 That's a theoretical point that misses the practical application. If you go from shooting S35 to shooting full-frame and someone asks for a closeup on the talent, do you give them a wider shot to preserve the DOF? No, you give them the same framing you did on S35, except now the DOF is shallower. If you want to have the same DOF at the same framing, you either need to use a wider lens or stop down, both of which will change the image characteristics. I like how I can shoot at f/2 on S35 and still get a usable DOF from longer lenses.
I could have been more clear with the resolving power bit though, what I meant is that you can get more resolution out of your lenses with larger sensors. (Resolving power stays constant, but there's more lens to resolve, so more resolution captured by bigger image circles.)
Honestly, still a super 35 kinda guy. Love the lenses I have, love the lenses on offer. The only thing that the LF systems have is getting closer to that unique isolation in DoF that fast wide glass for Medium Format has. Thank you for this camera Arri. My DP cares less for LF haha.
I hope Arri releases an amira successor using that gorgeous sensor.
I was first watching the official ARRI video, but this is SO much better. Really, really well done. Very detailed. You clearly put a lot of work into it, but it shows! Thank you!
Hello 👋Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
was there sharpening added to the Alexa 35 footage in the test shots you showed? Some shots looked overly sharpened.
It has so much features and it will be great to use it as a webcam
This is why Arri is the king of the cinema market. While RED and other manufactures are chasing K's, Arri is focused on what DOP's are actually looking for. Better color and texture. If you're wondering why the best DOP's don't really care about 6K and 8K look up Steve Yedlin's tests. And I don't really agree on your view of the new Arri Texture feature not being relevant on larger sets. Arri is giving back the control to the DOP's that they used to have over the look of their images. I think it's a very smart move that a lot of cinematographers will be really happy about. Hope the ARRI Alexa 35 starts a new trend in the entire camera market!
nice!! someone who saw the yedlin test too!
and i think with the alexa35 RED will lose a lot of netflix productions to ARRI
Yedlin's two TH-cam videos are well worth watching. I forced my wife to watch them, although her eyes glazed over halfway through.
@@morucek Don't be so sure about that. Remember that most RED projects on Netflix use the VistaVision sensor. That would mean that they would've gone for the Alexa LF (and Mini LF) when it became available (not many did). And the 8K Red had a Super 35 version that people also could've used in Netflix projects but most don't. It seems like the new standard is going to be LF/VistaVision/Full frame and this is just going to be another option for those projects in Netflix that would've gone to Super 35 anyway and so they now could choose between Panavision Millennium DXL2, Red's whatever Super 35 they want, using the 4K crop to Super 35 on the Venice 1 and 2, and this Alexa 35.
There's a place for all tools. Options and competition are good.
" the best DOP's don't really care about 6K and 8K"
Ok, well that's only part of the equation. Directors/Producers telling certain VFX heavy stories might value 8k or higher capture as it results in more post options and/or composting. Or a production might want to capture expensive action pieces in 8k for reframing purposes, or if it's going to be chaotic to shoot.
@@Frontigenics True, but go watch Steve Yedlin's two TH-cam videos on resolution. For the VIEWER, resolution beyond 4k is meaningless.
Would love to see a Dogfight comparison between Alexa 35 and Red Raptor.
Time for a comparison video!
+1
Yes
Such a great surprise to get coverage this early.
Can't wait for the ALEXA 65 9.4k and the LF 6K - maybe they are bluffing
If the camera can handle 7 stops over but only 4 stops under - shouldn't you meter for 1 or two stops under to begin with? Behaves more like film I suppose and exposing to the right will have a lot of headroom.
It being 13bit capture is odd.
The texture settings being baked in raw are odd, as that is something I always thought about being one of the never mentioned advantages of raw recording: you can fine tune how the interpolation ads sharpness and reduces noise.
any digital camera, regardless of brand, should ETTR imo. before it clips of course. im not a dp but i think we should really pay attention to waveform more than the light meter anyways. my philosophy is to over expose at any given chance.
past arriraw captures 12bit log, as the new sensor captures more dynamic range, they feel 12bit is no longer enough. they also put file size into consideration, and they decided 1 more bit depth is all they need. file size is important because large file size impact performance while capturing and in post production. we don't need more junk that slow down our digital devices.
the new texture feature is happening at the earliest level of image processing. it has to do with how the sensor sees the image or something, i can't explain. that's why it's baked into raw. check out Potato Jet's video, he has an actual guy at arri explaining this. if you want the raw advantages you mentioned, i guess you can just use default texture. it's basically the same as anything before i think. also check out arri's video regarding image quality on their channel. this new texture feature really is a new and weird one. feels like a digital-y rather than organic kind of feature, and i'm not so sure i'm a big fan of that direction.
to explain why i think we should always ettr, because the brighter stops hold more information, because of how light works in an exponential kind of way
@@danielhuang2488 In an ideal, one really should always ETTR before clipping as it provides a technically high quality image. Instead of underexposing, with help of one’sDIT on set, adjust the image with CDLs to achieve the desired look.
