alexa v mx

[Paris Remillard]

Does the Alexa have a global or rolling shutter?

 

[Mike Gross]

Alexa has a rolling shutter also.

 

[Mike Gross]

it does not cost that much more some but not to much 50,000 euros <$62000 usd>

i believe is what it will cost

the epic brain will be $28000 plus bomb evf and modules you could probably make it a $50,000 dollar camera really quick


dont the comparable film cameras cost over 100 k?

Able Cine has the alexa with DTE priced at: $73,400
Pro package is $79,641.

What's a full raw plus DTE Alexa package?
5x 32GB SxS cards $4000
Codex/Stwo: $40,000?
Codex/Stwo media: ??
Battery adapter:
Handle, rods, etc:
Batteries:

$130k for a full package?

 

[Eirik Tyrihjel]

Alexa has a rolling shutter also.

With respect to the optical viewfinder, why on earth would anyone want that in a digital camera? (beside old habits)

it will make you see the exact oposite of what you are actually shooting, and it may miss any artifacts and distortions (if there are any). Yet, it will enable you to see through the camera without power (get more batteries!!)

;-)

 

[Zakaree Sandberg]

it does not cost that much more some but not to much 50,000 euros <$62000 usd>

i believe is what it will cost

the epic brain will be $28000 plus bomb evf and modules you could probably make it a $50,000 dollar camera really quick


dont the comparable film cameras cost over 100 k?

i dont know.. epic x 19.500 comes with everything needed to shoot out of the box..including a lcd.. however i will obviously buy a few modules.. evf.. batts.. so on.. But i really cant calculate that past 15k.. but even still the $65k or whatever the alexa is..I imagine is bare bones.. and if it is out of the box ready.. im sure its not truly out of the box ready!

 

[chrislancaster]

i dont know.. epic x 19.500 comes with everything needed to shoot out of the box..including a lcd.. however i will obviously buy a few modules.. evf.. batts.. so on.. But i really cant calculate that past 15k.. but even still the $65k or whatever the alexa is..I imagine is bare bones.. and if it is out of the box ready.. im sure its not truly out of the box ready!

then i am stumped ..i dont know why one would even choose it over the current MX other than perceived work flow but right now I believe Alexa does not yet offer direct to edit or arriraw :confused5::confused5:

“Franz Kraus, Managing Director of ARRI in Munich, commented on the release to customers: “ARRI has delivered on its commitment to customers at IBC2009 – ALEXA is shipping in June, with an entry price point of EURO45.000 and with a rich feature list which today’s technology-savvy and quality-driven customers have fully embraced. With important reference productions such as Hugo Cabret and many accolades from industry innovators, ALEXA is now positioned in the market at the very highest level, offering unrivalled quality, reliability and performance at a very competitive price.”

 

[Mitch Gross]

Why are you comparing it to a trade-in discount rate on an EPIC? More fair would be "Stage 4" buying a new EPIC v. buying a new ALEXA. RED's offering a great deal for current RED owners in Stage 2 & 3, but that has little to do with a proper cost comparison.

 

[Pawel Achtel]

Why are you comparing it to a trade-in discount rate on an EPIC? More fair would be "Stage 4" buying a new EPIC v. buying a new ALEXA. RED's offering a great deal for current RED owners in Stage 2 & 3, but that has little to do with a proper cost comparison.

Fair point. I believe Arri offered some rebates to D-21 customers too.

Either way, Alexa is yet another choice and it is certainly a good camera any way you look at it. The attention to detail, established Arri brand name, fine German engineering and international support network are strong points in Alexa's favour. M-X has higher resolution and price advantage. I'm sure both will apeal to many happy film makers.

 

[Subhadip Sen]

Some professionals are just extremely impressed by the Alexa's image.

Here's an important testimonial:

"The Arri specs on the Alexa seem totally honest and accurate. I was testing the camera yesterday and I found it the first (and right now the only) digital camera to produce an image with the resolution and range as one captured on film."

- Roger Deakins

 

[Hans von Sonntag]

Some professionals are just extremely impressed by the Alexa's image.

