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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 :)

Here's a test that should be applicable to the difference between the new Arri Alexa Mini LF and the older Alexa Mini.



Camera/Format comparison test Alexa LF vs. Alexa Mini by Kolja Brandt




By kolja brandt


https://vimeo.com/323187525



Couldn't be display other than on YouTube due to Copyright.


We tried to find out what the actual difference would be on a real shoot between the two formats. I teamed up with director Kai Schonrath and Czar film Berlin, together with Arri Marketing and Arri Rental Berlin we shot a short movie with the two formats, doing every setup twice. we used the same lenses (DNA primes) for both cameras and tried to match the focal length.
 
rand thompson said:
Here's a test that should be applicable to the difference between the new Arri Alexa Mini LF and the older Alexa Mini.



Camera/Format comparison test Alexa LF vs. Alexa Mini by Kolja Brandt




By kolja brandt


https://vimeo.com/323187525



Couldn't be display other than on YouTube due to Copyright.


We tried to find out what the actual difference would be on a real shoot between the two formats. I teamed up with director Kai Schonrath and Czar film Berlin, together with Arri Marketing and Arri Rental Berlin we shot a short movie with the two formats, doing every setup twice. we used the same lenses (DNA primes) for both cameras and tried to match the focal length.
Click to expand...

That was fun.
They both look great.
 
C. Burkhart,


Yup, They both look great. Can't wait to see an actual comparison between the two.
 
be definitely better than the LF compared to the normal mini at the same opening .... especially on the less noisy blacks, just like Monstro.

I can't wait to have it in my hands;)
 
Luigi,


Congratulations! I look forward to any test that you may be able to provide and maybe an Arriraw file or two to examine. ;)


rand
 
rand thompson said:
Luigi,


Congratulations! I look forward to any test that you may be able to provide and maybe an Arriraw file or two to examine. ;)


rand
Click to expand...

Sure Rand. I ‘ll share as much as possible for the community ;)
 
Thanks Luigi, you always do , and thank you for that!
 
Marc Wielage said:
Kodak told us back in 2002 that 2K was the "effective resolution" of what a theatrical print could reproduce in theaters, but that was through several optical stages. But they confided to me that they felt in a best-case scenario, 35mm negative could capture 6K (in terms of line pairs/mm). Actually reproducing that was another matter. Note that Glenn Kennel was responsible for a lot of that research at Kodak... and of course, he's the guy running Arri Inc. now, and he's been with the Alexa project for over a decade.
Click to expand...

Thanks for that info. I knew that somebody had arrived at those conclusions way back when, but I couldn’t have told you who (and to what agenda).

Now that we’re starting to see legit good 4K delivery on Netflix via Helium (and 65/LF), I’m becoming more aware than ever of just how many viewing situations will not give you the conditions to see what 4K can or will do for you). I’m glad Red pushed the envelope, I’m glad Arri took their time, but at this point I’d just wish that camera dev would take a turn towards integrated features. Internal wireless video, internal lens control, well thought out AKS systems that let us bounce from dolly to gimbal faster, etc etc.
 
Here's one guys detailed opinion on why he chose to use the Alexa LF over Monstro( Which he did not actually have or use). Just playing Devil's Advocate Here. ;)



Arri Alexa LF Review (vs Red Monstro vs Nikon Z6)



Download my video settings and 7 Cinema Picture Controls + N-log exposure and grading guide: http://bit.ly/2NBwkYq

Thoughts on the Arri Alexa LF: https://www.youtube.com/watch?v=8PGST...

Buy the Arri Alexa LF here: https://bhpho.to/2FuRwwE (Affiliate Link)

Arri vs Red: When to pick which: https://www.youtube.com/watch?v=ofKve...

Comparison of Bmpcc4K, Panasonic GH5 and the Arri Alexa XT: https://www.youtube.com/watch?v=QEpaa...

What's in my camera bag:
http://wolfcrow.ontraport.com/tl/9

Find gear on Amazon:
https://www.amazon.com/shop/wolfcrow/

Find gear on B&H:
https://bhpho.to/2N3Na21

How good is the Arri Alexa LF? Here's my comprehensive review from an operator's perspective.

I also go into why I picked it over the Red Monstro for this particular shoot. And finally, how good is the Nikon Z6 compared to the Alexa LF?

BTS by Shrey Gambhir and Shyam Kamble
Cinematographer: S. Sivanesan

Links can be to our affiliates and we might get paid a commission for any purchases you make. Please support wolfcrow and purchase using these links. It won't cost you extra.

Don't forget to subscribe!
 
Until An Actual Alexa Mini LF Camera Test comes out, here's an Alexa LF camera test with basically the same sensor and it's downloadable if you go to youtube, but only at 1080





ARRI ALEXA LF - Camera Test




by VISION5 Inc.


 
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Sergio Perez said:
why would one choose the Mini LF over Monstro?
Click to expand...

In the episodic & feature world that I work in, there are many reasons:
- More ProRes options
- Higher reliability
- Runs cooler with less noisier fans
- 2 x SDI outputs
- Much better viewfinder with heated eyepiece
- Codex system is more robust (not to say Mini-mags have many problems, but Codex is super reliable)
- More acceptance in the episodic & feature worlds, and in fact, generally more acceptance in most productions

So yeh, those are some significant reasons why. The Alexa Mini is probably the most used & successful digital cinema camera. The Mini LF will probably follow suit.
Don't get me wrong, I own a DSMC2 body & like using it but you should choose the right tool for the job.
But to question why someone would choose a Mini LF is somewhat silly...
 
