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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

Ryan Chernin said:
Is this one also on Vimeo? I’m guessing it’d be easier to distinguish the grain/texture profiles without the YouTube compression algo applied. Thanks for posting, Rand.

I was incredibly lucky and got to shoot a music vid on the 35 last week. I’m not qualified enough to make too many comments on the tech, but the highlight latitude is truly in a class of its own. Something you gotta see to believe. Literally “point it at the sun” level.

Didn’t get to play with all the textures as much I’d liked to, but I did do a few pixel peeping comparisons with my Raptor’s footage. Raptor holds up nicely, arguably much better in the shadows. But the texture of the 35… my god, the texture… And that’s just with “default”
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Ryan,

Unfortunately, I don't think it is available on Vimeo, as you stated, on Vimeo you would be able to distinguish the grain probably much better. Yeah, the best I've seen the Alexa 35 do in the shadows is -3 underexposed like in the video posted on the previous page. I believe Arri will introduce even more textures than they have now with different and more unique characteristics.
 
rand thompson said:
Ryan,

Unfortunately, I don't think it is available on Vimeo, as you stated, on Vimeo you would be able to distinguish the grain probably much better. Yeah, the best I've seen the Alexa 35 do in the shadows is -3 underexposed like in the video posted on the previous page. I believe Arri will introduce even more textures than they have now with different and more unique characteristics.
Click to expand...

Those highlights so good because Arri is basically under exposing at base iso, that’s why those shadows fall apart relatively quickly compared to Raptor. There’s a cost for everything. In a few test I’ve seen the shadows also start to rapidly desaturate at 4 stops under exposure, sort of like raptors highlight extension algorithm. These are things that make me think . But of course no one’s going to challenge arri on that because everyone’s in love with highlights, not a bad strategy on their part.
 
Leonardo Newman said:
Those highlights so good because Arri is basically under exposing at base iso, that’s why those shadows fall apart relatively quickly compared to Raptor. There’s a cost for everything. In a few test I’ve seen the shadows also start to rapidly desaturate at 4 stops under exposure, sort of like raptors highlight extension algorithm. These are things that make me think . But of course no one’s going to challenge arri on that because everyone’s in love with highlights, not a bad strategy on their part.
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Leonardo,

Yeah, It's just basically pick your poison. If you value the ability of your camera to retain Highlight info. in challenging Daylight shots and the ability to "Reveal", no pun intended, it later in post choose the Alexa 35. If you value the ability of your camera to retain Shadow info. in challenging Nighttime or lowlight situations and the ability to "Reveal" it later in post choose the RED V-Raptor. As you stated "There is no free lunch", pick what best suits your needs and forget about everything else. If there was such a thing as a free lunch it would either be because the food was no good or the person who paid for it was trying to fuck you.
 
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Leonardo Newman said:
Those highlights so good because Arri is basically under exposing at base iso, that’s why those shadows fall apart relatively quickly compared to Raptor. There’s a cost for everything. In a few test I’ve seen the shadows also start to rapidly desaturate at 4 stops under exposure, sort of like raptors highlight extension algorithm. These are things that make me think . But of course no one’s going to challenge arri on that because everyone’s in love with highlights, not a bad strategy on their part.
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I'm aware of this, and did say the shadows were "arguably far better on Raptor"

I'd recommend renting both cameras to see the difference for yourself. Might make you think.
 
rand thompson said:
Leonardo,

Yeah, It's just basically pick your poison. If you value the ability of your camera to retain Highlight info. in challenging Daylight shots and the ability to "Reveal", no pun intended, it later in post choose the Alexa 35. If you value the ability of your camera to retain Shadow info. in challenging Nighttime or lowlight situations and the ability to "Reveal" it later in post choose the RED V-Raptor. As you stated "There is no free lunch", pick what best suits your needs and forget about everything else. If there was such a thing as a free lunch it would either be because the food was no good or the person who paid for it was trying to fuck you.
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or I can just rate each camera accordingly to the scene and have the best of both worlds. Though this is probably easier to do on Raptor, because it’s much easier to take away light, than to add light. But nonetheless, if I need more shadow detail on A35, I’ll just rate at say 400 iso open up the lens, reduce ND or Add light, for raptor, I just rate at 1600, add ND or stop down. It’s the beauty of these systems today, you can use them in which ever way you like, a lot of people are just too willing to take the out-of-the-box performance as all the camera can do.
 
Leonardo Newman said:
or I can just rate each camera accordingly to the scene and have the best of both worlds. Though this is probably easier to do on Raptor, because it’s much easier to take away light, than to add light. But nonetheless, if I need more shadow detail on A35, I’ll just rate at say 400 iso open up the lens, reduce ND or Add light, for raptor, I just rate at 1600, add ND or stop down. It’s the beauty of these systems today, you can use them in which ever way you like, a lot of people are just too willing to take the out-of-the-box performance as all the camera can do.
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I think some people only pay attention to the extremes. But I think there is always that middle area in all cameras where they are all useable and where they are not so different from each other. However you'll probably never going to turn a long time Arri owner into a Red Camera owner and also never turn a long time Red owner into an Arri camera owner. Each have invested too much time in equipment and learning how to get the best out of their cameras to start with another camera System. They both honestly believe their camera is better than the other based on both real tangible information and or imagined beliefs about the differents.

