You are SO correct about resolution - 4K is almost always overkill... Dynamic Range is much more important for image quality.... (In fact most of the time with the very high res sensors we spend time in post softening faces/skin on our human actors!)
you dont need it but for editing i prefer to have 4k, you can crop your shot, stabilize it if necessary. but for watching you def dont need 4k. just for editing its nice
Well, you currently have both, resolution and dynamic range, so why do I need 4K? I like to have native resolution material that my 4K TV can display without using upscalers.
You hit the nail on the head of every talking point. I really appreciate how you compared the weight of the Arri to traditional film cameras. Nobody was complaining about the weight or even factors it in when shooting. It's usually a money issue for acquiring and processing film stock. But in the eyes of the digital shooters everything must (for some reason) become tiny and nimble. Eventually only crash cam sized boxes will be acceptable. Happy to be subscribed to you 👊
Hey everyone, I was mistaken when I said movies are all projected in 2k. I edited the video as to not spread misinformation. Apparently I am stuck in 2010. PS I appreciate all the engagement!
Great video. I’ve had an Alexa classic for about four years and love it. Yes it’s incredibly heavy but man is it worth it. It’s still lighter than an Arri flex BL4 one back in the day. And the biggest thing is that it gives the look of high end commercials. If you want to look at the Geico commercial or progressive or Pepsi it’s shot an Alexa. Alexa just has a certain look.
Great point you made about filming 2K for CGI. There’s a lot of time and money saved processing 2K, rather than going 4K. Then you just upres the master to 4K, if need be. 2K still goes a long way 💪🏾
I agree and disagree at the same time but let me explain - In terms of mastering the final shot and delivering it -> 2K is great and needs much less computing power in terms of rendering the CGI etc. - In terms of doing green screen work however the higher the camera resolution the better the keying is so that means much better results and a lot less work at the same time. And if you deliver your final shot in 2K then you can save yourself tons of working hours in post production as the simple keying of for example 6K camera will make the magic and delivering the final shot in 2K will hide the rest of artefacts Have a nice day :D
Todays CG looks worse because the resolution is too much. Film with CGI has always looked better because of the natural physical attributes of film that help blend the CG. I saw Force Awakens printed on 70mm film and projected on a Imax Dome and could never see it the same again. The CG shots looked so much better than digital 4k
@@FanaticDrummer that difference is extremely less actually and today’s cgi actually looks the best it ever has. And cgi isn’t just about explosions and spaceships, it’s about other stuff like painting out ropes, set extensions, background removal, face enhancing, de ageing. Cgi is used in most movies and they mostly do look flawless. Take dune for example
It's always funny when potential clients ask me if I can shoot 4K. Do they need it? More than likely no. Do they know what 4K means? No. Do I say that I can deliver 4K? Yes, because shooting in the better codecs (Raw, Prores) gives the ability to do that! I have been using a Micro Cinema since 2019, shooting RAW 1080p and then upscaling to 4K is a way to save image quality and fidelity when uploading to TH-cam. The feature films I shoot with the Micro Cinema do not care about resolution, they care about shot composition, continuity and framing.
Thanks for this! Weighing up the possibility of buying an Arri in the coming months and enjoyed listening to your thoughts. Commenting for the algorithm and to boost your visibility ✌️
Thanks bro, its the bomb. I have the Sony F3 as well which I think is amazing. Wish Sony would have stuck with that look. Mine isn't the 444 version though, so not as useful for production work.
@@HonJazzz The highlights aren't great but I really love how it handles shadows. Its made to be exposed lower. I'd like to get my hands on one with the 444 update. I wish they would have come out with a second model that had internal recording and a slightly more robust body.
@@LuciusGraciusMaximus Thank you for being patient. I wanted to use the camera in a bunch of situations so I can share a variety of footage. Thanks for your patience. In the meantime, check out my Arri SR3 video.
it's good, but sometimes projects need to be done quickly, as a low-budget ads producer/ director, I rather my crew use bmpcc4k/6k than this monster. it requires a bigger battery, bigger tripod, more people, more time to set up, no way to be on a gimbal but for a personal project or some projects that are pretty chill, I don't see a reason not to use this camera. one of my DP friend bought one for 7k 4-5years ago, it's a beautiful masterpiece. nice video!
Actually Im pretty sure the new star wars movies were mastered in 4k and more and more projectors are switching to 4k projection, but i still agree with you for the most part on resolution. Love the alexa
No problem! About to do a follow up to this with a lot of footage from the past year. Going out tomorrow to shoot some test footage against the Red Raptor tomorrow as well.
Nice video. I agree with the resolution argument. I'm always rolling my eyes when clients ask for 6k or 8k from a RED... Even with new powerful computers it's a pain to edit. Would take an Arri any day before any new high res camera.
Cool video. Had a Classic, switched to XT mainly for the 4:3 sensor for anamorphic shooting. The Classic is a workhorse. Great camera, man. The sensor size is not the same between the Classic and Mini. The safety lines you see on your evf are not the 3.4K dimensions. The 4:3 sensors are taller, and therefore have more resolution vertically too. Your evf is showing you the limits of the 2.8K image you can record in raw. But still in the 16:9 format. Same sensor doesn’t mean same image. The internal components evolved and gave you less noise and better colors in later models. 444ProRes is 12bit, raw is 14bit. It’s not the same, but yeah, unless you are shooting tons of VFX, or a big budget with archival for future reformatting, it’s not worth it. Hell, Moonlight won the Oscar for best film, and was shot in ProRes 444 on the XT. It’s all about the sensor latitude and color. Arri figured it out from the Classic. The rest are just improvements.
You are right on the sensor size. Math is not my strong suite. I believe ARRI RAW is 12 bit as well. Its LOG not linear raw though so its pretty much equal to RED's linear 16 bit RAW. Arri color hasn't changed much though, the LF pushes more magenta and the older models push more green. I almost got a good deal on the XT, but I am kind of glad I got the classic, its a bit lighter and less power hungry. Having the anamorphic option is cool, though I'm not big on the anamorphic look and rarely work with budgets that can afford them. How are you liking the experience of owning an XT though? Is getting a mini in the future for you or possibly a whole different system?
I'm totally agree with you : 1080p is more than enough today The problem is that the majority of the cameras nowadays (mirrorless and others) shoot crappy 1080p. And the 4k looks like (or often worst) than the image quality you get from your alexa
Definitely true. Cameras are getting closer and closer to the Alexa. However even when they get the dynamic range right there is a lot more that goes into the Alexa image than just dynamic range.
Also agree, Kadehr. This is why I bought an old (new old stock) Sony FS100 in 2019. Sadly no ARRI, it was not available, and I had even less budget. (Certainly not the dynamic range. But I'm happy, it shoots nice images at 1080p) Contratulations Renaissance Digital with that Alexa Classic. Lovely camera! Just found this video/channel, and looking forward to more.
