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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 :)

ALEXA MINI LF OUT :)

For better or worse, the Mini LF is going to be everywhere.

As will the Venice.

Especially on larger productions.

Monstro has a lot of competition now, and it's lack of internal ND isn't helping.

DSMC3 will probably address a lot of these issues, and I'm guessing RED has another large format sensor up it's sleeve (8K Gemini), that will send schockwaves across the industry (as it will compete with Alexa 65 for half the price, while also being much smaller and with a much easier workflow).

It also wouldn't surprise me if they DO announce an 8K Gemini, that Monstro drops in price - which will make it much more appealing/accessible.

Just throwing things at the wall here...
 
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Nick Morrison said:
DSMC3 will probably address a lot of these issues, and I'm guessing RED has another large format sensor up it's sleeve (8K Gemini), that will send schockwaves across the industry (as it will compete with Alexa 65 for half the price, while also being much smaller and with a much easier workflow).

It also wouldn't surprise me if they DO announce an 8K Gemini, that Monstro drops in price - which will make it much more appealing/accessible.

Just throwing things at the wall here...
Click to expand...

ETA DSMC3 ?
 
There is nothing to get worked up here about, the Monstro is the best sensor in the world based on my shooting experience. Red should have never dropped the price on it in the first place, let alone drop it again.

The last thing we need are more upgrades and more sensors. Go out and show the work these amazing cameras are able to capture. Thats how you change perceptions and turn heads. We need to stop relying on camera upgrades to compete, upgrade your skills. These cameras are amazing, and the Monstro beats the Alexa no question. There are no more excuses.
 
I can't wait to show you all something. If you're following my IG you can kinda get a clearer picture.

RED Monstro v. Arri LF Test. A test I've done twice before for studios, but this time for public release. More to highlight the differences between the ecosystems.
 
Take a note from Phil about camera comparisons who highlights differences rather than bash another system...'beats the Alexa' such a dumb comment when you haven't even used.
 
Ash Worth said:
Take a note from Phil about camera comparisons who highlights differences rather than bash another system...'beats the Alexa' such a dumb comment when you haven't even used.
Click to expand...

Actually I have tested the LF against my Monstro, thank you for presuming to know my ignorance, while only showing your own, Ash.
 
That’s the thing, a RED camera is much different than an Alexa in terms of image but both are a league above DSLRs and Prosumer cameras. Even though I haven’t used an Alexa, I regularly attend NAB in Las Vegas and I know that the Alexa cameras and image are niiiiiiiiiiiice! Out of the Alexa cameras, my brother says he liked the Alexa LF best as it just really pops on screen and I’m sure he’s going to like seeing the the LF Mini at NAB this year. Personally, I really love the added resolution of 8K from what I’ve seen as it’s always come in handy with my still photography with 40mp+ cameras these days. But I do really appreciate medium and large format so I’m glad we’re getting more options in that area even if it’s just 4K right now.
 
ALEXA Mini LF Tech Talk: ECS Accessories



By ARRIChannel



Published on Mar 28, 2019
Electronic accessories for ALEXA Mini LF include the WCU-4 for wireless control of focus, iris and zoom, as well as camera functions; SXU-1 for single-axis wireless control; OCU-1 for operator control; ARRI Master Grips; web remote via WiFi; camera control with the new MVF-2 viewfinder; and ARRI’s Wireless Video System, including the new WVR-1s receiver. Learn more: https://www.arri.com/alexaminilf



ALEXA Mini LF Tech Talk: Workflow





By ARRIChannel






Get to grips with workflows for ALEXA Mini LF, which records MXF ARRIRAW or MXF Apple ProRes internally to the new 1TB Codex Compact Drive. Explore ARRI look management; recording formats and resolutions; sensor modes; Codex High Density Encoding (HDE) for data cost savings; ARRI apps like the ARRI Color Tool, ARRIRAW Converter, and ARRI Meta Extract; and ARRI online tools like the UI Simulator, Data Rates Calculator, and Frame Line and Lens Illumination Tool. Explore more: https://www.arri.com/alexaminilf




ALEXA Mini LF Tech Talk: Large-format camera system




By ARRIchannel





An overview of the ARRI large-format system, including the ALEXA LF and ALEXA Mini LF cameras, Signature Prime lenses, and other components. Includes a look at how the ARRI large-format sensor offers the best overall image quality; LPL and PL mount lens options and coverage; and the wide range of different large-format looks that are possible. Explore more: https://www.arri.com/alexaminilf
 
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ALEXA Mini LF Tech Talk: Features & Viewfinder




By ARRIChannel




Covering the rugged build quality and extensive ‘shake and bake’ stress testing of the ALEXA Mini LF; compatibility of lenses, accessories and recording formats; internal FSND filters; extra connectors and user buttons; and improved WiFi. Also, a detailed look at the new MVF-2 viewfinder with flip-out monitor, plus wired and wireless remote camera control. https://www.arri.com/alexaminilf




