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Alien: Covenant Not Being Shot on Red?

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Zachary Abitz

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Saw this on the Alien Facebook page. I'm no expert on HUDs but that doesn't look like a Red HUD to me. I wonder why they went away from the Red system for this since Ridley was such a fan of it for Prometheus.
 

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Looks just like a regular directors monitor, no need for the director to see the settings, it's distracting. I would guess they do shoot the movie on Red, but it doesn't matter really, I just hope they have a better screenplay this time around.
 
Ah. Alexa65 makes sense. And yea. I wasn't referring to the monitor you see up close but the back left monitor.
 
Keep in mind that movies today are often shot on more than one brand of camera. So BTS photos are not always a tell all of what a movie was shot on, could just be what was used for that scene. Could be they are using both RED and Arri on this movie. Not saying that's definitely the case, but I have seen it happen quite often now.
 
Adrian Jebef said:
That's an Alexa as you can tell from the distant monitor on the left. I'd bet they're shooting A65.
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It could be shot on Dragon and Alexa 65. In order to get 6K images for everything instead of going down to 3.2K on shots that isn't Alexa 65. But yeah, the monitor on the left is indeed Alexa, really wondering why. Although I wonder why Darius and Scott changed to Alexa since they seemed so keen on shooting everything on Red. It really don't make any sense other than shooting 65 if the look is going to be like Prometheus.
 
From the X-Men Apocalypse cinematographer: "We switched to the Red because at the time we started it, the Alexa Mini, which is able to record on-board, wasn’t out on the market yet, and you were able to do that on the Red, number one. And number two, the Red had come out with a new sensor that, for me, was the first time it was able to come close to the Alexa. Although I still kind of prefer the look of the Alexa. But because of the size and the ability to record on-board, we opted to go for the Red". It's sad but I guess that Red was sometimes chosen by default, and, now that Arri has all sorts of cameras, some cinematographers will go back to Arri.
 
If it´s Alexa 65 it will probably be because the sensor size / depth of field. I´d be particularly curious to hear his thoughts about the glass as it is said to be rehoused Hassy H lenses.
 
Scott like to shoot using zoom lenses as much as possible. Does Arri have a 65mm zoom fast enough for him? Panavision has a 28-80mm Primo 70 T/2.8, but don't think there's something as fast from Arri. Even most of their rehoused Hasselblad Primes are T/3.
 
Didn´t know that, there is a 50-110mm which flares easily, for me the lens with some character and cinematographic look.
 
Ugo Del said:
From the X-Men Apocalypse cinematographer: "We switched to the Red because at the time we started it, the Alexa Mini, which is able to record on-board, wasn’t out on the market yet, and you were able to do that on the Red, number one. And number two, the Red had come out with a new sensor that, for me, was the first time it was able to come close to the Alexa. Although I still kind of prefer the look of the Alexa. But because of the size and the ability to record on-board, we opted to go for the Red". It's sad but I guess that Red was sometimes chosen by default, and, now that Arri has all sorts of cameras, some cinematographers will go back to Arri.
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Probably yeah, and I also prefer the look of Arri even though I own a Red. The thing about the Arri is that the colors feels a bit more pleasant and easy graded. But it's still a very fine line between the cameras so it's not that important really in my opinion. The reason I still prefer Red is because it gives me control and because of the community and communication with Red themselves. I feel that by shooting Red I can do whatever I want with my stories, while Arri just "gives me a look". I've directed things shot on Alexa and when I'm only directing there's a sense of ease by going with Arri. Red needs more attention, but whenever I do something where I want control and I want that kind of freedom Red really shines.

I cannot do stabilization, special HDR shots, larger than s35mm looks and high resolution workflows in RAW on any other systen than Red. Well, Alexa 65 is 6K and gives great looks but... well, economy.

What I get from the camera I affordably own is remarkable and I really feel Arri is insane to have such expensive tech being so "low-tech". The thing is though that given the development of the Red One sensor into the MX sensor and later the Dragon sensor... the next sensor that we who owns the Weapon DSMC2 will be able to upgrade to, will probably blow the competition out of the water. So I have trust in Red to deliver something spectacular as they almost always does. The Alexa 65 wasn't a jaw-dropping revelationatory revolution, it was merely an evolutionary step. Red has always pushed the limits and heighten the bar for digital cinema and that's why I like to be on board with it.

I was more surprised by the 8K Vista Vision Dragon sensor than the Arri Alexa 65mm sensor.
 
it is Arri they are using IMDB might be wrong I think also they would use weapon if they were using red. Some one might have randomly filled it in.
 
In today's digital environment, what is considered principal photography, given there is so much overlap with VFX shots?
 
Julio Quintana said:
I don't mean to sound rude, but is this a serious question? I'm just wondering how it relates to this thread.
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No rudeness, I generally ask when I don't know something. If IMDB lists several cameras used on production, even though one camera may be used for a significant number of VFX shots, are they both considered as having being used for principle photography?
 
M.Halsell said:
No rudeness, I generally ask when I don't know something. If IMDB lists several cameras used on production, even though one camera may be used for a significant number of VFX shots, are they both considered as having being used for principle photography?
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I see. That's a good question and I'd like to know the answer myself.
 
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