I've been saying this for years! Consumer-grade cameras that shoot MP4 or h.264/265 UHD is not and should not be considered the cream of the crop! I have used a Blackmagic Micro Cinema as my A-Cam since 2019, even shooting in 1080p Prores Proxy it still has better fidelity and image quality because of the codec and sensor. Shooting RAW 1080p I can upscale to DCI 4K at Prores422 HQ and no one would even know that it was shot with an "old" cinema camera and a S16 sensor.
I feel inspired by this video...not to get an alexa, that's not happening, but just how well and differently this was delivered vs everything else on youtube!
This is the only camera i've watched on my Samsung S95B oled tv that looks just as good as 4K. But only in 2.8K RAW. The 2K looks a tad bit soft but with a lot of texture at detail
I agree that 2.8K is very close to 4K, but you should look at an image captured by a downscaled 4K image. It just brings a smile to your face. A theatre in my town has a legit 4K projector
Just as a note about technical incorrectness, basically the top two major purveyors of theaters in the US, Regal and AMC both made the announcement that they were going to make the move to 4k digital projection in 2009 and were both completed roughly by 2012. So, I'm not certain where you're getting your info from. While I'm sure there are plenty of smaller theaters still projecting in 2k, if you're in a major theater in 2022, they're projecting in 4k. To verify: you can either Google for the original articles from that time, or simply go to the corresponding Regal and AMC Wikis. In terms of your main point about 2.8k being plenty for cinema: I mostly agree. There are other things that matter far more than resolution and Arri knows this very well.
Wow this totally convinced me. Was about to buy one last year after shooting a short with it. Fell in love. Going to make the purchase soon now. Thank you. Very educational and beneficial video.
Thanks bro, just keep in mind your shooting style when buying a camera. If you know anyone who has one get them to let you play with it and make sure its right for you.
ProRes and Raw are extremely similar in post flexibility. I got sucked into the "in need RAW" crowd haha. But even though I still shoot in RAW just because its an easier workflow for me, ProRes files I have found to be actually just as "fixable" or pliable.
First time I rented one I was the same. Then checked the test footage in ProRes and was extremely satisified. Just the cards&storage for shooting and taking backups over a week can be a serious dent in a shortfilms budget.
@@AnahatNaad Yes 10 bit 422 4k. I believe it was a Canon FDn 35mm f2. I really love the FDs though they aren't the greatest for "video" use. Love the look though.
Are you that famous music maker guy the brother of Billie Eilish - Finneas? The way you talk, the way you look, you might be cousins with them 😬😄 anyways just found your channel, looking through the vids, really liked the one comparing Komodo with Alexa. Keep going, thanks man!
I usually present to them the large list of films that were shot with the Alexa in 2.8k such as the Avengers. It's hard to argue with that vs using something like a C70 that has no films credits to mention. I have thought about getting an external recorder to do ARRIRAW. The file sizes are huge though and it runs really slow on my editing setup. Most people I shoot for wouldn't actually want to deal with all that.
Great video! Thanks for sharing. What lenses do you mainly use on this to keep the weight down? Is there anywhere we can see of your work shot on your Alexa?
not sure where you are seeing movies but almost every screen here is 4k projection. You can get a 4k projector for your house...Also the 3.8k option in the mini has nothing to do with sharpening...that isn't what upscaling is. Like at all. Its actually making your image less sharp. It is taking the 3.2k image and stretching it into a UHD pixel count. Its basically adding empty pixels which is why almost no one shoots in that mode with the mini or Amira or Alexa xt/sxt
It seems I am stuck in 2010. As it turns out you are right most theaters have had 4k projectors for years. I understand the idea of upscaling. I assumed the Mini/Amira applied some sort of sharpening as is often done when upscaling images to 4k in post. It's useful to give clients who ask for 4k, which I assume is why it was added to the camera. Definitely feels a bit dishonest.
You've got me considering a significant lane change. I love the name of your channel and what it suggests. Also, you're very informed on standards and tech. Do you gather this from a slow plod through self directed efforts, or are there sources you use to learn much of what you've got?
My knowledge is just from my interest in the medium over the last few years. I read over online forums frequently as well as reading books, articles, watching youtube videos and person to person interactions. I am definitely more of a creative than a tech person. I just figure out enough to get by for the work that I do.
@@renaissancedigital5730 that last line I really get, although I’m very tech oriented… just less informed than I wish. I’m interested in some of your reading resources - blogs, forums, books, etc… could I send you a DM somehow? Instagram, website, something?
Love the camera. Never used one but I just love the technical and physical aspects. People are obsessed with sharpness. No one gave a sht when we shot for top magazines on film cameras. And they still dont. Likewise my friend shoots 1080 for major brands and even has some exhibitions and no one has ever said, oh thats not sharp like 8k. Engaging and interesting content is king. Sharpness is marketing.
Yeah to me film is the goal post, and I associate softness with film. Though there is plenty of detail in 35mm film, probably enough to equal digital 4k. All tools at the end of the day, but I do really love the ARRI Alexa image. I might even say I like the S35 Alev3 sensor more than the new Alexa 35. It just has a certain look to it that is so pleasing.
Once, a friend of mine told me that the problem of buying one of this cameras is that if at some point any little thing fail, the repair would cost more than the camera itself. What do you think about it?
I am pretty handy with repairs and their are plenty of broken Alexa bodies around for pretty cheap that I could source parts from. That said it just depends on your budget for sure.
While I 100% agree with you on the resolution hype and 4K being PLENTY enough. What I didn’t hear you dive into was media cards (which are hard to find and expensive) and that streaming services, such as Netflix won’t accept films shot on this camera anymore. It has to be 4K minimum and they have a list of cameras they accept. You’d be surprised how few Arri cameras they accept now. There are obviously some exceptions to that rule, but nobody making an indie film is that rule. If you are a filmmaker and aiming to get your movie on a streaming service, shoot 4K, or on film…. Believe me I know. I work in film (both real film and digital) and have a lot of friends in this business as well and it’s all about steaming right now….I’ve watched many get their films on all the steaming services except Netflix because they shot on Arri cams (which they stop accepting….. like wtf). But the issue is that others are now only wanting 4K as well….not to mention they use their own company for the deliverables, that you have to pay for even IF you, or your company of choice is far better. Movie theatres are close to dead right now (which sucks) so that market is kind of up in the air. But believe me when I say 4K is coming if it decides to stick around. And if that’s the case, prepare for the exact same thing to happen. But my guess is it wouldn’t be for a good while (despite a massive resurgence) that causes all cinemas to go broke upgrading to 4K projectors or having to limit what they can show… Anyway. Is the original Alexa still worth it? Absolutely. But it is a very large camera and I personally think you’re better off buying an Amira for a little more money as they have the exact same sensor…. I used to own an Arri M, remember the one that had the detachable brain? Kind of looks like a Mini but you tote the body around? My friend built a pretty slick custom steady cam that used the body and battery as the counter weight and put the head on the top. Before I sold it he had built a gimbal attachment so that it worked like a trinity. That was AMAZING! I wish I had kept it… Anyway. Sorry for the long rant. But just something to consider for filmmakers. Visually the Arri is god. But sadly the movie business is all about “current”…. Plus you are going to be greatly limited in what you can do with the camera due to its size. And lastly people really should factor in the cost of media, media card readers, batteries and licenses into this camera before buying one. Again, the Amira is a killer camera with an identical look (same sensor) that should be considered if you’re going for the Arri look.