James,

My thoughts on your notes

- More ProRes options----------------------------- This is correct in 4K UHD you can choose 4444 or 4444XQ. BUT they are higher bandwidth codecs than Redcode at 8K?
- Higher reliability-----------------------------------This may be true although my experience with Monstro after a year has been 100% reliable
- Runs cooler with less noisier fans---------------While true of the full size LF body I am unsure this is true of the LF Mini that has similar size and power consumption to the Monstro?
- 2 x SDI outputs-----------------------------------This is an issue but easily overcome although I rock the Revolt Expander so I have 2x SDI on the Monstro
- Much better viewfinder with heated eyepiece--Older viewfinders were inferior but the new DSMC2 OLED EVF is IMHO a better EVF
- Codex system is more robust -------------------In ten years using Red mags not a frame lost but no doubt Codex is an excellent system and their new Mini 1TB drives are cheaper than the equivalent Red Mini mag !


"More acceptance in the episodic & feature worlds, and in fact, generally more acceptance.......The Alexa Mini is probably the most used & successful digital cinema camera. The Mini LF will probably follow suit"--------I would not bet against that statement and I would use a LF in a heartbeat ! I only have one criticism of the LF and Arri in general and that is ARRIRAW. Its such a heavy codec especially on the LF and its hard to understand why they don't offer a choice of a modern, efficient and compressed RAW codec like every other camera manufacturer?
 
Tom Gleeson said:
I only have one criticism of the LF and Arri in general and that is ARRIRAW. Its such a heavy codec especially on the LF and its hard to understand why they don't offer a choice of a modern, efficient and compressed RAW codec like every other camera manufacturer?
Click to expand...

Because that is their "not good enough".
 
According to every rental house, owner/operator & 1st AC that I know in LA & NYC, they all agree that the Alexa Mini has been far superior in terms of reliability. Most rental houses here have cameras with well over 3000 hours which have never had to go back to Arri once in the last 3 years.

IMO The new Mini LF viewfinder is by far better than the DSMC2 OLED. This statement could be subjective, but I've looked through both and all of the SOC operators I was with today at NAB also agreed.

We all make choices as to what camera system we want to use, whether we're fanboys or prefer the look, (I mean, I own a DSMC2 body because it was priced right) - but I believe everything I stated in the above post is more factual than opinion.






Tom Gleeson said:
James,

My thoughts on your notes

- More ProRes options----------------------------- This is correct in 4K UHD you can choose 4444 or 4444XQ. BUT they are higher bandwidth codecs than Redcode at 8K?
- Higher reliability-----------------------------------This may be true although my experience with Monstro after a year has been 100% reliable
- Runs cooler with less noisier fans---------------While true of the full size LF body I am unsure this is true of the LF Mini that has similar size and power consumption to the Monstro?
- 2 x SDI outputs-----------------------------------This is an issue but easily overcome although I rock the Revolt Expander so I have 2x SDI on the Monstro
- Much better viewfinder with heated eyepiece--Older viewfinders were inferior but the new DSMC2 OLED EVF is IMHO a better EVF
- Codex system is more robust -------------------In ten years using Red mags not a frame lost but no doubt Codex while pricey is an excellent system


"More acceptance in the episodic & feature worlds, and in fact, generally more acceptance.......The Alexa Mini is probably the most used & successful digital cinema camera. The Mini LF will probably follow suit"--------I would not bet against that statement and I would use a LF in a heartbeat ! I only have one criticism of the LF and Arri in general and that is ARRIRAW. Its such a heavy codec especially on the LF and its hard to understand why they don't offer a choice of a modern, efficient and compressed RAW codec like every other camera manufacturer?
Click to expand...
 
James,

I didn't realise that the Arri LF Viewfinder is a new model. I look forward to checking it out. What I really hope to see one day is a 4K EVF.
 
James Darren said:
According to every rental house, owner/operator & 1st AC that I know in LA & NYC, they all agree that the Alexa Mini has been far superior in terms of reliability. Most rental houses here have cameras with well over 3000 hours which have never had to go back to Arri once in the last 3 years.
Click to expand...

The same thing could be said for here in Paris.

Most rental houses own a couple of the latest RED's because they feel obliged to, but no one here finds them reliable and they are far too complicated. Remember, we are not talking owner operator's who know the in's and out's of their cameras. We are talking about a new set of hands every time it goes out. Mini's are simple, lightweight, reliable, and with great looking output. It is for this reason that they outnumber every other rental camera by a wide margin. We are talking 10 minis, 3-4 SXT's and 2-3 Red's, a couple of Phantom's, and then all the less expensive broadcast cams, C300II's, FS7's, etc. Also the Sony Venice is really doing well. A lot of people like that camera here and they are already outselling RED to the rental houses. The Alexa LF has NOT been a success however. Far too big and unwieldy. The old form factor from Arri no longer works. The SXT's that the rental houses have predate the success of the Mini and they are often sitting on the shelves now, but still go out far more than RED cams. The RED Ranger however is a smart move. The rental houses like what they are seeing in terms of it's ruggedness, simplicity of menu, etc. They would prefer a camera with this kind of reliability to the current form factor. Whether that translates into sizable sales remains to be seen.

In terms of the Mini LF, most rental houses will get a couple of them to begin with. HOWEVER, the big concern is that Arri is developing a new sensor which will hit the market in less than 2 years. When that happens, fashion dictates that the Mini LF will be pushed to the side. This is also why it is not that much more expensive than the original. It may not have the window to recover it's value like the original Mini, so there is concern. Further, it's frame rate limitations are a problem. When you figure that a mini also typically rents for about 2500€/month for series, fiction, etc...this means that it is a loss leader if investment cannot be recouped in three years.
 
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