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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

ARRI 4K Super 35 Camera Will be Launched Next Month

ARRI ALEXA 35 | In-Depth Review & Test Footage

By CVP




Chapters:

Intro - 00:00
Context - 00:44
Our Image Tests - 01:11
Sensor Specs - 01:37
Resolution Mandate - 04:04
Colour Science - 04:49
New Debayer - 07:10
Dynamic Range - 07:50
New LOG Curve - 09:07
Latitude - 09:50
Stray Light Suppression - 12:16
Recording Formats - 13:01
Textures - 15:09
Noise - 18:30
Enhanced Sensitivity - 19:07
Cooling System & Black Shading - 20:25
Rolling Shutter Performance - 21:51
How To Expose - 22:20
Matching With ALEV III - 23:07
Why Super35? - 23:27
ARRI Reference Tool & HDE Transcoder - 25:26
Workflow - 26:16
LUT Handling - 26:50
Media - 27:37
High Frame Rate - 28:32
Pre Record - 29:25
Lenses - 29:44
ND Filters - 30:28
Audio - 31:18
Powering - 32:22
Physical Overview - 36:04
EVF - 41:28
Accessory Overview - 41:51
Usability - 44:01
Operating System - 44:50
Connectivity - 46:04
Reflections - 46:49
Outro - 49:06
 
ARRI Alexa 35 | First Look

bY
B&H Photo Video

 
ARRI ALEXA 35 Test Footage

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Newsshooter

 
Yeah, this new sensor will be the king, and just imagine, it's a higher resolution s35 sensor, which means higher resolutions for an eventual LF version and a super high resolution for an IMAX equivalent.

With Arri's already strong place in the industry, I have no problem seeing them seriously taking over everything if they build a lineup of cameras surrounding this new sensor. Of course, indie productions benefit from Red, but I have a hard time seeing larger productions with budgets covering camera rental not going with this camera.
 
Christoffer Glans said:
Yeah, this new sensor will be the king, and just imagine, it's a higher resolution s35 sensor, which means higher resolutions for an eventual LF version and a super high resolution for an IMAX equivalent.

With Arri's already strong place in the industry, I have no problem seeing them seriously taking over everything if they build a lineup of cameras surrounding this new sensor. Of course, indie productions benefit from Red, but I have a hard time seeing larger productions with budgets covering camera rental not going with this camera.
Click to expand...

Yeah, I can't even image what a Full Frame version of this sensor will be like. However according to the Newsshooter article above, due to the design of this sensor, It won't be able to be " Stitched " together like the ALEX III was


" The new ALEV-IV sensor that is in the ALEXA 35 was developed specifically for the Super 35 format and it utilizes a technology where the analog to digital converters actually sit on the sensor board. Previously ARRI always had two boards, a sensor board and a separate board that housed the analog to digital convertors. Having the analog to digital converters actually sitting on the sensor board allows ARRI to shorten the high-frequency analog lines which in turn allows you to create a cleaner image with less line noise, and less fixed pattern noise. The caveat to doing this is that you can’t stitch a sensor board like this anymore, which is what ARRI was doing in the past with cameras like the ALEXA 65, ALEXA LF, and Mini LF. So ARRI can’t just stitch this new sensor to create a larger sensor."
 
rand thompson said:
Yeah, I can't even image what a Full Frame version of this sensor will be like. However according to the Newsshooter article above, due to the design of this sensor, It won't be able to be " Stitched " together like the ALEX III was


" The new ALEV-IV sensor that is in the ALEXA 35 was developed specifically for the Super 35 format and it utilizes a technology where the analog to digital converters actually sit on the sensor board. Previously ARRI always had two boards, a sensor board and a separate board that housed the analog to digital convertors. Having the analog to digital converters actually sitting on the sensor board allows ARRI to shorten the high-frequency analog lines which in turn allows you to create a cleaner image with less line noise, and less fixed pattern noise. The caveat to doing this is that you can’t stitch a sensor board like this anymore, which is what ARRI was doing in the past with cameras like the ALEXA 65, ALEXA LF, and Mini LF. So ARRI can’t just stitch this new sensor to create a larger sensor."
Click to expand...