Congrats an the Sweet Alexa classic. i just picked one up on eBay myself. I love how simple it is to operate. The image quality is stunning!!! I also love how it renders motion, so buttery smooth and dreamy. unlike the mega pixel BlackMagics I've owned. Interested in your lens choice? I pulled the trigger on some SLR Magic Apo Hyper primes. 32, 50 and 85. They feel similar to a cooke.
Thanks man, the SLR APO primes seem like a solid set. I own a set of Canon FD's which I really like. The choices on the wide end for FD's are not that great. But the look they give is really nice, I love the skin tones. Recently I picked up a set of Pentax SMC lenses. I am kind of blown away over their performance. They are the sharpest vintage glass I've ever used. Their sharpness is comparable to Sigma art lenses but they have a lot more contrast and unique style. Overall I would say I like the endering on the FD's better but the Pentax are great in their own way. The Pentax 20mm 2.8 is incredible and unfortunately there is notihng in the Canon FD line up that compares to it. The Pentax 50mm 1.2 is also stunning, even wide open it is sharp. I plan on doing a comparison between my Pentax lenses and a set of Zeiss CP3's soon.
@@renaissancedigital5730 awesome, yeah I sold my sigma art glass for my new primes. I’m primarily going to be shooting narrative shorts. The sigma glass is great but really sharp. the SLR Magic’s have that nice look similar to the Canon FDs. The high end primes I’ve rented, Cooke’s and others are not actually super sharp. The coatings within the lenses have sort of a nice diffusion effect on the image. Giving that amazing roll off. I bit the bullet and stuck with the PL mount and invested in some nice glass. My 3 lenses cost more than the Alexa. Haha Cheers!
@@stuffa01 Yeah PL mount is a joy to work with. I really was thinking about making the switch but I like my vintage glass to much. Maybe when I have the dough for a set of mini S4's.
I do see the benefit of some cameras jumping to higher res for finer grain/sharper images but at the end of the day I'd probably still rather shoot on a Alexa classic for that amazing image
@@renaissancedigital5730 Thank you for the response. I have an SXT and I am looking to get a classic as a second camera. For interviews especially. But you are right. The image quality of these machines is at another level.
The Varicam is very interesting. ND's and the slightly lower power draw are nice. Its lighter too of course but still pretty heavy. Would love to test one out. I am pretty much gonna do everything with a tentacle sync for audio on the arri.
it has a great out of the box image - in that way it's similar to the Alexa - it's quite compact but yes, it's a heavy thing. I run mine at 5000 ISO in high ISO setting (as a default setting) and ND it for exposure - gives you a nice thick clean texture. I've paired mine with some Zeiss Otus lenses and that combo creates a look I can live with. When you do want to pull some colours out in the grade - Varicam really shines. But alas it's no Alexa.
Most "narrative" movies come with a full crew to work with the Alexa. If you're like most of us, and I'm also talking about working Cinematogaphers (movies and commercial), we also shoot commercials in between "narrative" movies, so it doesn't make sense to purchase a old heavy camera. I'm just curious. How many "narrative" movies have you shot?
Working on my 6th feature right now. I definitely get you, half my work is corporate/doc stuff. You definitely gotta purchase what makes you money. Right now the camera I use doesn't matter and I prefer to shoot ARRI, even if it's more work. I also produce/shoot narrative stuff of my own and I like it to be shot on ARRI. I might be working on something soon that will get definite large theatrical release and my Classic will be staying home for it.
Where did you get the battery ? I’m currently looking at getting a used Arri Alexa Plus 4:3 for Around $10,000 , any recommendations on accessories required for filming? Where to find that external recorder for 2.8K? Also what did you pick as your monitor ? Thank you 🙏
Its a brand called Rolux, you can find them on eBay. If you are getting a used Alexa package I recommend finding one with accesories. The EVF, Top handle, and gold mount/v mount plate aren't cheap. If you find them with the camera you can sometimes save a bit of cash. eBay is the place to go to get the Gemini or 7Q+. I went with a portkeys 1200 knit 7in. Its pretty affordable and I like the design. The new atomos shinobi is really nice, but it wasn't available at the time. In terms of accessories get a decent tripod. I went with a used Miller 20. Super robust head that go for very affordable prices second hand. You might push above the weight capacity on the Miller 20 if you beef up the rig though. Its not hard to push over 20lbs as the Classic is already 15lbs.
@@renaissancedigital5730 thank you so much, any advice for buying an used Alexa via eBay ? What type of SSD or recording media did you use? How many accessories besides the monitor and battery and tripod did you need to get rolling ? 👀 thank you 🙏
A lot of people like the Pocket 6k. I found the RED Komodo to match quite nicely. I think having the flexibility to easily adjust white balance and tint accurately is a big plus for camera matching. Juan Melara makes great Alexa color transform as does Emotive Color. I think that in combination with a RAW recording camera would be a great way to go.
Been trying a bunch of the budget options. Meike, Irix, different vintage stills lenses. I am collecting a set of Canon CN-E's right now. I am also interested in the Dulens APO primes though.
@@mertsatc6285 A lot more research and design were put into the older glass then these new cheap cine lens options out there. The look you get from some vintage glass is also unique. You simply can find the look a 50mm 1.2 pentax lens gives anywhere else. I'd love to get a set of cooke lenses or arri but they are horribly expensive. I think even if I had the money I'd still have a place for vintage glass in my collection.
@@renaissancedigital5730 You are right about this old vintage lens is really beautiful. But when I search on the internet a lot of people like Tokina Cinema Vista Prime Lens even though some of the people say its looks near like an old vintage lens?
great vid, im using an old red scarlet mx (one of the first reds with the of mx sensor) and honestly i dont see a reason to buy a new red. i was thinking about buying alexa classic, but it's difficult to find a good unit as i dont want to get one with like 8000 hours on lol
They come up on eBay a lot with hours under 4000. I like the MX image though, REDraw is awesome and the body size is more manageable than the Classic. The Alexa Classic image kind of blows it away but the MX defiantly has its own look that is cool too.