Here's an important testimonial:

"The Arri specs on the Alexa seem totally honest and accurate. I was testing the camera yesterday and I found it the first (and right now the only) digital camera to produce an image with the resolution and range as one captured on film."

- Roger Deakins

I I recall correctly Roger Deakins was not too convinced when he tested the RedOne some time ago.

I think it's not only the brand Arri but also Red's betatesting-on-the-customer
policy that made the RedOne for some pros not an option. To be faire, prior build 16 the RedOne's noise, colour rendition and DR, especially in the highlights were obviously not even close to that what film delivers. Build 16 introduced RedSpace which is a video-like gamma curve that throws away information considerably and gave pictures a distinct Red-look. Many pros didn't like that and could not see a meaningful development in RedSpace.

Build 30 changed a lot to the better, RedColor and RedGamma are a big achievement, especially for those who are still on the old sensor. But Red's reputation is somehow damaged for certain folks. In this regard Arri has an advantage.

But who really cares? The filmmaking market is growing every day, budgets are shrinking, there is a huge market for affordable cameras. Arri's Alexa is one of the top, expensive cine cameras along with the upcoming Epic and the freshly introduced Sony SRW9000. All on them have their merits.

IMHO, the big competition from a Red point of view are the billions of HDSLRs flooding the market. HDSLRs are the direct competition to Scarlet S35 and they represent all Jim Jannard's idea of a still- motion picture hybrid system. To compete here in number of units that make economical sense seems difficult for me.

Hans

 

[Sanjin Jukic]

I I recall correctly Roger Deakins was not too convinced when he tested the RedOne some time ago.

I think it's not only the brand Arri but also Red's betatesting-on-the-customer
policy that made the RedOne for some pros not an option. To be faire, prior build 16 the RedOne's noise, colour rendition and DR, especially in the highlights were obviously not even close to that what film delivers. Build 16 introduced RedSpace which is a video-like gamma curve that throws away information considerably and gave pictures a distinct Red-look. Many pros didn't like that and could not see a meaningful development in RedSpace.

Build 30 changed a lot to the better, RedColor and RedGamma are a big achievement, especially for those who are still on the old sensor. But Red's reputation is somehow damaged for certain folks. In this regard Arri has an advantage.

But who really cares? The filmmaking market is growing every day, budgets are shrinking, there is a huge market for affordable cameras. Arri's Alexa is one of the top, expensive cine cameras along with the upcoming Epic and the freshly introduced Sony SRW9000. All on them have their merits.

IMHO, the big competition from a Red point of view are the billions of HDSLRs flooding the market. HDSLRs are the direct competition to Scarlet S35 and they represent all Jim Jannard's idea of a still- motion picture hybrid system. To compete here in number of units that make economical sense seems difficult for me.

Hans

Roger Deakins supposed to be a nice guy but I wouldn't trust him so much just because he is biased towards equipment that he is using mostly.

Btw, you can find at his forum what he thinks about anamorphic lenses and format. It looks funny for me that somebody

who's bread and butter are in this industry can say in public something inappropriate about anamorphic lenses and format in general.

Also Alexa is still has beta testing phase even at the start with new shipping cameras that each customer could assigned it (beta tester) or not that's up to him/her.

Alexa supposed to be very nice camera for TV and broadcast market but extremely high priced for what is delivering.

Actually it is an old fashioned, inferior digital acquisition camera system compared to R1-MX and with upcoming EPIC barely can be compared.

As Mitch wrote a full Alexa system would cost you about $130.000.

Hey guys I see myself with brand new BMW X6 and a full EPIC camera system for the same price.

A BUNDLE OF YOUR DREAMS: Just take it or leave it >>> RED BMW X6 + RED EPIC 5K motion & stills full digital camera system for the price of a full Alexa 2K/HD digital camera system.

Also Alexa can't shoot with any other lenses at the moment except PL.

Have a look below a beauty Quick and Dirty two clips shot on R1-MX.