I noticed that too. Arri might go with larger photosites with a new LF and 65, since they are going to have to use completely different sensors. It's hard to pack enough processing power into the smaller bodies to process higher resolutions and high frame rates. Plus added pixel size will increase light sensitivity to compete with the Venice 2.
 
dan shay said:
I noticed that too. Arri might go with larger photosites with a new LF and 65, since they are going to have to use completely different sensors. It's hard to pack enough processing power into the smaller bodies to process higher resolutions and high frame rates. Plus added pixel size will increase light sensitivity to compete with the Venice 2.
Click to expand...

Dan,

With the first Keynote speaker, he said that the LF will be around for at least another 2 to 3 years(9:55 to about 9:59 in the keynote speech). Maybe it will take them that long to refine a Full Frame/ Full Frame + version of this sensor.
 
Prices- From Newsshooter

A little under the Price of what the RED Monstro originally cost body only $79,500
RED’s new $80,000 8K camera is probably a very good camera - The Verge

Screenshot-4935.png


Screenshot-4938.png


Screenshot-4937.png
 
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I got to work with this camera twice over the last 3 months. It's quite amazing to say the least....

There's been quite a few bodies going around LA for various productions and tests. It's hardly been a secret and any leaks were most likely intentional.

HBO tested it a month ago for their annual camera test.

The DR is truly mind blowing, as many people who have used it have already said.

It's definitely going to be the go to camera for S35 productions.

One thing I've been told is it's unlikely there will be a full frame version of this sensor anytime soon.
 
James Darren said:
I got to work with this camera twice over the last 3 months. It's quite amazing to say the least....

There's been quite a few bodies going around LA for various productions and tests. It's hardly been a secret and any leaks were most likely intentional.

HBO tested it a month ago for their annual camera test.

The DR is truly mind blowing, as many people who have used it have already said.

It's definitely going to be the go to camera for S35 productions.

One thing I've been told is it's unlikely there will be a full frame version of this sensor anytime soon.
Click to expand...

Yeah, heard about this camera about two years ago and didn't really understand why they went s35 at that time since Full Frame was at the highest hype. But, of course, glass doesn't disappear, people will want to get a hold of old Master Primes for this (I certainly want to), and after being fed up with camera BS for a while now it's gonna be nice to just focus on the art instead.

And yeah, we won't see an LF with this sensor for a while, but not because they can't do it or it's impossible, but because Arri takes time making something work reliably instead. Only downside is the price. Of course, a camera being in development for such a long time gets that higher price tag, but comparing it to what's around nowadays a $70 000 price tag is a bit much. I would at least have wanted a $30 000, that would reflect the market better. Especially since I get an s35 Komodo for just around $7000.
 
James Darren said:
A well respected DIT I know who worked with this camera for the last 2 months said it's not possible to stitch this current version of sensor.
Click to expand...

This is correct. They will need to do something rather different to scale this up in 2-3 years. This is mainly due to how the underlaying tech works with Dual Gain and the always on Temporal Noise Reduction.
 
According to CVP when they asked ARRI when will a Full Frame version of this sensor be available they said "NEVER" (at about the 25:06 minute mark in the CVP review video)
 
James Darren said:
A well respected DIT I know who worked with this camera for the last 2 months said it's not possible to stitch this current version of sensor.
Click to expand...

I'm talking about a larger cut, not a stitch. Maybe a 65 sensor won't be possible, but an LF should be possible. I might however mean only one cut from one bake, which would be very expensive, but very lucrative as a rental.
 
rand thompson said:
According to CVP when they asked ARRI when will a Full Frame version of this sensor be available they said "NEVER" (at about the 25:06 minute mark in the CVP review video)
Click to expand...

They said that about 4K resolution and LF also. But "never" can mean "for many years" so we might have a different camera landscape altogether by that time.
 
Matt W. said:
Will Fincher switch?
Click to expand...

Doubtful, he works so much with splits, stabilizations, and VFX reframing that 4.5K won't cut it. I think it's probably guaranteed that he'll work with the Raptor for now.
 
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