ALEXA Mini LF TechTalk: Mechanical Accessories




By ARRIchannel




ALEXA Mini LF is compatible with almost all ALEXA Mini accessories, with the slight camera body differences accommodated by a new MSB-3 side bracket, new clamp for rear accessory bracket, and new vertical top plate for sideways shooting. This clip also demos the stabilizer plate for compact bridge plate, allowing quick changes from handheld to tripod, stabilizer, or remote head. Explore more: https://www.arri.com/alexaminilf





ALEXA Mini LF Tech Talk: Ready to shoot Set





By ARRIchannel





The clue is in the name: this set consists of all camera accessories required for a shoot-ready build of the ALEXA Mini LF. It includes the camera body; MVF-2 viewfinder, mounting bracket and cable; handle; rear accessory bracket, clamp and power splitting box; side brackets; compact bridge plate; rod mounting bracket; and two 1 TB Codex Compact Drives. Explore more: https://www.arri.com/alexaminilf
 
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For those of you that aren't impressed, given that the Alexa Mini was exactly that (an Alexa in a small form factor), what exactly were you thinking/hoping the Mini LF would be? Fact is, it's small form factor, greater than 4k, large format, cheaper than Monstro, and has all of Arri's colour/DR/ease-of-use/pedigree... It's gonna dominate in the same way that the Mini has, if not more so (and the mini came 5 years late to the small form factor party, was sub-4k, built on a sensor that was already 5 years old, and it *still* dominated).

The only thing that isn't great about the Mini LF is the 40fps Open Gate limit... That said, I wouldn't be surprised if they release a high speed license after they sell off a few more of the regular LF stock (presumably discounted, because no one is gonna buy them now). Or came out with a Mini "S-LF" in a year or two.

Edit: As for the showreel, while it wasn't the greatest, the only thing that was *bad*-bad was the music choice, imo... Again, purchasers know what they're getting; an Alexa LF, just 5lbs and 40fps max... that's basically all the press release needed to say.
 
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I'm happy to let people choose their tools, but I have some POV on all of this just to share and was closer to the fire long ago before I found where the fire was burning brighter for myself.

Mike P. said:
The only thing that isn't great about the Mini LF is the 40fps Open Gate limit... That said, I wouldn't be surprised if they release a high speed license after they sell off a few more of the regular LFs (presumably discounted, because no one is gonna buy them now). Or came out with a Mini "S-LF" in a year or two.
Click to expand...

I think strongly part of what makes the Mini LF work in relationship to the larger LF's release and availability is the frame rate variance of 40fps at 4.5K Open Gate and max 60 FPS for 4K filming, the larger LF can get to 60 FPS 4.5K Open Gate at 90 fps for 4K filming. I truly don't think people who just took or are waiting to take delivery of the larger LF would be thrilled with a cheaper, smaller camera this soon.

I did mention it was coming however, about one year ago:

Phil Holland said:
Other Cameras and Some ThoughtsThe Mini LF is about a year away if they can get it done. I would expect the camera to be about 2 inches longer either way, but the current Alexa LF is 17lbs naked and I imagine they'll quickly want something to compete with the smaller form factor of RED in particular.
Click to expand...

Arri has come clean for the most part of the original plan versus what has actually happened through an interview a few years back. Alexa was tapped for 2009 as the evolution of the D20 and D21 (which Arriraw comes from as well as the general sensor concept). Alexa 4K was supposed to be a 2011 release, but Alev III proved to be popular and profitable. This led to the current camera range to fit a broader market as well as the development of something that could create a quality 4K image in the Alexa 65mm, the rental only camera. About 85-90% of Alexa 65 shoots have actually been at 5K resolution and not the full 6.5K. Again, Alev III has received favorable feedback and it's technology they already have though very slightly improved here and there. The move to create the 4.4K, erm 4.5K LF to service a camera you could own and rental houses could acquire while not killing the bulk Alexa 65 rentals was the next logical step for them leading to the LF and Mini LF. Worth noting, we are over a decade from when the initial R&D occurred on Alev III at this point btw.

What this really does well for Arri filmmakers is put them into some place of flexibility to the growing world of productions and studios requiring 4K and 4K+ capture and delivery.

Moving forward, likely down the line I suspect something Amira-ish with the LF sensor, less feature rich perhaps, lower price point, but that's not a for sure thing especially with some of the revisions they've done with the Mini LF. Arri will indeed focus on an S35 4K camera around 2020 that will likely be higher resolution than 4K and will likely manifest in a premium 6K-ish sensor based around that concept. That's pretty much the now and likely future for Arri, but then again if you asked me in 2010 I thought a 4K body was a year away from being announced based on what was being developed. More or less a similar POV to the Sony Venice perhaps or close to it with S35 4K and 6K larger format. Though the Venice was also supposed to launch with an 8K sensor originally.