I have never seen the Arri menu but just from seing these shor snippets of it I must say it is so simple and self explainatory. Stuff is actually named after what it does. i wish other manufacturers would learn from that
Wow!! It will be great to see Alexa 35 , V-RAPTOR and Sony Venice ii, side by side test
Hands Down the best Alexa 35 Overview on the Internet! Thank you guys for making these videos!
Thanks for watching Cedric! Jake
As an analog film hardliner I’m very impressed with the Alexa 35. And I’m very happy we’re back to Super 35.
I can’t wait for DPs and colorist to screw up again and make people look like plastic.
@@berlin03030 Uhm ok. Wahrscheinlich gar nicht mehr. Wobei ich schon grad wieder Bock auf‘s Spiel hab. Sag niemals nie.
Hello 👋Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
I really think S35 is really useful for a lot of productions. If Sony Venice is an indication, a lot of content shot on it use its S35 mode.
I hope this has effect on other manufacturers obsession with resolution and sensor size.
They are important but not to the detriment of DR, rolling shutter, recording capability etc.
Well it’s possible to have a sensor to pretty much all of those things, you just need to not to intentionally cripple the camera.
The Sony A1 (for the mirrorless lovers) and Venice (for the cinema camera users) have high resolution 8k, unlimited recording in said 8k mode, great rolling shutter for a non global shutter, and good dynamic range. Not Arri good but still incredible Dynamic range.
@@RiceCubeTech My comment was in regards to the irrespective tradeoff in manufacturing cost of the individual aspects mentioned, not the possibility of it.
super35 will forever be my favorite format. there are so many benefits to full frame sensors, but nothing hits my soul like the look out of a 35
I feel dumb asking but what's the importance of pixel pitch, is more or less better?
You say the Enhanced Sensitivity is very similar to temporal noise reduction - and yes in some ways it is, but sampling the noise from the "dark side" of every frame, and nothing more, is a much more mechanical/engineered solution, rather than the computationally intensive way temporal noise reduction works in post. It's very elegant.
Super excited to be able to afford one of these in 10 yrs
awesome video! i would love to see a dynamic range comparison between the Alexa 35 and the 8k Venice 2. Is there really an extra stop in the highlights? Also interested in a color comparison using their rec709's. appreciate all the great info so far!
Rec 709? Ew.
Excited to see it next to the V-Raptor!
Nice comprehensive look at this amazing camera. A few shots had missed focus but overall great. Don't tell anyone but I have missed focus a time or two. Thanks
Hello 👋Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
Thank you for this concise, jam-packed review. Well worth the watch
Love this channel so much, always the most reliable info!
Looks great, damn shame Arri aren't planning on making a2x (Alexa LF) or a3x (Alexa 65) versions of the alev 4, at least from when I talked to them a while ago, I hoped they changed their mind.
they will in 2/3 years
wonderful video. What do you think is due to the cinema lenses and what to is due to the camera in the truly cinematographic shots you get?
I've always felt that s35 was the best sensor size. I will never buy this camera, but enjoy the FX30 and previously enjoyed the FS7, FS5 etc. For some reason, FF looks a bit overly modern or TH-camrish to me. I know that's not right, but I can't help but feel it.
Thank you as always for a fantastic in-depth video.
Very keen to see your video on power could you please go in-depth about how to properly build your rig with accessories and power draw in mind.
There’s lots of videos on how to work out watt hours for batteries but not many about how to manage powering all the necessary equipment for a cinema rig motors, rangefinder (cinetape) monitor Teradek etc.
I think especially moving to 24V I would love to know how this will Impact my builds as a focus puller!
CVP I have a question🙋🙋🙋?
I think you will answer this...
Arri s35
Bmd ursa 4.6k G2 which one will better to shoot...