The real problem is weight - it means that most gimbals won't work, that even such things as lower cost motion control rigs won't work. Even fluid heads - you need something quite beefy to hold up the weight. A heavier fluid head means slower moves around the set before each shot, and greater strain on the crew. And... What shoots don't use gimbals ever in 2022? You can easily tweak color in post, but you can't really invent a gimbal move you did not shoot, or get back time you lost with slower tripod moves, not to mention time lost on set adjusting baked in white balance and ISO, when a RAW camera can allow you to fine tune these is post without penalty.
Very valid points. This is very much an opinion piece that is about what I like and how I shoot. I actually rarely use gimbals. I just got a used O'connor head as my Miller 20 wasn't cutting it. Cost of support gear and accessorizes definitely brings the cost of everything up. It's still cheaper than the cost of an Alexa Mini though the mini would allow gimbal use.
I live close a small city with only 20 000 citizens, and even they got a 4k projector in there largest saloon. So I dont share the opnion that 3k is all you need 2022. But I agree that youre Alexa will still make greate images. Im just tired hearing the same argument that of how good 2k projections are. On a 65” tv, sitting six meters away, its fine with 1080. But 2k in cinema is just sad unless its a animated movie with less details in it, Then im fine.
To the question: «do you even need 4k?» i would say that in cheaper consumer cameras with poor colour-detail and noise; yes. But in the case of professional cameras like ARRI, definetly not
I guarantee that Arri is not doing any kind of in camera sharpening for the upscaling, it's just scaling the image. Also, ProRes 4444 is 12-bit, not 14-bit.
Yeah its the equivalent of 14 bit linear, but yeah 12 bit log. I've heard mixed things on the upscaling. I've not had a chance to test it. I assumed they were doing something to make it look different than just shooting in 3.2k. But you know what they say about assuming.
The XT does 3.4k in open gate but doesn't have a 4k uhd option like the Amira. Really the same thing though as the Amira is just putting 3.2k in a 4k container. I guess the only real use for it would be so you can hand it off to a client that is demanding "4k"
While I love ARRI colours as well....talk to any pro-grader and you'll know there is way more information to work with from Sony. While Alexa colours lookl great, it is sort of "Camera for dummies". An idiot with a mini can shoot a commercial and it will look great. F55/65 footage looks amazing if the person know what they are doing...
I've heard mixed things about this subject but color is very subjective. Some colorists don't give a damn about the camera. Some people swear nothing can touch ARRI. I am very much a do everything on set and do very little in post person.
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@@TechnoBabble because it is easy to grade!!! Who is going to take the time to learn how to do it? And no, that’s not why. It’s because when Alexa came out, the closed camera in quality was F35, and it costed 5 times the price of an Alexa. It was cost based only. And yet again, a monkey can shoot arri and make it look good, that’s why 90% uses it. Same with why the mini got popular. It was designed as a crash cam even. All the other functions got added later.
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@@renaissancedigital5730 you can ask anyone, the Sony sensor and footage has way more information. Yes, any job is ockams razor, why would you want to do more work? But in the hands of someone that has the time, and knows Sony footage, there is way more things you can do with it…
![[LIVE] : ONE ลุมพินี 88 | คู่เอก "ป้อมเพชร vs อัสลามจอน"](http://i.ytimg.com/vi/1ZqTVVbMgbo/mqdefault.jpg)
You are SO correct about resolution - 4K is almost always overkill... Dynamic Range is much more important for image quality.... (In fact most of the time with the very high res sensors we spend time in post softening faces/skin on our human actors!)
you dont need it but for editing i prefer to have 4k, you can crop your shot, stabilize it if necessary. but for watching you def dont need 4k. just for editing its nice
Well, you currently have both, resolution and dynamic range, so why do I need 4K? I like to have native resolution material that my 4K TV can display without using upscalers.
You hit the nail on the head of every talking point. I really appreciate how you compared the weight of the Arri to traditional film cameras. Nobody was complaining about the weight or even factors it in when shooting. It's usually a money issue for acquiring and processing film stock.
But in the eyes of the digital shooters everything must (for some reason) become tiny and nimble. Eventually only crash cam sized boxes will be acceptable.
Happy to be subscribed to you 👊
Hey everyone, I was mistaken when I said movies are all projected in 2k. I edited the video as to not spread misinformation. Apparently I am stuck in 2010. PS I appreciate all the engagement!
Great video. I’ve had an Alexa classic for about four years and love it. Yes it’s incredibly heavy but man is it worth it. It’s still lighter than an Arri flex BL4 one back in the day. And the biggest thing is that it gives the look of high end commercials. If you want to look at the Geico commercial or progressive or Pepsi it’s shot an Alexa. Alexa just has a certain look.
Its definitely hard to get that look anywhere else.
The highlight roll off can’t be matched.
Great point you made about filming 2K for CGI. There’s a lot of time and money saved processing 2K, rather than going 4K. Then you just upres the master to 4K, if need be. 2K still goes a long way 💪🏾
I agree and disagree at the same time but let me explain
- In terms of mastering the final shot and delivering it -> 2K is great and needs much less computing power in terms of rendering the CGI etc.
- In terms of doing green screen work however the higher the camera resolution the better the keying is so that means much better results and a lot less work at the same time. And if you deliver your final shot in 2K then you can save yourself tons of working hours in post production as the simple keying of for example 6K camera will make the magic and delivering the final shot in 2K will hide the rest of artefacts
Have a nice day :D
Todays CG looks worse because the resolution is too much. Film with CGI has always looked better because of the natural physical attributes of film that help blend the CG. I saw Force Awakens printed on 70mm film and projected on a Imax Dome and could never see it the same again. The CG shots looked so much better than digital 4k
@@FanaticDrummer that difference is extremely less actually and today’s cgi actually looks the best it ever has. And cgi isn’t just about explosions and spaceships, it’s about other stuff like painting out ropes, set extensions, background removal, face enhancing, de ageing. Cgi is used in most movies and they mostly do look flawless. Take dune for example
Whats a good price to pay for this camera in 2022?
I want to see more from this channel and your Alexa Classic. Love the work, thanks dude!
More to come soon!
It's always funny when potential clients ask me if I can shoot 4K. Do they need it? More than likely no. Do they know what 4K means? No. Do I say that I can deliver 4K? Yes, because shooting in the better codecs (Raw, Prores) gives the ability to do that!
I have been using a Micro Cinema since 2019, shooting RAW 1080p and then upscaling to 4K is a way to save image quality and fidelity when uploading to TH-cam. The feature films I shoot with the Micro Cinema do not care about resolution, they care about shot composition, continuity and framing.
