ARRI ALEXA LF - 4k, FullFrame announced

[Sergio Perez]

But this has happened before. When Dragon came out it was a true milestone, even greater than Helium and Monstro when comparing it to the MX. People all over the industry praised it and most Red haters converted to saying it looked really great... But Arri still continued owning the game. I can without a doubt say that Monstro will not even the odds with the LF on the market. The Red will probably be used for some commercials, many inde-filmmakers who can't afford bigger guns, owner operators doing corporate videos, fashion videos demanding high resolutions and so on. But if we're talking filmmaking and movies for cinema or television, as well as series for streaming services like Netflix, the only ones shooting Red will probably be the ones already established with Red cameras. Like Mindhunter and maybe even Daredevil and alike, maybe even Stranger Things. I don't think that Fincher would stop using Red, he's got a good relationship with Jannard and Red, getting customized gear, but if that would ever happen, that Fincher goes to the competitor, that would be a serious blow.

I think people underestimates the power of the high profile names in the industry choosing a certain camera. It has ripple effects down the food chain. If the biggest most talked about productions in the world shoot on Arri's, others want to follow: "look at that show or film, they chose Arri for a reason", might be the notion. I can absolutely guarantee that one of the biggest reasons there are so many people in Sweden shooting with Alexas is because of us looking up towards the big brothers in Hollywood. This industry looks at Hollywood and many of us want to replicate it. Because our film industry isn't focused on blockbuster type movies, we look at all the dramas and Oscar-lineup movies which are rarely anything else than Arri cameras or 35mm.

And the best version of Red is the DXL, not even promoted as a Red camera, but a Panavision. And the productions using it, is as far as I know, not the large events of the year type of movies or probable Oscar picks. Not yet, anyway. But when that happens, people are gonna talk about Panavision, not Red, whatever technology is inside it.

Dragon's shaky start was due to this Orb issue on the Original OLPF which was excellent in low light and could give good dynamic range. This problem only appeared in certain situations in low light and artificial light flaring and creating Red Orbs. Red tried to remedy this with an OLPF that was incredible in Highlight retention but which lost a bit of its good low light characteristics. During this period it confused a lot of upgraders and new owners who were seeing only the Low Light performance "downgrade" from MX and not every single improvement in other areas- the bit rate, the highlights, the colours, the dynamic range. This was all resolved with the introduction of the other OLPF for different situations- the time when I upgraded to Dragon and LLO (which I never took off)- but by then the professional crowd was "confused" with the options. Arri stayed consistent, even though it released many variants of the same model of camera. This was when a part of the market lost a bit of confidence in RED.

Weapon is a different world, but also a different price point for the equivalent to the Epic Dragon. This left some original Red owners switch to other brands, or not upgrade their Dragons/MX's whatsoever. I know the only other 2 Red Epic owner/operators didn't upgrade. Of course this is a very specific place, but its the situation we have here.

 

[Jon MIchael Puntervold]

...but by then the professional crowd was "confused" with the options. Arri stayed consistent, even though it released many variants of the same model of camera. This was when a part of the market lost a bit of confidence in RED.

Totally agree, it's not that much about the quality of the image of the current line up. Both the Alexa and Dragon/Monstro-based cameras delivers amazing images.

Adding to your point about confusion: I belive it also did not help to call the camera Weapon, printing skulls all over the place and naming a viewfinder BOMB. At least not for the high-end users in Europe.

Another momentum, Arri really shines in professional on-set workflow and integration.

Sorry, but would like to repeat myself from a post earlier in this thread, that no one made any comment about:

A 6k S35+ Dragon/Monstro based camera with the same feature-set as the Alexa SXT W, with a really decent view-finder for about 1/3 of the price of the Alexa-W would be a really great production camera for both narrative television and feature films.