The URSA has compressed RAW. Other than that the Alexa is better in everyway. It should be for $60,000 + dollars. You could buy 10 ursas for that amount.
@@tomnormedge9432 imax is 500 k . 10 arri camera prices
I'm honestly deciding between the Arri 35 or mini LF 😫 Thoughts?
I would suggest trying to get your hands on both cameras and test them yourself. Both can produce beautiful images and handle great, but there certainly are differences you need to decide between. If you have any specific questions let me know. Jake
God how useful this video is!!! thanks Man, I watched whole video and I found that I knew about camera. please make more useful contents like this about alphabetic expressions of photography and Video camera. thanks a lot, subscribed
I really want to the see the difference of two cameras exposure like arri 35 and sony a7s3 not the color difference but exposure at same lighting conditions....which camera takes more light or which image gives clean signal without noise
Your review is very informative again but how did you manage to clip the highlights like this in your test footage?
Knowing Arri, it must be gorgeous.
This could not have come at a better time. Thanks for the video.
Thank you for this amazing review!
I’m looking for footages shot with this new Alexa 35 but I did not found anything on ARRI's dedicated web page. Do you know where I can find ones?
What's the weight of the production set without a battery? Thanks
My question is, would legacy cameras like the classics get further price drops on the used market? Would be nice to get one under 7K AUD.
i want the classic too!
I know you link to this in the description, but it doesn't seem to lead to the software download. Any idea where to download arri reference tool? thanks, and thanks for making this video!!
I'm sure ARRI will update their website as soon as its available! Jake
@@CVPTV Thanks Jake!
Hello 👋Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
Fantastic review - could you please tell us what lens you were using for the portraits @ 48:50?
It was a Signature Prime, not sure what focal length it was though, sorry! Jake
The color science is so gorgeous!!!!! 😍
It really is great! Thanks for watching. Jake
Unquestionably
Thank you CVP for this great review!
I am a beginner in Cine Tech and I have a question:
Is Arri Alexa 35 better than Red V-Raptor XL VV? Or is it the other way around?
Another top review. You guys are smoking it. Thanks 🙏
dude your footage looks great what kinda camera are you using to record with
Great review! Very comprehensive and complete.
Hello 👋Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
I’ve been scouring TH-cam looking for a video. Good to finally find one
Hope you enjoy it! Jake
have not seen colour this nice especially the greens ooo my, so many camera fall short on the greens and push to close on the reds and yellow
If the heat is going out from the top of the camera…..wouldn’t I feel that heat on my hands if I’m shooting handheld ?
I would love to see it compared to the new 8.6 k sensor of the venice 2. please do that comparison
8.6k sensor? That's one big sensor 😂
24:55 so what's the "full frame look" then? also, as far as I know, 23:33 this isn't true, at least not on high end productions. super 35 is still the standard.
why does the test footy look like it was sharpenned 😢
God, that roll off is just 🤌🏼💋
CVP, I'm curious why you don't use shutter for exposure tests?
I've used both and going the T-stop route is just more comfortable to me. But also curious on why CVP isn't going with the shutter route
Hello 👋 I'm so Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
Isn't HDE the compression that you say is missing from ARRIRAW? The point of ARRIRAW is that it is RAW and only a lossless technique can be used, which is what HDE is accomplishing. Otherwise it wouldn't be called ARRIRAW.
Check this out - codex.online/codex-hde
Which camera/lens did you use to shoot the BTS and talking head for this video?
Hello 👋Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
can arri alexa's viewer be set for a left eye dominant user?
Watched all the short films with this camera release - definitely looks sharper - but to my eye the Reveal colour science looks a bit more Fuji-esque than Kodak-like the colour science of old. Looks like Arri have gone for a more scientific and accurate rendition of colour.
Ah, bummer! I was gonna buy it but it's a bit too heavy for my vlogs.
Is it possible to get some sample footage of Alexa 35's for some DI test for us.
Amazing review!!
Quick Question. Whats the whole point of Arri adding the LPL mount on this camera if it isn't a large format sensor? I understand that a simple answer can be if you own large format lenses, you can still have the option to use them. But... is there any kind of advantage/difference of using a large format lens with a super35 sensor?
it seems to me that they're trying to bring attention to their new mount
In theory LPL would allow for smaller, lighter and faster S35 glass to be designed due to the larger mount diameter and shorter
flange depth. Also stray light performance seems to be better, on the LPL-Mount, which is why ARRI have also announced two redesigned PL-Mounts.