Thanks for this! Weighing up the possibility of buying an Arri in the coming months and enjoyed listening to your thoughts. Commenting for the algorithm and to boost your visibility ✌️
Enjoy it! I plan on making a video about mine soon.
Thanks bro, its the bomb. I have the Sony F3 as well which I think is amazing. Wish Sony would have stuck with that look. Mine isn't the 444 version though, so not as useful for production work.
@@renaissancedigital5730 No way, I also have an F3. That’s my go to for run and gun stuff.
@@HonJazzz The highlights aren't great but I really love how it handles shadows. Its made to be exposed lower. I'd like to get my hands on one with the 444 update. I wish they would have come out with a second model that had internal recording and a slightly more robust body.
We are still waiting ….
@@LuciusGraciusMaximus Thank you for being patient. I wanted to use the camera in a bunch of situations so I can share a variety of footage. Thanks for your patience. In the meantime, check out my Arri SR3 video.
Love it,
I also just got Classic few weeks ago, we are on the same page , congrats !
Thanks I will finish this later, but as someone who is just on the edge of getting into this ecosystem I am thankful for this overview and insight
it's good, but sometimes projects need to be done quickly, as a low-budget ads producer/ director, I rather my crew use bmpcc4k/6k than this monster. it requires a bigger battery, bigger tripod, more people, more time to set up, no way to be on a gimbal
but for a personal project or some projects that are pretty chill, I don't see a reason not to use this camera.
one of my DP friend bought one for 7k 4-5years ago, it's a beautiful masterpiece.
nice video!
Actually Im pretty sure the new star wars movies were mastered in 4k and more and more projectors are switching to 4k projection, but i still agree with you for the most part on resolution. Love the alexa
I think the original was 2k but probably not the later ones.
Love this man! Definitely helped
No problem! About to do a follow up to this with a lot of footage from the past year. Going out tomorrow to shoot some test footage against the Red Raptor tomorrow as well.
Nice video. I agree with the resolution argument. I'm always rolling my eyes when clients ask for 6k or 8k from a RED... Even with new powerful computers it's a pain to edit. Would take an Arri any day before any new high res camera.
This is all very sensible. I’m glad someone’s saying it.
Cool video. Had a Classic, switched to XT mainly for the 4:3 sensor for anamorphic shooting. The Classic is a workhorse. Great camera, man.
The sensor size is not the same between the Classic and Mini. The safety lines you see on your evf are not the 3.4K dimensions. The 4:3 sensors are taller, and therefore have more resolution vertically too. Your evf is showing you the limits of the 2.8K image you can record in raw. But still in the 16:9 format. Same sensor doesn’t mean same image. The internal components evolved and gave you less noise and better colors in later models.
444ProRes is 12bit, raw is 14bit. It’s not the same, but yeah, unless you are shooting tons of VFX, or a big budget with archival for future reformatting, it’s not worth it. Hell, Moonlight won the Oscar for best film, and was shot in ProRes 444 on the XT. It’s all about the sensor latitude and color. Arri figured it out from the Classic. The rest are just improvements.
You are right on the sensor size. Math is not my strong suite.
I believe ARRI RAW is 12 bit as well. Its LOG not linear raw though so its pretty much equal to RED's linear 16 bit RAW.
Arri color hasn't changed much though, the LF pushes more magenta and the older models push more green.
I almost got a good deal on the XT, but I am kind of glad I got the classic, its a bit lighter and less power hungry. Having the anamorphic option is cool, though I'm not big on the anamorphic look and rarely work with budgets that can afford them.
How are you liking the experience of owning an XT though? Is getting a mini in the future for you or possibly a whole different system?
We want more content about cameras and Alexas from you! Keep it up
LOVE the video and facts included. I looking into one. Thanks
Roger Deakins filmed Skyfall in 2.8k and the studio sent it to IMax and they made 2.8k into Imax. So the Alexas do upscale very well.
I'm totally agree with you : 1080p is more than enough today
The problem is that the majority of the cameras nowadays (mirrorless and others) shoot crappy 1080p. And the 4k looks like (or often worst) than the image quality you get from your alexa
Definitely true. Cameras are getting closer and closer to the Alexa. However even when they get the dynamic range right there is a lot more that goes into the Alexa image than just dynamic range.
Also agree, Kadehr. This is why I bought an old (new old stock) Sony FS100 in 2019.
Sadly no ARRI, it was not available, and I had even less budget. (Certainly not the dynamic range. But I'm happy, it shoots nice images at 1080p)
Contratulations Renaissance Digital with that Alexa Classic. Lovely camera!
Just found this video/channel, and looking forward to more.
Most mirrorless 4K is what 1080p should look like.
I've been saying this for years! Consumer-grade cameras that shoot MP4 or h.264/265 UHD is not and should not be considered the cream of the crop! I have used a Blackmagic Micro Cinema as my A-Cam since 2019, even shooting in 1080p Prores Proxy it still has better fidelity and image quality because of the codec and sensor. Shooting RAW 1080p I can upscale to DCI 4K at Prores422 HQ and no one would even know that it was shot with an "old" cinema camera and a S16 sensor.
really nice video, i only worked in color grading with arri footage and i loved it!
It's lovely to color too!
sheeesh dope video my man !
Dude great vid!
appreciate that dave!
Looking forward to se what you do with it. Great video.
The production quality on this is through the roof! Good stuff man
Thank you Ahmad!!!!
Nice review bruh, love Arri
Thanks man I was really bugging out about the odyssey 7q+ like it was a mandatory thing
Yeah man, plus ARRI raw runs really slow in NLE's at least compared to prores.
I feel inspired by this video...not to get an alexa, that's not happening, but just how well and differently this was delivered vs everything else on youtube!
This is the only camera i've watched on my Samsung S95B oled tv that looks just as good as 4K. But only in 2.8K RAW. The 2K looks a tad bit soft but with a lot of texture at detail
Love your video. Thanks for the insides!
I like that you said you don’t need 4K, then did a digital crop which is a great reason why 4K is used 😂 great video man
🤣🤣
great video. i think about buying on because its heavy but surely very nice so move. the beat at the beginning gave me eyes wide shut vibes btw haha
Great info! Great image on thsi TH-cam video too! Curious what you shot on. Thanks in advance :)
I agree that 2.8K is very close to 4K, but you should look at an image captured by a downscaled 4K image. It just brings a smile to your face. A theatre in my town has a legit 4K projector
Just as a note about technical incorrectness, basically the top two major purveyors of theaters in the US, Regal and AMC both made the announcement that they were going to make the move to 4k digital projection in 2009 and were both completed roughly by 2012. So, I'm not certain where you're getting your info from. While I'm sure there are plenty of smaller theaters still projecting in 2k, if you're in a major theater in 2022, they're projecting in 4k.