Everyone wants to believe that their camera system is the best and if you are not using their camera you must be uninformed and just plain stupid. I personally like both Red and Arri camera System for different reasons. Obviously I prefer the Red camera over the Arri because I am a long time member here and want to further advance the quality and capabilities of the Red camera to as many individuals as I can. I started this thread not so much as a Choose Arri over Red thing but to ask and better understand why is Arri considered the" Standard". What is the Arri camera System really capable of and what is myth. Maybe it's just long time Arri Film camera users simply transitioning to the Arri Digital line of cameras which has continually given them what they liked and were accustomed to from the images from the film cameras. Maybe it's just the Arri Reputation that is rightfully or wrongly given.

As I stated before you'll always have to decide what's better for you and let no one else make the decision for you.And just avoid all of the my dick is bigger than yours arguments between the two camera systems that you see all over the internet.
 
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ARRI CCM-1 Rugged 7-Inch Camera Control Monitor for ALEXA 35 and Mini LF Introduced


By CineD


Article
https://www.cined.com/arri-ccm-1-ru...-monitor-for-alexa-35-and-mini-lf-introduced/


ARRI-CCM-1-featured-1300x750.jpg
 
Testing the Arri Alexa 35 on Location


By Josh Herum


 
ARRI CCM-1 Camera Control Monitor for ALEXA 35 and ALEXA Mini LF Explained


By CineD


 
rand thompson said:
ARRI CCM-1 Camera Control Monitor for ALEXA 35 and ALEXA Mini LF Explained


By CineD
Click to expand...

Arri finally makes a monitor to control the camera and it’s like the biggest deal in the world . It been quite interesting watching this roll-out.
 
Leonardo Newman said:
Arri finally makes a monitor to control the camera and it’s like the biggest deal in the world . It been quite interesting watching this roll-out.
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Yeah,

They went from an "AWG3/ALC3 to REC709" workflow with the ODT attached to the OUTPUT TRANSFROM to a workflow of "LOG to LOG" "AWG4/ALC4 to AWG4/ALC4" with a separate ODT added later like the RED IPP2 Workflow. Now they also collaborated with SMALLHD to make a monitor that allows you to control the camera's functions again like RED and some other camera manufacturers. Who knows maybe a KOMODO like ARRI camera is on the way also, But probably not:laugh:
 
rand thompson said:
Yeah,

They went from an "AWG3/ALC3 to REC709" workflow with the ODT attached to the OUTPUT TRANSFROM to a workflow of "LOG to LOG" "AWG4/ALC4 to AWG4/ALC4" with a separate ODT added later like the RED IPP2 Workflow. Now they also collaborated with SMALLHD to make a monitor that allows you to control the camera's functions again like RED and some other camera manufacturers. Who knows maybe a KOMODO like ARRI camera is on the way also, But probably not:laugh:
Click to expand...

guess they’re following Red’s lead ‍♂️
 
Arri Alexa 35 Test Footage from 360 Digital Studios - 4K HLG HDR


By 360DigitalStudios


 
"When the Knicks are in the Playoffs" New York Knicks COMMERCIAL ALEXA 35


By Joe Bressler


 
Wooden Camera Releases New Elite Accessory Systemfor ARRI ALEXA 35 at 2023 Cinegear Expo



By
INDIE Shooter


 
The Impressionists – Turkey


By ARRICHANNEL




HDR Version




Shot with ALEXA 35, Signature Primes (25 mm I 35 mm I 47 mm I 58 mm I 75 mm) and Impression V Filters (070P I 140P I 230P | 330P I 050N | 100N I 200N | 290N).

“Both the positive and negative Impression V Filters soften faces very gently, more like a texture than traditional diffusion, and I particularly love the positive filters for close-ups. For me, these filters get us even closer to the filmic look of 35 mm negative.” - Cinematographer Ugur Icbak GYD

“The Impressionists” is a short film series commissioned by ARRI for the launch of the Impression V Filters.

Cinematographer: Ugur Icbak GYD
Gaffer: Murat Asik
Best boy, gaffer: Erkan Demirtas
Focus Puller: Mustafa Dogan
Camera Assistant: Onur Ozkan
Actress: Melisa Kenanoglu
Actress: Sibel Kirbaz
Actor: Onur Sit
DIT: Alihan Kara
Production Manager: Canberk Uslu
BTS pictures: Furkan Yildız
Linka: Onder Yılmaz
Linka: Melih Alaca
Cameras & Facility: Tolan Films
Lighting Equipment: Golge Isik
Lenses: House of Robots

ARRI Signature Primes. ARRI Signature Zooms. ARRI Signature Lenses. Modern Lenses. Timeless Look.
 
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