They're not going to put out a new flagship camera that doesn't support their flagship lenses...
@@oscarstegland Those are their large format flagships. Also its obvious that they would leave the mount to support those lenses. What Im asking is if there's any advantage towards using the large format lenses with the s35 sensor.
@@jorgesuarez2912 they're currently the only Arri primes (bar rental only lenses for LF/65) being manufactured so they're the crown jewel for Arri regardless of format. Ever since they ceased their relationship with Zeiss, they obviously want you to choose these over Zeiss Supremes or even Master Primes.
In terms of advantages, I believe the larger rear opening of LPL allows for the light convergence on the sensor to be different than with standard PL. Don't know how much of a need there is for that on S35 sensors. But afaik there's no disadvantage. I think it just comes down to the fact that they didn't want to put out a camera that can use pretty much every type of cinema lens except for their own.
Arri is in Uxbridge! wtf... I lived there all my life and played in Fasnidge Park... wow
But can it record good videos for TikTok?
How is the low light and noise performance in comparison to the RED v Raptor 8k?
Raptor is better in lowlight IMO. If you look at the underexpose the Raptor is less noisy. If you watch the underexposure parts of this test the 35 doesn't look any better than the LF or Mini underexposed. Color holds up well on ARRI but they get noisy.
what camera did you film this video with? (talking head portions)
Love your work
love your work! 👍
A Venice 2 comparison would be great. Cheers
How do you access the Logc4? 😮💨😮💨
Several of your samples shots seem they may have clipped white and black levels. The clipped black levels seem particularly noticeable in side-by-side shots where the other cameras do not appear to have clipped black levels.
His footage makes no one wants to buy the camera ,some shots looked awful
CVP does for reviews what Arri does for cameras.
*Can you use the new Arri Alexa 35 viewfinder on other cameras, or is the connector so propriatary this is impossible ?*
Unfortunately not it will only work with the Mini LF and ALEXA 35. Jake
Hello 👋Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
Make a camera stand with also joystick 🕹️
Gaming button system exhaust box system make a top and up. Font or back panel back panel used used camera system and setting and other functionality.
Can't wait to give the new Alexa a try!
what is the bit depth of the newer arriraw? still 12 bit or 16bit?
Hello 👋Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
Wait, you mean there isn’t a return policy???
I wonder why Arri uses proprietary storage and not CFExpress since they do like standards unlike RED, for example by creating the B mount standard and without licensing
Cause money
I think mini still has the upper hand in terns of rolling shutter
I was looking at this camera but my best buy didn't have it so I went with Sony
hii cvp.i have a question :
so you have a super 35 sensor built in alexa 35 and it can shoot 4.6 k and it uses the whole surfaces of the sensor
my first question is :
when i want to shoot 1080p with alexa 35 , does it use a small part of the sensor only for this to achieve ?
what if it use the whole surface of the sensor for shooting lower resolutions like 1080 p and 720 but instead it will have bigger pixel size,bigger than 6.5 micro meter
is it possible that the camera merges some 4 pixels together so they represent one pixel to shoot 720p for example?
The Alexa35 allows you to shoot any of the resolution options using essentially the full width of the sensor, when shooting ProRes. You separate select the sensor area to shoot with and then the resolution and framerate you want to shoot, meaning that a full sensor area shooting at 1080p is downscaled.
RAW is a different story however, as the whole point is to capture the sensor readout rather than a "video" file, this means that downscaling isn't really a thing and you're only able to shoot RAW in whatever resolution the sensor area you're shooting in allows.
almost convinced myself i can afford this right now because its so damn good... Maybe next year 😈
Yes, but will it make me look better?
Which Movie will be shoot first with this Beast?
Beautiful colour, loved the shot on the canal. Please give me one.!!!!!!
It would be funny if they posted this video about the new Arri and everyone commented on how awesome the new image is. Then months later they came out with a second video telling us it was actually shot with a blackmagic camera and a cheap kit lens.
23:00 People still miss focus on Super 35. With Full Frame it is even worse.
useful review.
Hello 👋Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
We need a Alexa 35 vs Vraptor VV vs Venice 2!!!
Thank you for your interesting expose. Will you let me know its Price? Good luck from MAURITIUS.
hmm…how is it big news going from LF to 35? a bit anti-climactic?
Can we shoot in 3D using this cam
"It's 2022, and still no Auto Focus & IBIS?" - Perpetual TH-camr
Hello 👋Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?