We sometimes joke that if you drop an Arri Alexa on the ground, it dents the ground and not the camera because they are such robust workhorses. (Clearly this is done in jest, don't intentionally throw your expensive cameras on the ground.)
@@bigrobotnewstoday1436 Depends. Some early ones were finicky and required reboots. Nowadays they are pretty okay. I do prefer Arri's interface (buttons!) over REDs more touchscreen-based UI though, since it's way easier to operate an Arri camera when you're, say, shooting in the snow and wearing gloves.
@@eruannster I know they sell winter gloves that have those rubber tips that will work on touch screens. I just forgot what they are called. But yeah Arri is better with real buttons. I hate taking off my gloves to make a phone call. Old cellphones had real buttons now I miss those old phones. LOL
I agree. I think many people underestimate Blackmagic cameras. The BRAW format itself, while not "officially" raw, still provides you with 12-bit footage with the flexibility of raw. Plus, BRAW files are about 1/3 the size of ProRes files. Which means it plays back smoother in post. Speeding up editing and post production by quite a bit. And for myself, I think the BRAW image is quite "cinematic" coming straight out of camera.
Always thought the idea of larger sensors was kind of nonsensical. Good lenses come in smaller formats, cheaper, and sensors today dont even need the full format to be in 4k or 2k.
agree but that's one of the creative choices as dp/ director. a spectacle, large sensor gives a totally different look that something smaller, beyond just more light
@@Cinegavo that's not true. Sensor size has nothing to do with look. Look completely depends on the sensor quality and lens quality. My phone's camera performs better than the Alexa despite being hundreds of times smaller
@@LanaaAmor well maybe not 'totally' change it like I said. But it will change the field of view and the aspect ratio ... which is 'totally' a big part of any look. Plus with the higher res a lot of these 'LF' cameras are qualified to play iMax or even be shot alongside imax. That's definitely a huge part of the look, and the decision that the DP and director come together to do. Also, I would like to know what phone you have.
@@LanaaAmor and I know you didn't say this, but the look doesn't come from the camera and lens choice alone. It comes from almost everything in a movie except sound lol. Lighting, pd, h&mu, the grade, etc all contribute to the look even though those creative decisions may be made above the line. Sensor size is a creative choice in this mumbo jumbo of decisions that make up a movies 'look'.... if budget allows ofc
I don’t know of many people who would choose super 35 over large format if price was no object. I think it has much more to do with cost and availability of glass rather than a preference for the super 35 look.
The choice of film in the Oscars, has more to do with older Directors getting nominated.... and their choice as film over digital.. Nolan, Tarantino, Scorsese, PTA all use film. The Alexa mini use has fallen off greatly in 2024. Most are using the Alexa 35 or LF instead.
Plenty of young directors are choosing film as well. I feel like the LF has been the most popular camera for a while now. 35 is likely going to take over or at least share the spotlight.
As a visual effects artist, I can tell you that larger sensors are good for visual effects. Hollywood films tend to release the superhero and other visual effects heavy films over what is released by independent filmmakers. So, there's that.
@@nickxc Signal to noise. More signal, less noise generally (depends on sensor tech). Also you can use longer lenses to get the same depth of field and longer lenses are easier to be made technically perfect (less fringing, sharper, etc).
Further proof that super 35 is the more popular sensor over the others. And shooting super 35 forces you to be better and more intentional with you lighting
I've never understood the 4K standard from Netflix. The ALEV3 sensor has 2160 vertical resolution, with anamorphic lenses you can stretch that out to the equivalent of a 5K image at scope. You'll still be downresing it for presentation.
But the Mini isn't often used as the primary camera unless it's a crazy low budget. It's just easier to use off sticks and cuts well with the other Arri cameras so every shoot has one hanging around.
![ทุกครั้งที่หลับตา (Lucid Dream) - AYLA's [ Official MV ]](http://i.ytimg.com/vi/4i1OBAQyv58/mqdefault.jpg)
We sometimes joke that if you drop an Arri Alexa on the ground, it dents the ground and not the camera because they are such robust workhorses. (Clearly this is done in jest, don't intentionally throw your expensive cameras on the ground.)
I heard RED cameras break down a lot. Don't know about the newest models but I heard some of the older ones had issues.
@@bigrobotnewstoday1436 Depends. Some early ones were finicky and required reboots. Nowadays they are pretty okay. I do prefer Arri's interface (buttons!) over REDs more touchscreen-based UI though, since it's way easier to operate an Arri camera when you're, say, shooting in the snow and wearing gloves.
