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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

Phil Holland said:
All cameras clip. The question is always do you want it to or not as well as how you want it to look when it does.

Right now there's a bit of discussion among colorist-type-people about some of the high gamut handling, but it's a hard one to really properly discern at the moment without shooting a great deal of tests with the actual camera.

Not diving too deep into color science related things here, but I'd wait and see how things flesh out in the next month or two.
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Alright then:thumbsup:
 
Ryan Sims said:
Not buying it. Sand is basically a gigantic natural bounce card and will light a face very different than other environments. Do you have a link to this YT Video?
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The light matters chapter on this https://www.youtube.com/watch?v=uIKupTibxKQ.
You might want to actually watch the video before making sweeping generalisations. Then you would see they are specifically refering to scenes at night which makes your pontification on sand irrelevant.
 
Alexa 35 Test at ISO 3200 100fps in 4K HDR

by
HDR NOW by Sittipong Kongtong





''I just had a quick test the new camera, Alexa 35 beta firmware 0.8.
It was amazing camera I have ever seen. It could handle more dynamic range that I could see by my eyes.
Set the ISO to 3200.
Base 25P (off speed 100fps)
Shutter 180
Supreme Prime lens.

I brought the original 4K ProRes 4444 XQ 25P (off speed 100fps) into DaVinci Resolve Studio 18 beta 4. The DaVinci Resolve still not well recognize these ProRes files. But it was still amazing.

ACES in DaVinci Resolve Studio 18 beta 4 did a great job as good as it could.

Waiting for the update of DaVinci Resolve Studio to do full decode ArriRAW and ProRes files from Alexa 35 soon.''


REGRADES- I Thought the video looked a little underexposed and Green

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Don’t Want To Hear It! (ALEXA 35 “Test”)

by DROPTREE PRODUCTIONS





"While testing the new ALEXA 35, we do a musical number to honor all the producers and crew members who have to execute their directors' bad ideas.

Thank you to ARRI and Chase Hagen for allowing us to test this amazing camera!

Thank you to Piñata Post and George Costakis for the coloring.

Thanks to the crew and everyone involved.
DP: Kevin Fletcher
Cam Op: Michael Cooke
Bolt Op: Karl Fuchs
AC: Matt Gromley
Gaffer and Studio: CoachandSargecine.com
Thank you to Coach and Sarge for donating their studio!

Colorist: George Costakis"
 
Andrew Dease said:
I seem to recall Jim himself saying it was the head of Arri, I forget the name of the guy but I recall it was the head of arri...
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No, read the articles I linked to. They specified the names of who was involved. I think the guy was trying to earn brownie points with Arri by giving them inside information about Red. As it was, I don't think they needed the information to be successful with their cameras.
 
Colorfront shows Express Dailies 2022 at Cine Gear Expo

by Provideocoalition

ARTICLE
Colorfront shows Express Dailies 2022 at Cine Gear Expo by Jose Antunes - ProVideo Coalition


COLORFRONT WEBSITE
Colorfront


''Express Dailies 2022 also features support for the very latest digital cinematography camera formats, such as ARRI Alexa 35 4.6K, with its ARRI Reveal color science, ARRI Textures and 17-stops of dynamic range, plus Red V-Raptor 8K VV, Sony Venice 2 8.6K and Blackmagic Design 12K RAW.''

 
Marc Wielage said:
No, read the articles I linked to. They specified the names of who was involved. I think the guy was trying to earn brownie points with Arri by giving them inside information about Red. As it was, I don't think they needed the information to be successful with their cameras.
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By The Deadline Team

September 22, 2011 5:06pm

"Industry veteran Michael Bravin admitted today that while working for German film and TV camera powerhouse ARRI he hacked into the files of LA-based rival Band Pro Film and Digital, where he had worked for 15 years. Bravin, who moved to ARRI as VP market development in 2010, pleaded guilty to using the name and password of CEO and president Amnon Band to access files used in interstate commerce. Emails from several industry firms were accessed during the hacking, including those of Red Digital Cinema founder Jim Jannard. The hacking occurred between December 2009 and June 2010. Bravin has been in the biz for decades, and has worked for Abekas Video Systems, California Communications and NBC Sports. Under the plea agreement, Bravin will serve two months in jail and pay at least $5K in restitution as well as legal costs."

I knew Mike Bravin all the way back in 1986 when we were on a test team at NAB for Sony's first 3-chip pro camera (while he was VP? at California Communications production and post house), and had a few dealings with him over the years. Pretty good guy that just did something stupid and paid the price. As far as damage to RED or BandPro, couldn't have been deemed too damaging if restitution was only $5,000 and both of the civil cases ended up dismissed.

PS I don't think RED's hands are completely clean when it comes to business practices.
 