Download the full original h264 size @ 1920x800 from Vimeo page

http://vimeo.com/13072303

Shot on R1-MX + Nikon AF-S 18-200mm f/3.5-5.6 G ED DX VR1, 4.5K, ISO 320, WB in RCX, 25 fps, shutter 1/50, Filters: Hoya-screw-in, Circ-Pola, ND2, ND4.

Shot on R1-MX + Nikon AF-S 18-200mm f/3.5-5.6 G ED DX VR1, 4.5K, ISO 320, WB in RCX, 25 fps, shutter 1/50, Filters: Hoya-screw-in, Circ-Pola, ND2, ND4.

Shot on R1-MX + Nikon AF-S 18-200mm f/3.5-5.6 G ED DX VR1, 4.5K, ISO 320, WB in RCX, 25 fps, shutter 1/50, Filters: Hoya-screw-in, Circ-Pola, ND2, ND4.

 

[Fredrik Callinggard]

who's bread and butter are in this industry can say in public something inappropriate about anamorphic lenses and format in general.

He can say what ever he wants since he's proven himself to be one of the masters in actually creating the image. Don't forget it's called Director of photography. He's simply very good at directing his technical team to create the visuals he has in mind.

There's a difference between speaking from knowledge from experience to knowledge from the books. :sifone:

 

[Sanjin Jukic]

He can say what ever he wants since he's proven himself to be one of the masters in actually creating the image. Don't forget it's called Director of photography. He's simply very good at directing his technical team to create the visuals he has in mind.

There's a difference between speaking from knowledge from experience to knowledge from the books. :sifone:

We don't need to turn this tread at the arguing about Deakins but also must say that I found his work as a cinematographer pretty flat and boring.

I wouldn't give him a job as I would be a director or a producer.

Also don't forget that we are living in the age where a sort of "hype" is easy to create but also can be easy to get vanished...

 

[Subhadip Sen]

Roger Deakins supposed to be a nice guy but I wouldn't trust him so much just because he is biased towards equipment that he is using mostly.

Btw, you can find at his forum what he thinks about anamorphic lenses and format. It looks funny for me that somebody who's bread and butter are in this industry can say in public something inappropriate about anamorphic lenses and format in general.

It's not a case of trusting him, and Roger is certainly not biased. He will embrace the technology that appeals best to his creativity and he will give his own honest opinion based on it. Yes, he doesn't like anamorphic, and yes, he doesn't like the RED One, but that doesn't mean he's dismissed them certainly, and he most certainly appreciates those who use them. BTW, I personally love anamorphic, but a majority of the industry doesn't. That's why most 2.39:1 films are shot on Super 35 these days. It is a personal choice, after all. Roger is asked for his opinion, and he shares it, but he makes it clear that everyone should test the equipment for themselves, and select what works best for the particular project, for them.

I can see that you don't like his work, but you can't deny that he's a very well respected figure in the Cinematography community, and we've to take his thoughts seriously. Obviously, it doesn’t mean that we should blindly listen to his comments. I am not Roger Deakins, and I don’t know which technology would be best for me. But what I am saying is that, perhaps he can point out why he would choose the Alexa over the RED – and this feedback can either a) clear up misunderstandings regarding the RED OR b) Enhance the RED by implementing his suggestions. What RED could do is send out a marketing team to "educate" established cinematographers on what is clearly an unprecedented technology and take back feedback from them.

Roger is not the only one - many are leaning towards Alexa. Certainly, the Arri name does mean something for some of them.

BTW, Your EPIC + BMW X6 idea is a great! :001_cool:

 

[Steve G]

We don't need to turn this tread at the arguing about Deakins but also must say that I found his work as a cinematographer pretty flat and boring.

I wouldn't give him a job as I would be a director or a producer.

Also don't forget that we are living in the age where a sort of "hype" is easy to create but also can be easy to get vanished...