@@eruannster I know they sell winter gloves that have those rubber tips that will work on touch screens. I just forgot what they are called. But yeah Arri is better with real buttons. I hate taking off my gloves to make a phone call. Old cellphones had real buttons now I miss those old phones. LOL
7:47 that math doesn’t math…
At some point he mentioned to bear in mind that some productions utilised both Super 35 AND Large Format cameras. That might be what's going on here?
i think the new blackmagic ursa cine line will start to creep into the market now, with its pretty great dynamic range and large format
I agree. I think many people underestimate Blackmagic cameras. The BRAW format itself, while not "officially" raw, still provides you with 12-bit footage with the flexibility of raw. Plus, BRAW files are about 1/3 the size of ProRes files. Which means it plays back smoother in post. Speeding up editing and post production by quite a bit. And for myself, I think the BRAW image is quite "cinematic" coming straight out of camera.
Glad to see a film from my country in one of your videos. Saludos🇦🇷
Always thought the idea of larger sensors was kind of nonsensical. Good lenses come in smaller formats, cheaper, and sensors today dont even need the full format to be in 4k or 2k.
agree but that's one of the creative choices as dp/ director. a spectacle, large sensor gives a totally different look that something smaller, beyond just more light
@@Cinegavo that's not true. Sensor size has nothing to do with look. Look completely depends on the sensor quality and lens quality. My phone's camera performs better than the Alexa despite being hundreds of times smaller
@@LanaaAmor well maybe not 'totally' change it like I said. But it will change the field of view and the aspect ratio ... which is 'totally' a big part of any look. Plus with the higher res a lot of these 'LF' cameras are qualified to play iMax or even be shot alongside imax. That's definitely a huge part of the look, and the decision that the DP and director come together to do.
Also, I would like to know what phone you have.
@@LanaaAmor and I know you didn't say this, but the look doesn't come from the camera and lens choice alone. It comes from almost everything in a movie except sound lol. Lighting, pd, h&mu, the grade, etc all contribute to the look even though those creative decisions may be made above the line. Sensor size is a creative choice in this mumbo jumbo of decisions that make up a movies 'look'.... if budget allows ofc
@@LanaaAmor the fuck are u talking about
Finally an updated one also look into lenses
Woooow. Superb. More thanks to all teams of you.
I don’t know of many people who would choose super 35 over large format if price was no object. I think it has much more to do with cost and availability of glass rather than a preference for the super 35 look.
I think it's interesting that we have camera data on so many more Oscar nominees from 2022 than every other year.
It's the Alexa Mini. Just saved you 11 minutes. Nothing new here.
Your butt is saving my butt! 😁
First thought that I had
Thanks 🙏🏼😂
Well you’re no fun
Thanks.
The choice of film in the Oscars, has more to do with older Directors getting nominated.... and their choice as film over digital.. Nolan, Tarantino, Scorsese, PTA all use film. The Alexa mini use has fallen off greatly in 2024. Most are using the Alexa 35 or LF instead.
Plenty of young directors are choosing film as well. I feel like the LF has been the most popular camera for a while now. 35 is likely going to take over or at least share the spotlight.
As a visual effects artist, I can tell you that larger sensors are good for visual effects. Hollywood films tend to release the superhero and other visual effects heavy films over what is released by independent filmmakers. So, there's that.
So arri over red for VFX? What if the red is properly exposed to not have a lot of shadow noise?
Why is large format better? Genuinely curious. I assumed it came down more to resolution and but depth.
@@nickxc Signal to noise. More signal, less noise generally (depends on sensor tech). Also you can use longer lenses to get the same depth of field and longer lenses are easier to be made technically perfect (less fringing, sharper, etc).
Indeed
Disappointed not to see my Sony F55.
Further proof that super 35 is the more popular sensor over the others. And shooting super 35 forces you to be better and more intentional with you lighting
Personally... I prefer the venice
Can you do a cinematography Style on Drew Daniels?
Red will be renamed under nikon or will have a unified lens selection soon. Not sure when their restructuring starts after being bought out.
I am so proud the best cinema camera is a german camera. The first 35mm camera was a german leica also. We are foto and film people.☺️
Is it the Alexa mini?
How do you feel about blackmagic 12k?
Love you In Depth Cine but what is this thumbnail? 65% = camera
What’s your take on the new Arri Enso ?
I've never understood the 4K standard from Netflix. The ALEV3 sensor has 2160 vertical resolution, with anamorphic lenses you can stretch that out to the equivalent of a 5K image at scope. You'll still be downresing it for presentation.
Film is superior - Chris Nolan
Thay used Venice in Perfect days anyway 😅
👑
But the Mini isn't often used as the primary camera unless it's a crazy low budget. It's just easier to use off sticks and cuts well with the other Arri cameras so every shoot has one hanging around.
Big productions like wasting big money.
Why wouldn't you spend money on a proven, reliable camera? It's only a tiny fraction of the cost of producing an industry-level movie or commercial.
is in depth talking slower?
this earned an unsubscribe. literally a useless video.
It’s a good channel. Cut them some slack.