 

[Christoffer Glans]

Dragon's shaky start was due to this Orb issue on the Original OLPF which was excellent in low light and could give good dynamic range. This problem only appeared in certain situations in low light and artificial light flaring and creating Red Orbs. Red tried to remedy this with an OLPF that was incredible in Highlight retention but which lost a bit of its good low light characteristics. During this period it confused a lot of upgraders and new owners who were seeing only the Low Light performance "downgrade" from MX and not every single improvement in other areas- the bit rate, the highlights, the colours, the dynamic range. This was all resolved with the introduction of the other OLPF for different situations- the time when I upgraded to Dragon and LLO (which I never took off)- but by then the professional crowd was "confused" with the options. Arri stayed consistent, even though it released many variants of the same model of camera. This was when a part of the market lost a bit of confidence in RED.

Weapon is a different world, but also a different price point for the equivalent to the Epic Dragon. This left some original Red owners switch to other brands, or not upgrade their Dragons/MX's whatsoever. I know the only other 2 Red Epic owner/operators didn't upgrade. Of course this is a very specific place, but its the situation we have here.

I didn't say Dragon had a shaky start I said that it was a sensor everyone loved and Arri still owned the game. The OLPF problems was also not a big problem for those who actually light their shots.

 

[Sergio Perez]

I didn't say Dragon had a shaky start I said that it was a sensor everyone loved and Arri still owned the game. The OLPF problems was also not a big problem for those who actually light their shots.

Christopher it was not as universally loved because of the early “issues”. Not only because of the low light but because it was not as immediate, turn on and shoot friendly as Red Epic MX and the Arris. It took some time for people to understand the unique character of the Epic Dragon , the working temperatures, the black shading, the OLPF’s. The lack of understanding of the sensor made for people writting it off in favor of Arri. Weapon changed this, of course.

 

[Thai Christen]

Even with Monstro and soon Alexa LF in the wild, the landscape will stay pretty much the same IMHO.
Red will dominate owner operator market, while Arri will continue owning the cinema/high end commercial/rental world.

I don't know the magic formula how Red can tackle this going forward if they don't want to loose ground.
But here are some ideas I am throwing into the round:

- Red could send out a fully working Monstro Kit to lets say top 50 DPs (not from RED camp) in the industry for free usage with limited time (6-9 months?) Each of them will have a dedicated bomb squad / tech serving as consultants. It doesn't matter if these DPs will shoot their next commercial, feature - or just their family and friends. No obligation.
- Tackle the rental market with attractive incentive programs so they have higher margin. So maybe rental is willing to push more for RED.
- Doing roadshows and media conferences worldwide and invite exclusively key decision makers in the industry.

And last but not least, launch a sub 8K Monstro in the price range of 50K, far ahead Arri will come up with Alexa LF-Mini (I am sure this one will come, sooner or later).

 

[Brian Merlen]

As a rental guy my reds are killing it lately vs my arris. Typically the opposite is true as others stated but these new 8k units are in such demand I haven't even allocated my monstro yet my helium is so busy! So I think the market adapts as red pushes new sensors and then arri pushes new form factors. My mini and Amira are getting older too relatively. LF looks like a good buy next for me despite its obvious debayering leaving it less than 4K of resolving power but despite the factual nature of this claim or its historical context I'm still interested

 

[Brian Boyer]

RED has transitioned to a sensor swapping paradigm, which is smarter and easier on everyone involved. They can now focus on producing different sensors for different applications. Under the previous upgrade system, they developed one sensor at a time that appeared across their whole lineup and had to work for the greatest cross-section of users.

It put pressure on people and made them feel they had to upgrade in order to stay current, even if they weren’t crazy about the sensor or couldn’t afford it at the time of the upgrade window. Now, as long as you have a sensor-upgradeable body, that pressure should be alleviated. It also means the individual sensors have a longer life cycle.

This also suggests RED should have a bevy of sensors planned in order to make the swapping paradigm worthwhile.