In the face of this and in relationship to RED this is why there are two 5K S35 solutions already and an 8K S35 and 8K larger format VistaVision solution to scratch both creative format desires as well as the needed resolution to create high quality images for modern display technologies and standards. And with a bit more modern sensor tech to boot.

And to poke a hopefully dead bear, all this crap about resolution not mattering over and over again from the Arri purest (a group who honestly has attacked me too hard over the last few years) has little to no value and I'm still coming across people who occasionally bring that up. Remember Arri makes a 4K laser recorder, scanner, and even have written white papers on resolution before any Alexa existed. It's part of their DNA, but more importantly it was also part of film's DNA. Companies like RED picked up on that and more or less tuned into that concept a bit sooner to the tune of a decade ago.

The short story. Working with film or digital. Resolution Oversampling = good. Upsampling = ungood, evil, opens the gates of hell. Both when working through an purely optical film process or a modern digital delivery. I hope this is clear as of 2019 as now rather literally every manufacturer now makes 4K or 4K+ systems.

And yes, because I know certain people will read that. Better color is always the mission and desire as is Total Captured Dynamic Range, but most importantly it's what you do with all of that. This is what will guide two dimensional cinema as an improving medium to create with. The good news is these days we have similar-ish format flexibility that motion picture film provided so long ago covering most of the major bases in decent ways.

And to that point, as a filmmaker considering the variety of theses cameras, lenses, and lights we have both in number and in levels of performance and feature-set; there has never been a more creatively powerful time in our industry than right now.
 
Curious if I'm missing something - is there no way to window the sensor to S35 and output the same type of files you can with the Mini? Feels like a huge oversight - the number cinema grade lenses that cover the LF sensor are very limited when compared to the variety of glass covering S35. Also I'm getting really swept up in larger formats (VV and LF are VERY intriguing to me right now), but like all things, the larger format doesn't necessarily fit every project. I love the idea of having the Monstro to shoot with for so many projects at 8k, but then being able to jump down to about 6k-ish and get s35-ish coverage.
 
I am sure it will be great but i don't understand the comments about it being cheaper than Monstro.


Alexa Mini LF body only is $58,760 (per newsshooter)
Monstro Brain is $54,500


1TB Codex Drive: $2200
960 GB Redmag: $2950

Codex Card reader: $650 lol

DSMC2 EVF: $4150
MVF-2: $6500


Either way a shootable package is $70-80. Pretty much a wash.
 
DJ Meyer said:
I am sure it will be great but i don't understand the comments about it being cheaper than Monstro.


Alexa Mini LF body only is $58,760 (per newsshooter)
Monstro Brain is $54,500


1TB Codex Drive: $2200
960 GB Redmag: $2950

Codex Card reader: $650 lol

DSMC2 EVF: $4150
MVF-2: $6500


Either way a shootable package is $70-80. Pretty much a wash.
Click to expand...


And don't forget the power of RED RAW on a 960 GB Redmag, even at 5:1 in 8K FF you get about an hour of recording time......

...from the Newshooter site.....

The Codex Compact Drives will only be available in 1TB sizes at launch. They have transfer speeds of 8Gbps and a 1TB Drive can capture approx. 32 minutes of 4.5K ARRI RAW in LF Open Gate and LF 2.39:1.



So Media coast is even higher compared....
 
DJ Meyer said:
I am sure it will be great but i don't understand the comments about it being cheaper than Monstro.


Alexa Mini LF body only is $58,760 (per newsshooter)
Monstro Brain is $54,500


1TB Codex Drive: $2200
960 GB Redmag: $2950

Codex Card reader: $650 lol

DSMC2 EVF: $4150
MVF-2: $6500


Either way a shootable package is $70-80. Pretty much a wash.
Click to expand...

I was going by the price listed on the first page of this thread; £41k = ~$53k USD.

Also you're not including the $3+k's worth of modules needed to even power a DSMC2 and have something equivalent to the built-in IO/control buttons of the Mini LF... So I was comparing ~$53k LF to ~$58k Monstro+IO exp+sidekick... But yeah, kitted is probably a wash, but that'll still bode better for Arri being that they're the standard.
 
Brendan_H_Banks said:
Curious if I'm missing something - is there no way to window the sensor to S35 and output the same type of files you can with the Mini? .
Click to expand...

They "sort of" did that in the A65 when the LF was introduced by rolling the LF format (in the form of a windowed sensor recording) into the Arri65. Currently the A65 can record in 6.5K (open gate), 5K, and 4.5K (LF format, with pixel dimensions that are identical to the LF). Then again, this was largely a reaction to the fact that they couldn't build enough LF's in the short term to fulfill demands, and there were a number of A65's that were not being rented.....
 
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