Alexa 35 Reaction: Arri's First New Sensor In 12 Years


by In Depth Cine


 
ARRI Certified User Training for ALEXA 35 | Munich

By ARRI ACADEMY

ARRI Certified User Training for ALEXA 35 | Munich Tickets, Wed 3 Aug 2022 at 09:30 | Eventbrite

PRICE: $1381.62----$1625.43




Who Should Attend

Cinematographers
Camera operators
Camera assistants
DITs
Rental staff
Production staff


What You Will Learn

In-depth knowledge of the ALEXA 35 camera system
Introduction to the new REVEAL Color Science and ARRI Textures
Understanding linear light, logarithmic and video encoding
Advantages of ARRIRAW and ProRes codecs
Understanding recording formats and their applications
Exposing for SDR and HDR
Experience the full capabilities when it comes to HDR and wide color gamut monitoring
How to team up ALEXA Mini / ALEXA Mini LF and ALEXA 35 on a project
Exclusive insights into ARRI camera and sensor design
Wireless camera control via Electronic Control System and WiFi
Real-world production tips
Hands-on sessions with all camera systems
Duration: 2 days

Trainer: Florian Rettich

Language: English
 
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I uploaded the regraded video of the ARRI ALEXA 35 of the asian female in slo-motion .

 
ARRI ALEXA 35 in 3D 180° - Take a Virtual Tour of this NEW $77,940 Hollywood Cinema Camera in VR

bY
Hugh Hou


 
I have no doubt that the new Arri Alexa 35 will be the next benchmark camera for the industry and a rental house staple. It looks superb. Not sure why some people are nit picking the images from Youtube H.264 encoded "experimental" or "push the envelope" videos that guest DOPs have shot for Arri. It should be said matching its amazing image quality is its premium price. At rough equivalent setups the Alexa 35 at @$73,000 USD is quite the jump from a Raptor XL at @$45,000. For an owner operator that is a serious price difference. With only 200 units being slated for delivery in 2022 these will be not easy cameras to get your hands on so it might be some time before anyone can compare the two machines but I suspect the Raptor will acquit itself well. The Alexa 35 is not without its downsides. It is not a lightweight camera and it's 24V architecture and 90W consumption will add to cost. While these are trivial for big productions they are less trivial for smaller ones. For me personally after shooting full frame for several years I might still prefer an LF over the Alexa 35.

The dynamic range of this camera is very exciting and it is a big plus but it should not be overestimated. In day to day work with my Monstro it is only on the rare occasion the camera's dynamic range is pushed past its limit but make no mistake if the Raptor XL could match the DR of the Alexa 35 I would be very happy.

Finally be wary when discussing a cameras response to lighting situations such as neon and car brake lights. While sensor limitations are an issue the biggest bottleneck is the ancient Rec 709 image standard. I have been recently working a project in HDR and it handles these high bright and saturated parts of the image extremely well. The HDR image standard can reveal just how well top end cinema cameras are now dealing with these scenarios.
 
Tom Gleeson said:
I have no doubt that the new Arri Alexa 35 will be the next benchmark camera for the industry and a rental house staple. It looks superb. Not sure why some people are nit picking the images from Youtube H.264 encoded "experimental" videos that guest DOPs have shot for Arri. It should be said matching its amazing image quality is its premium price. At rough equivalent setups the Alexa 35 at @$73,000 USD is quite the jump from a Raptor XL at @$45,000. For an owner operator that is a serious price difference. While it will be some time before anyone can compare the two machines I suspect the Raptor will acquit itself well. The Alexa 35 is not without its downsides. It is not a lightweight camera and it's 24V architecture and 90W consumption will add to cost. These are trivial for big productions but issues for smaller ones. For me personally after shooting full frame for several years I now prefer it to the S35 sensor.

The amazing dynamic range of this camera is very exciting and it is a big plus but it should not be overestimated. In day to day work with my Monstro it is only on the rare occasion the camera's dynamic range is pushed past its limit but make no mistake if the Raptor XL could match the DR of the Alexa 35 I would be very happy.

Finally be wary when discussing a cameras response to lighting situations such as neon and car brake lights. While sensor limitations are an issue the biggest bottleneck is the ancient Rec 709 image standard. I have been recently working a project in HDR and it handles these high bright and saturated parts of the image extremely well. The HDR image standard can reveal just how well top end cinema cameras are now dealing with these scenarios.
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If you want a less opinionated forum try sports or politics.
 
New ARRI ALEXA 35 with Marc Shipman-Mueller from ARRI


by BPS - Broadcast & Production Services


 
ARRI Alexa 35 @ Cine Gear Expo with Art Adams

By Digital Cinema Society


 
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