So, with that in mind, I have a humble request of RED: stop fucking around with this lowlight bullshit…um, pretty please. I want RED to design me a sensor that sees 9 stops into the highlights.

And by me, I mean me, personally - Brian Boyer. In fact, I want them to name it after me. I also want to test it before it comes out. And, I’m not pulling 9 stops out of my ass, either. It’s Kodak 5219 territory.

Forget, for a second, that it seems impossible due to the limits of physics. Never mind that it seems unnecessary because current camera DR is good enough.

Regarding the first argument, I don’t care if it means they have to design a type of sensor that doesn’t exist yet. I don’t care if the materials needed to make this sensor can only be found on Mars. RED is down with NASA and Elon Musk, who are both in the outer space bidness. They need to figure it out.

As for current sensor DR being good enough, fuck that shit. Is 2K good enough? No, it isn’t. 9 stops of highlight latitude is one of the few remaining tricks film has up its sleeve in terms of its advantages over digital. Film replacement, remember?

Hell, Dragon’s low light performance is good enough, even with the STH OLPF in the DSMC1 bodies, if you expose properly. That didn’t stop RED owners from complaining and browbeating RED, in a very public way, over a situation that’s easily handled. And, RED made improvements.

For 8 fucking years we’ve all had to suffer through the chorus of grown-ass men whining about noise in the image. It was true for Epic M-X and especially true for Dragon. Noise, noise, noise. Whine, whine, whine. Noise, whine, noise. Enough.

There are plenty of choices for lowlight shooting from RED and everyone else at this point.

If you can’t make them work for you then you suck and/or you don’t know how a light switch works. I mean, if you go into a dark room at home, you don’t curse your god(s) for smiting you with an ocular system that doesn’t allow you to see in total darkness. You turn on a fucking light.

I don’t care if RED has to make the pixels bigger and drop the resolution back down to 4.5K. I don’t care if it’s only 15 total stops. I want to turn on the camera and set it to whatever ISO sweet-spot RED recommends in order to get 9 stops over middle gray and 6 stops under.

That’s closer to how film really behaves and should make those folks who came from a film background and tend to gravitate toward Alexa for its similarities to film take notice. To the shortsighted among you, I know all of this sounds like going backwards. But, it would be going backwards in order to move forward.

Like I said before, if Arri does it first, that would be bad for every other camera manufacturer.

1) Arri will boast they have “the only camera to achieve TRUE film overexposure, from the company that was the previous leader in overexposure with our award-winning, industry standard, old-as-fuck but still legendary ALEV III sensor.” They wouldn’t be wrong.

2) It’s going to force everyone else, including RED, to have to achieve 9 stops of highlight latitude ANYWAY, in order to compete. So, they should all stop dicking around with seeing in the dark.

It should also be made abundantly clear that this wouldn’t be a lowlight sensor. The marketing should go something like this: The new Boyer®* sensor from RED. The image screams, “Fuck you lowlight loving bastards. It’s all about the highlights.” I’m just spitballing here but you get the idea.

And, if you say some dumb shit like, “I’m digging the 9 stops of overexposure but I really wish it was better in low light” anywhere on the internet, RED would remotely disable your sensor and refund 25% of your money to go towards buying the sensor you should’ve bought in the first goddamn place.

RED would keep the other 75% of the money because you’re a fucking moron. This stipulation would be part of the terms and SLA you accept when ordering.

Bottom line, with the sensor swapping program, RED is now in a position to start showing some love to the people who want to peer even further into the brightness.

Like I said, it’s the only thing no one has beaten Alexa at, is one of the two main reasons people prefer Alexa, and will be disruptive enough to lure people away from the Alexa crackpipe.

*For clarity's sake, Boyer may be too close to Bayer and Brian may be too close to Brain. I'll think of something cool.

Okay, fight me.

 

[Saied_M]

Red could send out a fully working Monstro Kit to lets say top 50 DPs (not from RED camp) in the industry for free usage with limited time (6-9 months?) Each of them will have a dedicated bomb squad / tech serving as consultants.

