Reasons we bought a used Alexa Classic in 2021...

[Dean Butler]

I think we're just after different things.

I don't run a company, but most of my paid work is with 3.2k and 2.9k (anamorphic) Alexa footage.

And so I bought one for my personal work, for familiarity.

Knowing we'll almost certainly get an Amira, Mini or Mini LF down the track (and that the classic will become a B or C cam) was also part of the decision. Getting used to exposing for the sensor, color grading it etc. And yeah ours is for personal work too

 

[Christoffer Glans]

Mini LF down the track

The Mini LF is my favourite camera hands down. As a reliable camera with superb image quality, it beats every camera I can think of. Sure, it doesn't have the noise handling that Monstro 8K has, but getting that color science at true 4.5K instead of the 3.2K like before is what I've been waiting for. Unfortunately, they're still so damn expensive, which is both understandable but also not. When I can get my projects made on my Komodo, and still have excellent image quality, the financial side of this kicks in and it just doesn't make sense for me to put down that much money on the Arri.

But for projects with renting equipment, hell yes.

 

[Craig W. Bickerstaff]

It's a good camera that shoots nice images, it's not the best Alexa but I'd be more than happy with one myself.

 

[Nick Morrison]

Have to say, we've been editing a campaign shot on an Alexa Classic (which the DP I believe bought recently, in vein of this thread) and footage looks great.

It's all 2K, but still looks as you'd expect from Alexa.

Also the workflow is so easy - a 2K Prores QT that you just drop a transform LUT on.

 

[Björn Benckert]

Have to say, we've been editing a campaign shot on an Alexa Classic (which the DP I believe bought recently, in vein of this thread) and footage looks great.

It's all 2K, but still looks as you'd expect from Alexa.

Also the workflow is so easy - a 2K Prores QT that you just drop a transform LUT on.

All the DSMC2 cameras can make a pores 2k file with log encoding that you can drop a transform lut on... And to me the monstro log 2k file holds up way better than the classic Alexa counterpart, incomparable even.

We shot 3 days last week in a studio with Monstro, LF, Komodo and BM Ursa mini 4.5k side by side. Simply put, I don't want to trade my monstro or even Komodo for any of there others. To me the hype about Arris magic wand color since is mostly just a hype. Arri cams tend to be used in good lightning scenarios, when they get out in the real world where red cams are more often used... they tend, as I see it, fall appart just as much or even more.

 

[Nick Morrison]

All the DSMC2 cameras can make a pores 2k file with log encoding that you can drop a transform lut on... And to me the monstro log 2k file holds up way better than the classic Alexa counterpart, incomparable even.

We shot 3 days last week in a studio with Monstro, LF, Komodo and BM Ursa mini 4.5k side by side. Simply put, I don't want to trade my monstro or even Komodo for any of there others. To me the hype about Arris magic wand color since is mostly just a hype. Arri cams tend to be used in good lightning scenarios, when they get out in the real world where red cams are more often used... they tend, as I see it, fall appart just as much or even more.

I don't doubt this Björn. But there was something stupid easy about the Alexa Classic. My clients shot this project, and from a network's POV, where they have so many bottlenecks, the workflow is just so dumb and plug and play I get it.

That said, for our own projects at Small Giant, I would never do this. We've been shooting on Gemini and Komodo recently, and the results have been staggering. We did this probe lens shoot 3200 ISO 48fps on Gemini at T22, and it blew our minds:

 

[Dean Butler]

The Mini LF is my favourite camera hands down. As a reliable camera with superb image quality, it beats every camera I can think of. Sure, it doesn't have the noise handling that Monstro 8K has, but getting that color science at true 4.5K instead of the 3.2K like before is what I've been waiting for. Unfortunately, they're still so damn expensive, which is both understandable but also not. When I can get my projects made on my Komodo, and still have excellent image quality, the financial side of this kicks in and it just doesn't make sense for me to put down that much money on the Arri.

But for projects with renting equipment, hell yes.

I haven't used the LF... Yet. Totally understand why the komodo makes sense. The fact it has a global shutter is awesome too.

 

[Dean Butler]

It's a good camera that shoots nice images, it's not the best Alexa but I'd be more than happy with one myself.

Yeah we've just done tests so far for upcoming short. Shooting in a week. The images are brilliant. Rental house kind of indefinitely lent us a 7Q that's been sitting on the shelf collecting dust... so thats a plus!

 

[Dean Butler]

Have to say, we've been editing a campaign shot on an Alexa Classic (which the DP I believe bought recently, in vein of this thread) and footage looks great.

It's all 2K, but still looks as you'd expect from Alexa.

Also the workflow is so easy - a 2K Prores QT that you just drop a transform LUT on.

Yep simple workflow and beautiful natural colors out of the box... we have a 7Q now so it'll be interesting to see what working with arriraw is like (for shorts).

 

[Dean Butler]

I don't doubt this Björn. But there was something stupid easy about the Alexa Classic. My clients shot this project, and from a network's POV, where they have so many bottlenecks, the workflow is just so dumb and plug and play I get it.

That said, for our own projects at Small Giant, I would never do this. We've been shooting on Gemini and Komodo recently, and the results have been staggering. We did this probe lens shoot 3200 ISO 48fps on Gemini at T22, and it blew our minds:

Holly !@it Nick!!! That looks AWESOME!!! Nice work!