To verify: you can either Google for the original articles from that time, or simply go to the corresponding Regal and AMC Wikis.
In terms of your main point about 2.8k being plenty for cinema: I mostly agree. There are other things that matter far more than resolution and Arri knows this very well.
Yes you are right about theater projections being almost 100% 4k, I guess I am stuck in the early 2000s.
great video man, Learned a few things about this amazing camera. would be nice to try it out someday.
Wow this totally convinced me. Was about to buy one last year after shooting a short with it. Fell in love. Going to make the purchase soon now. Thank you. Very educational and beneficial video.
Thanks bro, just keep in mind your shooting style when buying a camera. If you know anyone who has one get them to let you play with it and make sure its right for you.
BRO, YOU GOTTA KEEP GOING. PLEASE MAKE MORE VIDEOS
thanks for this info
A friend of mine just picked one up and loves it. What camera setup did you use for your talking head? the colours look great
It's actually a Panasonic S1, great for the price especially with emotive color luts.
WORTH IT I LOVE IT MORE AND MORE
Great tips! thanks for sharing
Going to buy one. Done. Thank you 🙏
ProRes and Raw are extremely similar in post flexibility. I got sucked into the "in need RAW" crowd haha. But even though I still shoot in RAW just because its an easier workflow for me, ProRes files I have found to be actually just as "fixable" or pliable.
RAW is great but I gave it up for ARRI lol
First time I rented one I was the same. Then checked the test footage in ProRes and was extremely satisified. Just the cards&storage for shooting and taking backups over a week can be a serious dent in a shortfilms budget.
@@tomastuoma yeah the ARRI prores is great, I doubt ARRI raw would really be worth while for most people.
Just bought an Arri Alexa Plus 4:3 gorgeous $2400 on ebay 😊
Wonderful upload! What did you shoot the actual video with? Looks great as well
I shot it on a Panasonic S1 with emotive color ARRI color transform. Definitely not a bad combo especially for the price.
@@renaissancedigital5730 which lens. ? In camera recording?
@@AnahatNaad Yes 10 bit 422 4k. I believe it was a Canon FDn 35mm f2. I really love the FDs though they aren't the greatest for "video" use. Love the look though.
Nice vid, dawg!
Are you that famous music maker guy the brother of Billie Eilish - Finneas? The way you talk, the way you look, you might be cousins with them 😬😄 anyways just found your channel, looking through the vids, really liked the one comparing Komodo with Alexa. Keep going, thanks man!
I love this video. What would you say to clients who “demand” having 4K?
I usually present to them the large list of films that were shot with the Alexa in 2.8k such as the Avengers. It's hard to argue with that vs using something like a C70 that has no films credits to mention.
I have thought about getting an external recorder to do ARRIRAW. The file sizes are huge though and it runs really slow on my editing setup. Most people I shoot for wouldn't actually want to deal with all that.
Great video! Thanks for sharing. What lenses do you mainly use on this to keep the weight down? Is there anywhere we can see of your work shot on your Alexa?
Great video man! thanks
Hey RD I would recommend changing your mic recording setup because the audio is distorted
Can we expect to see some of your footage soon?
not sure where you are seeing movies but almost every screen here is 4k projection. You can get a 4k projector for your house...Also the 3.8k option in the mini has nothing to do with sharpening...that isn't what upscaling is. Like at all. Its actually making your image less sharp. It is taking the 3.2k image and stretching it into a UHD pixel count. Its basically adding empty pixels which is why almost no one shoots in that mode with the mini or Amira or Alexa xt/sxt
It seems I am stuck in 2010. As it turns out you are right most theaters have had 4k projectors for years.
I understand the idea of upscaling. I assumed the Mini/Amira applied some sort of sharpening as is often done when upscaling images to 4k in post. It's useful to give clients who ask for 4k, which I assume is why it was added to the camera. Definitely feels a bit dishonest.
You've got me considering a significant lane change. I love the name of your channel and what it suggests.
Also, you're very informed on standards and tech. Do you gather this from a slow plod through self directed efforts, or are there sources you use to learn much of what you've got?
My knowledge is just from my interest in the medium over the last few years. I read over online forums frequently as well as reading books, articles, watching youtube videos and person to person interactions. I am definitely more of a creative than a tech person. I just figure out enough to get by for the work that I do.
@@renaissancedigital5730 that last line I really get, although I’m very tech oriented… just less informed than I wish. I’m interested in some of your reading resources - blogs, forums, books, etc… could I send you a DM somehow? Instagram, website, something?
@@flywheelmedia506 yeah for sure, I am thomasthedp on instagram
Great job. Good information.
Love the camera. Never used one but I just love the technical and physical aspects. People are obsessed with sharpness. No one gave a sht when we shot for top magazines on film cameras. And they still dont. Likewise my friend shoots 1080 for major brands and even has some exhibitions and no one has ever said, oh thats not sharp like 8k. Engaging and interesting content is king. Sharpness is marketing.
Yeah to me film is the goal post, and I associate softness with film. Though there is plenty of detail in 35mm film, probably enough to equal digital 4k.
All tools at the end of the day, but I do really love the ARRI Alexa image. I might even say I like the S35 Alev3 sensor more than the new Alexa 35. It just has a certain look to it that is so pleasing.
Once, a friend of mine told me that the problem of buying one of this cameras is that if at some point any little thing fail, the repair would cost more than the camera itself. What do you think about it?
I am pretty handy with repairs and their are plenty of broken Alexa bodies around for pretty cheap that I could source parts from. That said it just depends on your budget for sure.
But that also applies to any camera 😅
While I 100% agree with you on the resolution hype and 4K being PLENTY enough. What I didn’t hear you dive into was media cards (which are hard to find and expensive) and that streaming services, such as Netflix won’t accept films shot on this camera anymore. It has to be 4K minimum and they have a list of cameras they accept. You’d be surprised how few Arri cameras they accept now. There are obviously some exceptions to that rule, but nobody making an indie film is that rule. If you are a filmmaker and aiming to get your movie on a streaming service, shoot 4K, or on film….
Believe me I know. I work in film (both real film and digital) and have a lot of friends in this business as well and it’s all about steaming right now….I’ve watched many get their films on all the steaming services except Netflix because they shot on Arri cams (which they stop accepting….. like wtf). But the issue is that others are now only wanting 4K as well….not to mention they use their own company for the deliverables, that you have to pay for even IF you, or your company of choice is far better.
Movie theatres are close to dead right now (which sucks) so that market is kind of up in the air. But believe me when I say 4K is coming if it decides to stick around. And if that’s the case, prepare for the exact same thing to happen. But my guess is it wouldn’t be for a good while (despite a massive resurgence) that causes all cinemas to go broke upgrading to 4K projectors or having to limit what they can show…
Anyway. Is the original Alexa still worth it? Absolutely. But it is a very large camera and I personally think you’re better off buying an Amira for a little more money as they have the exact same sensor….