I don't have any hat in the ring, but who is going to go up to a top 50 world class DP with a straight face and say, "Hello, I am your new dedicated bomb squad rep from Red". He would just reply, "Ooooh, let's play cowboys and indians". Without over-analysing, isn't that alone a significant part of the problem ?

 

[Christoffer Glans]

Christopher it was not as universally loved because of the early “issues”. Not only because of the low light but because it was not as immediate, turn on and shoot friendly as Red Epic MX and the Arris. It took some time for people to understand the unique character of the Epic Dragon , the working temperatures, the black shading, the OLPF’s. The lack of understanding of the sensor made for people writting it off in favor of Arri. Weapon changed this, of course.

It wasn't a problem for people who understood lighting a scene really. I never heard any complaints from cinematographers using it on commercials or in films, only from owner operators. Even myself, who's a very pessimistic nitpicking sob didn't really have a problem with the STH OLPF. The "problems" that it had was due to a large number of owner operators who used it as a night vision camera, underexposing everything. I was even consulted for a project after the inexperienced cinematographer shot night time without lights and only live fires at ISO6400 with the idea that "Red is supposed to be just metadata, so why can't we pull information out of it?", had to tell them that they need to light the scene, just like a regular camera. The whole "issue" with the OLPF was blown out of proportions. Most films and television made on the Epic Dragon after it's release was done with the STH OLPF and they all looked good. To say that it wasn't universally loved is just not true, not for photographers and cinematographers who knew how to light. It was a big improvement over the MX, even at release.

 

[Christoffer Glans]

RED has transitioned to a sensor swapping paradigm, which is smarter and easier on everyone involved.

We don't know if they will change the camera body once again and we still need to upgrade boards to use different sensors. Point is though that the most exclusive and best version of Red isn't even available for purchase. Right now, we got so many different types of Red cameras doing different things, limited or unlimited, with confusing naming and so on. Talking to anyone who isn't a Red nerd makes it clear that people dismiss Red much because of this confusion. Alexa is straight forward, easy, made to last. That resonates with people and even for a tech nerd like myself, the appeal to use the LF for my projects is very high. I can focus on my art and craft instead of the thousand details of Red systems. The things I've worked with that used Alexa was smooth as fuck, while all the Red projects had to involve a lot of thinking, fixing, retouching and so on. It might be fun for nerds who like math and pixel peeping but I'm interested in a good image. For some that's only about no noise and high resolution, for the majority of cinematographers and myself it's about colors and DR. It's like I want to paint a certain painting with my Red, but someone bought the wrong colors and I can't get the end result quite like I want it too. In lack of better explanations, the Red is crisp but harsh while the Alexa image rests my eyes like meditation. Many in here call that drinking the Alexa cool-aid, but that would mean the industry top people are just as indoctrinated. There's no conspiracy, Alexa looks better and the LF is a serious threat. I use Red for R3D and control over the image, but every time I grade I try to replicate Alexa colors as close as I can.

 

[Thai Christen]

I don't have any hat in the ring, but who is going to go up to a top 50 world class DP with a straight face and say, "Hello, I am your new dedicated bomb squad rep from Red". He would just reply, "Ooooh, let's play cowboys and indians". Without over-analysing, isn't that alone a significant part of the problem ?

If you know how business works, you wouldn't questioning in that way. I just put my words in a very simple way as an idea input. But of course, in reality Red has to tackle this strategically, and it must come from the top chain of command.

Just look at what DJI did with the launch of Inspire 2 by hiring Claudio Miranda to shoot a short.
Then Sony Venice, again Claudio Miranda teamed up with director Joseph Kosinski shooting "The Dig".

Now, Red could go beyond that. I am not sure what it means cost wise and for sure needs a business case.
But for sure worth thinking. Just my two cents.