Lets have a look at Roger Deakins on IMDB.....

http://www.imdb.com/name/nm0005683/

Lets have a look at sanjin jukic on IMDB.......

http://www.imdb.com/find?s=all&q=sanjin+jukic

 

[Steve G]

We don't need to turn this tread at the arguing about Deakins but also must say that I found his work as a cinematographer pretty flat and boring.

I wouldn't give him a job as I would be a director or a producer.

Also don't forget that we are living in the age where a sort of "hype" is easy to create but also can be easy to get vanished...

And if you don't want to turn this thread into an argument about Deakins, why say......

but also must say that I found his work as a cinematographer pretty flat and boring.

 

[Liam Hall]

my confusion really lays in the $$$ factor.. not the this vs that..
but why that cost so much more than this... as they seem to have similar qualities.

One is made in Germany, under EU employment law, one isn't...

 

[Sanjin Jukic]

It's not a case of trusting him, and Roger is certainly not biased. He will embrace the technology that appeals best to his creativity and he will give his own honest opinion based on it. Yes, he doesn't like anamorphic, and yes, he doesn't like the RED One, but that doesn't mean he's dismissed them certainly, and he most certainly appreciates those who use them. BTW, I personally love anamorphic, but a majority of the industry doesn't. That's why most 2.39:1 films are shot on Super 35 these days. It is a personal choice, after all. Roger is asked for his opinion, and he shares it, but he makes it clear that everyone should test the equipment for themselves, and select what works best for the particular project, for them.

I can see that you don't like his work, but you can't deny that he's a very well respected figure in the Cinematography community, and we've to take his thoughts seriously. Obviously, it doesn’t mean that we should blindly listen to his comments. I am not Roger Deakins, and I don’t know which technology would be best for me. But what I am saying is that, perhaps he can point out why he would choose the Alexa over the RED – and this feedback can either a) clear up misunderstandings regarding the RED OR b) Enhance the RED by implementing his suggestions. What RED could do is send out a marketing team to "educate" established cinematographers on what is clearly an unprecedented technology and take back feedback from them.

Roger is not the only one - many are leaning towards Alexa. Certainly, the Arri name does mean something for some of them.

BTW, Your EPIC + BMW X6 idea is a great! :001_cool:

Subhadip,

think about a kind of propaganda that can use what ever they need to.

Also nothing against Deakins but should be allowed to have my own personal thinking about his work.

Lets have a look at Roger Deakins on IMDB.....

http://www.imdb.com/name/nm0005683/

Lets have a look at sanjin jukic on IMDB.......

http://www.imdb.com/find?s=all&q=sanjin+jukic

Steve,

you all the time try out to somehow "discredit" me here but most of that "attacks" sound pretty "childish" or simply "stup**...

We should know very well WHO IS WHO here...

I'm not and would not like to be in that competition at all...!!!

 

[Gunleik Groven]

I think what attracts most with the ALEXA is the idea of just "picking up and shoot like they're used to with an ARRI" vs the "Meccanocam" reputation of modularity as presented by the R1.

Epic and Alexa represents two very different and distinct design choices, both with distinct advantages and disadvantages.

Yes. To me the RAW vs prores thingy is way important. But I constantly see people rave over the prores option and perceived simplicity in the Alexa vs the complicity in a RED system. I don't say that I subscribe to that opinion, but this is what I hear a lot.

Image quality is conceived as good enough on both platforms. Percepted userfriendliness and which is the right tool for a given project is what is pushig some in one direction, others in the other.

But as Epic isn't yet (not here at least) and there are Alexas to look at (here at least), that alone pushes a lot towards the Alexa these days.

 

[Fredrik Callinggard]

We don't need to turn this tread at the arguing about Deakins but also must say that I found his work as a cinematographer pretty flat and boring.

You're entitled to not like someones work if you don't want to, but flat and boring?

To me is definitely not flat considering how he handled "A serious man" and "No country" and many others. I also don't find him boring since he tackles so many different genres.

What I do find him to be is a creative DP more then a technical and maybe that's what bugs you? To me it doesn't matter. I was one. When I DP'd. I had no clue what I was doing, but I acted on instinct and hunches and usually I landed on my feet.