I used to own an Arri M, remember the one that had the detachable brain? Kind of looks like a Mini but you tote the body around? My friend built a pretty slick custom steady cam that used the body and battery as the counter weight and put the head on the top. Before I sold it he had built a gimbal attachment so that it worked like a trinity. That was AMAZING! I wish I had kept it…
Anyway. Sorry for the long rant. But just something to consider for filmmakers. Visually the Arri is god. But sadly the movie business is all about “current”….
Plus you are going to be greatly limited in what you can do with the camera due to its size. And lastly people really should factor in the cost of media, media card readers, batteries and licenses into this camera before buying one. Again, the Amira is a killer camera with an identical look (same sensor) that should be considered if you’re going for the Arri look.
@ELS KSA that is what I've heard as well. If you have a popular film, of course they'll accept it.
Let’s go!
Can you explain how you manually roll off highlights in post, personally? I'm intrigued
I wish I knew. I am using a LUT by emotive color that rolls off the highlights. I don't know how he accomplishes it but it looks wonderful.
@@renaissancedigital5730 what's the lut called?
Congrats an the Sweet Alexa classic. i just picked one up on eBay myself. I love how simple it is to operate. The image quality is stunning!!! I also love how it renders motion, so buttery smooth and dreamy. unlike the mega pixel BlackMagics I've owned. Interested in your lens choice? I pulled the trigger on some SLR Magic Apo Hyper primes. 32, 50 and 85. They feel similar to a cooke.
Thanks man, the SLR APO primes seem like a solid set.
I own a set of Canon FD's which I really like. The choices on the wide end for FD's are not that great. But the look they give is really nice, I love the skin tones.
Recently I picked up a set of Pentax SMC lenses. I am kind of blown away over their performance. They are the sharpest vintage glass I've ever used. Their sharpness is comparable to Sigma art lenses but they have a lot more contrast and unique style.
Overall I would say I like the endering on the FD's better but the Pentax are great in their own way. The Pentax 20mm 2.8 is incredible and unfortunately there is notihng in the Canon FD line up that compares to it. The Pentax 50mm 1.2 is also stunning, even wide open it is sharp.
I plan on doing a comparison between my Pentax lenses and a set of Zeiss CP3's soon.
@@renaissancedigital5730 awesome, yeah I sold my sigma art glass for my new primes. I’m primarily going to be shooting narrative shorts. The sigma glass is great but really sharp. the SLR Magic’s have that nice look similar to the
Canon FDs. The high end primes I’ve rented, Cooke’s and others are not actually super sharp. The coatings within the lenses have sort of a nice diffusion effect on the image.
Giving that amazing roll off.
I bit the bullet and stuck with the PL mount and invested in some nice glass. My 3 lenses cost more than the Alexa. Haha
Cheers!
@@renaissancedigital5730 love to see that CP3 comparison also.
@@stuffa01 Yeah PL mount is a joy to work with. I really was thinking about making the switch but I like my vintage glass to much. Maybe when I have the dough for a set of mini S4's.
@@renaissancedigital5730 I was thinking about those. My wife wants a new backyard though. Haha. I can rent a full set of the
Big S4s for like 400/day.
love it
What camera did you use to shoot the talking heads interview segments while the Alexa is sitting beside you?
I do see the benefit of some cameras jumping to higher res for finer grain/sharper images but at the end of the day I'd probably still rather shoot on a Alexa classic for that amazing image
Yeah I do think 4k is the sweet spot. But in this price range the Alexa Classic is my favorite option.
Nice opinion. Unfortunately blind producers think more resolution makes a better movie.
Это внук Дональда Дака?
Или у него стоит вентилятор перед микрофоном?
Do you mind sharing how much your Alexa Classic cost? I'm interested in buying one myself.
I got the body for 4k. Though it might be worth it to find a deal that already has media and a dovetail mount.
Good take! How long are these cameras supposed to last? Can they do say 20k hours?
I think the highest hours on a used one I have seen was in the 12k range. ARRI sensors are known to develop dead pixels eventually tho.
@@renaissancedigital5730 Thank you for the response. I have an SXT and I am looking to get a classic as a second camera. For interviews especially. But you are right. The image quality of these machines is at another level.
was gonna get this but in the end got a varicam lt - mainly because of the weight/preamps. Now feeling remorseful.
The Varicam is very interesting. ND's and the slightly lower power draw are nice. Its lighter too of course but still pretty heavy. Would love to test one out.
I am pretty much gonna do everything with a tentacle sync for audio on the arri.
it has a great out of the box image - in that way it's similar to the Alexa - it's quite compact but yes, it's a heavy thing. I run mine at 5000 ISO in high ISO setting (as a default setting) and ND it for exposure - gives you a nice thick clean texture. I've paired mine with some Zeiss Otus lenses and that combo creates a look I can live with. When you do want to pull some colours out in the grade - Varicam really shines. But alas it's no Alexa.
Most "narrative" movies come with a full crew to work with the Alexa. If you're like most of us, and I'm also talking about working Cinematogaphers (movies and commercial), we also shoot commercials in between "narrative" movies, so it doesn't make sense to purchase a old heavy camera. I'm just curious. How many "narrative" movies have you shot?
Working on my 6th feature right now. I definitely get you, half my work is corporate/doc stuff. You definitely gotta purchase what makes you money. Right now the camera I use doesn't matter and I prefer to shoot ARRI, even if it's more work. I also produce/shoot narrative stuff of my own and I like it to be shot on ARRI. I might be working on something soon that will get definite large theatrical release and my Classic will be staying home for it.
How long would you say one of those Kastar 160wh batteries lasts?
About an hour I would say
Where did you get the battery ? I’m currently looking at getting a used Arri Alexa Plus 4:3 for Around $10,000 , any recommendations on accessories required for filming? Where to find that external recorder for 2.8K? Also what did you pick as your monitor ? Thank you 🙏
Its a brand called Rolux, you can find them on eBay. If you are getting a used Alexa package I recommend finding one with accesories. The EVF, Top handle, and gold mount/v mount plate aren't cheap. If you find them with the camera you can sometimes save a bit of cash. eBay is the place to go to get the Gemini or 7Q+. I went with a portkeys 1200 knit 7in. Its pretty affordable and I like the design. The new atomos shinobi is really nice, but it wasn't available at the time.
In terms of accessories get a decent tripod. I went with a used Miller 20. Super robust head that go for very affordable prices second hand. You might push above the weight capacity on the Miller 20 if you beef up the rig though. Its not hard to push over 20lbs as the Classic is already 15lbs.