 

[Thai Christen]

Thanks for responding Thai. I write impulsively at times, didn't mean to appear too rude. FWIW, I did see a guy with a Red filming the entrance of a hotel in London and chatted to him - it was part of an establishing shot for an advert, and he told me Red was the camera in London.

No worries Saied. Most people are nice here and try to help, express their opinion. At times, things can heat up quite quickly

 

[Brian Boyer]

We don't know if they will change the camera body once again and we still need to upgrade boards to use different sensors. Point is though that the most exclusive and best version of Red isn't even available for purchase. Right now, we got so many different types of Red cameras doing different things, limited or unlimited, with confusing naming and so on. Talking to anyone who isn't a Red nerd makes it clear that people dismiss Red much because of this confusion. Alexa is straight forward, easy, made to last. That resonates with people and even for a tech nerd like myself, the appeal to use the LF for my projects is very high. I can focus on my art and craft instead of the thousand details of Red systems. The things I've worked with that used Alexa was smooth as fuck, while all the Red projects had to involve a lot of thinking, fixing, retouching and so on. It might be fun for nerds who like math and pixel peeping but I'm interested in a good image. For some that's only about no noise and high resolution, for the majority of cinematographers and myself it's about colors and DR. It's like I want to paint a certain painting with my Red, but someone bought the wrong colors and I can't get the end result quite like I want it too. In lack of better explanations, the Red is crisp but harsh while the Alexa image rests my eyes like meditation. Many in here call that drinking the Alexa cool-aid, but that would mean the industry top people are just as indoctrinated. There's no conspiracy, Alexa looks better and the LF is a serious threat. I use Red for R3D and control over the image, but every time I grade I try to replicate Alexa colors as close as I can.

I’m pretty sure Jarred said the Current DSMC2 bodies were good until at least 2020. Whenever it happens, that doesn’t mean they won’t also offer the body upgrade like they’ve always done. What it means, at least to my understanding, is that you still won’t have to upgrade as often and some sensors, even future ones, won’t necessarily require changing boards or bodies.

The program is still in its infancy. I think it will be less confusing than before once things mature. There’s going to be a built-in level of base complexity due to the general concept of upgrading the camera and it has been very confusing at times. But this new way is better, methinks.

As for look, it’s a subjective thing and open to interpretation. Where RED may be striving to reproduce colors exactly as they appear in a scene, Arri may be tweaking hues based on what they think looks better.

It may come down to a difference in approach based on user expectations or requests. I dunno. You’d have to get Graeme drunk and try to get him to spill the beans about that.

People speculate that Arri modeled colors after 5219. For the BB9 (still working on a name for my sensor), I wouldn’t mind if RED took a cue from that and blatantly and unapologetically did the same.

 

[Mike P.]

People speculate that Arri modeled colors after 5219. For the BB9 (still working on a name for my sensor), I wouldn’t mind if RED took a cue from that and blatantly and unapologetically did the same.

See, and I'd think they'd be better off taking a page from Panavision's/LightIron's book, and basically making a "KodakColour" gamut/LUT combo that does the same with current (and DSMC1) cameras/sensors... For all the time RED have spent saying 'you can make it look like XYZ because it's raw!' they could've released an Official "KodakPack" and done the leg work for the 90% of projects that would've been more than content with that... The ironic thing is that it wouldn't even have to be all that accurate; just labelling LUT/Gamut options as "Kodak Pack", "Fuji Pack", "Agfa Pack", and officially coming from RED, would've been enough to delight users and make the typical Arri-user at least a little curious.

