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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

NEW ARRI ALEXA 35 - Trailled by SICA!


by Sica Web

 
Supporting Tools & Software ALEXA 35

ALEXA 35 Supporting Tools & Software (arri.com)


FEBRUARY 14, 2023

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ARRI Big Screen Experience | EnergaCAMERIMAGE 2022

By Camerimage Festival



"The ARRI Signature lens look is unique. See for yourself on the big screen what the industry is talking about and hear the latest practical advice from field experts. ARRI Camera Lens Specialist and veteran director of photography, Art Adams, serves as a guide through this collection of visually stunning reels. How these lenses perform with the new ALEXA 35 camera as well as the ALEXA Mini LF is also a focus of the session. You will learn too how both cameras take advantage of the new REVEAL Color Science, so combining Large Format and Super 35 in one film is now also possible with REVAL."
 
Why I love the Arri Alexa 35 | A Review

by Dustin Harrelson


 
The Impressionists – Germany

By
ARRIChannel





Shot with ALEXA 35, Signature Primes (21 mm I 29 mm I 35 mm I 58 mm I 75 mm) and Impression V Filters (230P I 240P).
 
ARRI Tech Talk: A Cinematographer's Analysis of the new REVEAL Color Science

by ARRIChannel


 
ARRI CUSTOM TEXTURES-For The ARRI ALEXA 35 Only!

TEXTURES LINK
https://www.arri.com/resource/blob/311616/154618604f0dc5eb8ce0fca49e4052b1/2023-02-arri-alexa35-custom-textures-data.zip

PDF inside of Zip file

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A few Screenshots from the Video above

MAX Tested Over

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MAX Tested Under

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Last (To me since the videos are so small) useable Stops over for Venice 2 against the Alexa 35

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Last (To me since the videos are so small) useable Stops under for both the Venice 2 and the Alexa 35

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That's a fairly extreme test, which I do appreciate if dead to nuts accurate. But also when under and over exposing by 7 stops from say ISO 800, you're effectively working at ISO 6.25 or 102,400 which I would say safely falls well outside of what either of those cameras are designed to do.

I'll have to do a deep dive eventually discussing high dynamic range digital cinema cameras and more saturated colors, which is something that isn't explored in a typical dynamic range test, but much of what's good is how modern quality cameras capture such things. It's actually one of the more clear dividers between tiers of cameras still. A subtle point I can make is tonally speaking if a camera A captures 15 stops and camera B captures 15 stops, the question from there is how much color information is captured across the tonal range. Then the bigger question on our side is what the heck you do with all that :)

I have my own thoughts on how I like to rate these cameras and where the "hard stop" should be regarding ISO Rating. But generally at this point manufacturers are giving you the ISO Range they suggest immediate. What is good about a stress test like this is working within a "comfort zone" and knowing how far you can stray. But don't go thinking you can recover more shadows on ISO 6400 material when it's crushed into the noise floor. Key thing about exposure, whether it's digital or film, once you're clipped or crushed it's gone.
 
I think an interesting camera test will be the Alexa 35 vs the Raptor 35. Similar sensor sizes. The A35 will have more DR, but if the R35 can still perform at a high level, AND deliver 8K, and offer 120fps at 8K, then I think it's going to be a very interesting camera. Especially in XL format with internal ND's, etc.

R35 in 4K covers S16 natively, from what I can tell.

Meaning I think you can shoot a feature with Raptor 35 in 4K, using all S16 glass, to specs that work for Netflix, etc.

I think that may be a big deal, esp to some?
 
Nick Morrison said:
I think an interesting camera test will be the Alexa 35 vs the Raptor 35. Similar sensor sizes. The A35 will have more DR, but if the R35 can still perform at a high level, AND deliver 8K, and offer 120fps at 8K, then I think it's going to be a very interesting camera. Especially in XL format with internal ND's, etc.

R35 in 4K covers S16 natively, from what I can tell.

Meaning I think you can shoot a feature with Raptor 35 in 4K, using all S16 glass, to specs that work for Netflix, etc.

I think that may be a big deal, esp to some?
Click to expand...

Now if we could get someone whom felt obliged to grant use with that test that would be great.
 
ARRI ALEXA 35 Software Update Package SUP 1.0.4

By Newsshooter

Article
ARRI ALEXA 35 Software Update Package SUP 1.0.4 - Newsshooter

Arri Website
ALEXA 35 SUP 1.0.4 (arri.com)

SUP 1.0.4 download
https://www.arri.com/resource/blob/3...1-0-4-data.zip

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ALEXA 35 SUP 1.0.4 bug fixes:
Lens Squeeze Factor Bug fix

The Lens squeeze factor written to the MXF File was incorrectly written.

SDI Metadata Bugfix

The Camera Clip Name metadata was incorrect in the SDI metadata.

Auto White Balance Timeout

The Auto White Balance window did not time out when AWB was not executed.

Playback with attached Master Grips

Playback did not load on a Hand Unit (Hi-5 or WCU-4) when a Master Grip was attached to the camera.

Playback with 120 Fps and 356° Shutter

When entering and exiting Playback with 120 Fps and 356° Shutter the camera reverted to the project frame rate.

Electronic horizon bubble inversed

The electronic horizon bubble did move in an inverse direction when compared to previous cameras.

Loading Frame Lines with long names crashes cameraWhen a frame line with a very long name was loaded the camera crashed.

Lens Data with Cooke /i

Multiple issues with lens metadata handling of Cooke /i lenses was improved.

General stability improvements and bug-fixes
 
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