@@renaissancedigital5730 thank you so much, any advice for buying an used Alexa via eBay ? What type of SSD or recording media did you use? How many accessories besides the monitor and battery and tripod did you need to get rolling ? 👀 thank you 🙏
What do you think is the best smaller camera to use in conjunction with the Arri Alexa?
A lot of people like the Pocket 6k. I found the RED Komodo to match quite nicely. I think having the flexibility to easily adjust white balance and tint accurately is a big plus for camera matching. Juan Melara makes great Alexa color transform as does Emotive Color. I think that in combination with a RAW recording camera would be a great way to go.
and what lens(es) are you using for that Alexa classic?
Been trying a bunch of the budget options. Meike, Irix, different vintage stills lenses. I am collecting a set of Canon CN-E's right now. I am also interested in the Dulens APO primes though.
What camera did u use to film this
The Panasonic S1, excellent little camera
Amazing
I want to see your work with Arri.
definitely a good purchase, but lets not downplay the advantages of the minis. :)
Yes the Mini is awesome. I feel it will drop in price when ARRI puts out their new 4k S35 camera. Will be interesting to see.
mini s like 8 times more expensive
Which lens are you using with that beast?
I've been working with a set of converted Canon FD's. I am currently working on collecting a set of SMC pentax lenses.
@@renaissancedigital5730 may I ask why do you want to use these lens? Do you like soft color?
@@mertsatc6285 A lot more research and design were put into the older glass then these new cheap cine lens options out there.
The look you get from some vintage glass is also unique. You simply can find the look a 50mm 1.2 pentax lens gives anywhere else.
I'd love to get a set of cooke lenses or arri but they are horribly expensive. I think even if I had the money I'd still have a place for vintage glass in my collection.
@@renaissancedigital5730 You are right about this old vintage lens is really beautiful. But when I search on the internet a lot of people like Tokina Cinema Vista Prime Lens even though some of the people say its looks near like an old vintage lens?
I’ve shot on all the cameras. Still haven’t screened or posted in 4k.
I owned a red epic & a red one mx 🎥 but they are so heavy… never tried the classic but probably similar to the one mx?
Only camera that can beat an Alexa is a better Alexa. I would rather shoot with an old Alexa than any other expensive recent camera.
I've used an Alexa classic, it's decent camera, but those memory cards are a pain in the ass during a long shoot, it's almost as bad as shooting film
Yeah they don't last a terribly long time if shooting in 444. It's not been an issue for me yet though I am planning on getting a couple 128gb cards.
great vid, im using an old red scarlet mx (one of the first reds with the of mx sensor) and honestly i dont see a reason to buy a new red. i was thinking about buying alexa classic, but it's difficult to find a good unit as i dont want to get one with like 8000 hours on lol
They come up on eBay a lot with hours under 4000. I like the MX image though, REDraw is awesome and the body size is more manageable than the Classic. The Alexa Classic image kind of blows it away but the MX defiantly has its own look that is cool too.
Arri should take the brains of this camera and create a small box consumer camera with 2.5 with a $10,000 price.
I wish man!
you're my favorite dp. what are your rates. please respond
200,000 a day
4:3 open gate is for anarmophic shooting.
What's the price?
What handle do you use?
Its just a super basic small rig top handle. I had to custom fit a cheese plate for the Alexa though in order to mount it.
The real problem is weight - it means that most gimbals won't work, that even such things as lower cost motion control rigs won't work. Even fluid heads - you need something quite beefy to hold up the weight. A heavier fluid head means slower moves around the set before each shot, and greater strain on the crew. And... What shoots don't use gimbals ever in 2022? You can easily tweak color in post, but you can't really invent a gimbal move you did not shoot, or get back time you lost with slower tripod moves, not to mention time lost on set adjusting baked in white balance and ISO, when a RAW camera can allow you to fine tune these is post without penalty.
Very valid points. This is very much an opinion piece that is about what I like and how I shoot. I actually rarely use gimbals. I just got a used O'connor head as my Miller 20 wasn't cutting it. Cost of support gear and accessorizes definitely brings the cost of everything up. It's still cheaper than the cost of an Alexa Mini though the mini would allow gimbal use.
I live close a small city with only 20 000 citizens, and even they got a 4k projector in there largest saloon. So I dont share the opnion that 3k is all you need 2022. But I agree that youre Alexa will still make greate images. Im just tired hearing the same argument that of how good 2k projections are. On a 65” tv, sitting six meters away, its fine with 1080. But 2k in cinema is just sad unless its a animated movie with less details in it, Then im fine.
Yeah I am stuck in 2010, you are right most theaters are 4k nowadays.
Arri Alexa Classic in 2022 - it's just awesome! (это просто охуенно! )
это точно братан
To the question: «do you even need 4k?» i would say that in cheaper consumer cameras with poor colour-detail and noise; yes. But in the case of professional cameras like ARRI, definetly not
good point
can you upload your work? film making of film with arrie and final work??????????????????
I guarantee that Arri is not doing any kind of in camera sharpening for the upscaling, it's just scaling the image. Also, ProRes 4444 is 12-bit, not 14-bit.
Yeah its the equivalent of 14 bit linear, but yeah 12 bit log. I've heard mixed things on the upscaling. I've not had a chance to test it. I assumed they were doing something to make it look different than just shooting in 3.2k. But you know what they say about assuming.
can you record 4k in arri alexa xt?
The XT does 3.4k in open gate but doesn't have a 4k uhd option like the Amira. Really the same thing though as the Amira is just putting 3.2k in a 4k container. I guess the only real use for it would be so you can hand it off to a client that is demanding "4k"
@@renaissancedigital5730 ❤❤
While I love ARRI colours as well....talk to any pro-grader and you'll know there is way more information to work with from Sony.
While Alexa colours lookl great, it is sort of "Camera for dummies". An idiot with a mini can shoot a commercial and it will look great. F55/65 footage looks amazing if the person know what they are doing...
Yeah, totally, that's why 90% of the best looking movies shot on digital use an Arri.
I've heard mixed things about this subject but color is very subjective. Some colorists don't give a damn about the camera. Some people swear nothing can touch ARRI. I am very much a do everything on set and do very little in post person.
@@TechnoBabble because it is easy to grade!!!
Who is going to take the time to learn how to do it?
And no, that’s not why. It’s because when Alexa came out, the closed camera in quality was F35, and it costed 5 times the price of an Alexa. It was cost based only. And yet again, a monkey can shoot arri and make it look good, that’s why 90% uses it.
Same with why the mini got popular. It was designed as a crash cam even. All the other functions got added later.
@@renaissancedigital5730 you can ask anyone, the Sony sensor and footage has way more information.
Yes, any job is ockams razor, why would you want to do more work? But in the hands of someone that has the time, and knows Sony footage, there is way more things you can do with it…