Conversely, I don't think Sensor Swapping will be all that successful. Particularly since the user can't do it themselves easily and safely (in the field). Look at the swappable OLPFs; most people just found the one that gave them the most acceptable artifacts and left it in. It'd be better if DSMC3 was developed to have a whole user-swappable closed sensor compartment (ala Blackmagic's?), that you could do yourself. As it has been announced, it's just going to add to the confusion and turn seasoned DOPs away... Sure, you'll get a few vocal people being like 'this is the best!' but I think most working DOPs will roll their eyes -- 'I don't wanna pay thousands of dollars, and RED storage fees, and shipping times, and deal with the confusion/quirks/nuance of each sensor, just to get an image that doesn't unilaterally compete (noise, DR, colour) against other sensors... Let's just go ALF; set it and forget it.'

Giving the camera out to DOPs for a trail run didn't work for AJA Cion and I doubt it would work for RED (since said DOPs likely wouldn't care to learn its ins and outs; they'd just want it to perform optimally out of the box without futzing around).

Even more off-topic (but still relating to Arri's success), REDucation should have been (and should be) free. Any camera/manufacture/sensor that is outside the traditional ease-of-operation enough that it requires it's own education program, will understandably turn off seasoned shooters (especially if they don't give a crap about technology), as well as beginners (why fight to learn the nuances of REDs/OLPFs/Sensors, when you can shoot any flavour of Alexa and have "filmic" out of the gate?). Requiring people to pay for it is just adding insult to injury and probably pushed more people to the "out of the box" friendly Alexa (even with half the resolution and twice the size/weight).

The more I think about it, the more ALF makes sense for Arri: Gives 4k+, gives FF35/VV, doesn't cannibalize the A65, doesn't cannibalize the Mini, puts 10year old used Classics in the hands of anyone who wants to jump in (cause you know they're dropping to sub-$5k come March), and puts XTs/SXTs in a strong used selling market... All with the same sensor/look/bullet-proof workflow/ease-of-use seasoned and beginner DOPs appreciate. It's so simple/quick/easy.

 

[Patrick Tresch]

The only problem we have here for our future strategy (as RED USERS) is the silence from Jarred and Jim.

 

[Bob Gundu]

The only problem we have here for our future strategy (as RED USERS) is the silence from Jarred and Jim.

Not sure what you would expect them to say except welcome to the party.

 

[Karim D. Ghantous]

"Hello."

 

[Tom Gleeson]

Why the doom and gloom? The Arri LF announcement only vindicates Red's decision to go big. I thought Red would be relieved that Arri is still using the same sensor design and has not forged ahead with better performance. (Frankly if it was a whole new design full frame sensor camera at $98,000 USD I might have considered buying one). Arri remains the premium and most expensive camera* available and will continue to dominate the very top of the market. I understand there is a trickle down effect but this top end of the market probably employs 1% of the cameras and production people in the world. Possibly we might see more Arris on more Netflix productions but seriously how many cinematographers do they employ? Anyone who has watched Netflix's "Godless" or "Mindhunter" can see just how amazing the Red camera's can perform. For owner operators Red still make a convincing proposition.


*I wonder if Arri will do the ridiculous license system again and make you pay extra for HFR or anamorphic? Can't believe Sony actually charges a license fee to turn on Full Frame in their new Venice camera. WTF !

 

[Brian Boyer]

Conversely, I don't think Sensor Swapping will be all that successful. Particularly since the user can't do it themselves easily and safely (in the field). Look at the swappable OLPFs; most people just found the one that gave them the most acceptable artifacts and left it in. It'd be better if DSMC3 was developed to have a whole user-swappable closed sensor compartment (ala Blackmagic's?), that you could do yourself. As it has been announced, it's just going to add to the confusion and turn seasoned DOPs away... Sure, you'll get a few vocal people being like 'this is the best!' but I think most working DOPs will roll their eyes -- 'I don't wanna pay thousands of dollars, and RED storage fees, and shipping times, and deal with the confusion/quirks/nuance of each sensor, just to get an image that doesn't unilaterally compete (noise, DR, colour) against other sensors... Let's just go ALF; set it and forget it.'

You could be right but I think it could work relatively well if some conditions are met. Choice is a weird thing. Give people the feeling they're in control of things and they're happy. Restrict options too much and they feel trapped or locked-in to making a choice they may not want.

The trick is not giving them too much choice. The more options you have means the more knowledge you must possess about the things you're choosing. That's asking a lot from most people and the more there is to know, the smaller the pool of people willing to do the research becomes. Human Beings, amirite?

If RED can figure out a way to streamline and simplify the swapping process, it could work.

The other element that will greatly determine its success is how desirable the sensor choices are. Take my sensor, the FULXA® (I ditched my name for this one, but there's something about it I think many people will like).

That sensor will sell like hotcakes and be in demand. I know a lot of you can't see it and I have no way of convincing you it's true. I just know it is.

If RED makes some other intriguing and useful choices, they could do for imaging what has long since happened in the audio and music worlds.

I know there are some people who believe that the ultimate goal in sensor design is to produce the cleanest, most transparent sensor you can and let people put whatever look they want on it in post.

That will certainly produce a certain aesthetic all its own but it's not the end-all-be-all goal. Humans are drawn to character. This is what I've been saying on Reduser for years.

It's why Alexa is so popular. It has a certain character people prefer. Just like lenses do. Part of that character is highlight retention, which it inherits from film, which is full of character.

And let's not get it twisted. Arri may have been using the same sensor for the last 8 years but they've put it in a shitload of bodies in that time.

Giving the camera out to DOPs for a trail run didn't work for AJA Cion and I doubt it would work for RED (since said DOPs likely wouldn't care to learn it's ins and outs; they'd just want it to perform optimally out of the box without futzing around).

It's funny you mention Cion because I was just looking at videos made with it yesterday. It came to mind as a perfect example of people misidentifying what made Alexa popular.

Someone over at AJA got it in their head that the body shape and ProRes alone (you know, like Alexa has) were going to make it a must-have camera in the sub-$10K market. So much so they only made it 12 stops with unimpressive highlight latitude. Wrong.

RED already does consult with DoPs, ASC members and directors when it comes to new cameras and sensors. Plus, if you're friends with Jarred, he just might show it to you when you stop by RED Studios.

 

[Christoffer Glans]

Why the doom and gloom?

Why change something that's not broken? The Arri sensor is still giving the best looking colors and DR handling, that's a wide spread opinion. Red shouldn't go big or huge, they've done it over and over throughout the years and it haven't gotten them any closer to the industry status Arri has. Red shouldn't go big, they should refine. They're putting out sensors, modules and parts in the dozens instead of focusing on one thing. Do a pure high end camera that's not modular but robust. Create a firmware that's tested into absurdity with that camera to favor stability over anything else instead of adding features. If most of the industry want the Alexa look and if that look is an emulation of a certain Kodak stock that has over hundred years of development behind it, then emulate that look as well.

It's pretty clear what the dream camera is for most professionals: The resolution and versatility of the R3D format in 8K, the small camera-body of the Weapon, the built in wireless video and focus with standard protocols like in the Arri, the full frame like in both, the film-like colors and DR handling of the Alexa, the stability and reliability of the Alexa.

Doing that kind of a camera is not an easy feat, I'm not crazy, but that should be the goal. That would be the camera that has the best of both worlds. But I hear so many excuses from both sides, Arri fans complaining about too much resolution and Red fans complaining about Arri's colors being overrated and that their pixels doesn't look as good at 100% crop as on the Monstro... I mean, for real? If anyone just took a step back and actually looked at everything far away from fan biases, it's easy to spot what the best is about both systems. If Red could just admit that Arri has an edge against them in DR handling and colors, even though they had the same sensor during all the development of new sensors at Red, we might see the dawn of a sensor that actually focus on the same good aspects that made the Alexa into what it is today.

It's hard in practice, but it begins by admitting what is actually good about the competitors. Red could easily create a sensor and color science that closer resembles Alexa colors and DR handling.