Topics

Do we really want the ARRI LF ?

Geoff Boyle
 

I know that this will probably get me a load of grief but…

 

I was at the launch of the LF on Friday and it’s a lovely camera, as are all ARRI cameras with the exception of the 16BL!

However, I’m not sure that we need another non-standard image size. ARRI have been really good in the past in ensuring compatibility but now they launch a camera that, well, why launch it?

I realise that producers have learned to ask about numbers instead of pictures, thanks RED, but it’s really sad to see ARRI falling into this trap.

In the June camera tests the Alexa and the F65 stood out as the best images regardless of resolution.

So Sony have introduced a camera that gives is F65 images in a better format and 3 perf, 4 perf & FF image sizes where ARRI have brought out something a bit bigger than FF with a non-standard sized UHD facility.

 

I’m sorry ARRI, I think you’ve lost the plot. FF Is a pain for AC’s and really isn’t required for most work. What we needed from you was, well, a camera with the Alexa look and the Venice image sizes.

 

ARRI has had a huge lead in image quality for a long time, combine that with their complete system and they’re almost unbeatable, almost.

 

Unless they make a major mistake and in making that mistake hand the market to a competitor.

 

I think that they may have just made that mistake…

 

 

Cheers

 

Geoff Boyle

Sysadmin

Jonathan Belinski
 




I think that they may have just made that mistake…

 

 

Cheers

 

Geoff Boyle

Sysadmin

_._,_._,_

I dont know how big a "mistake" this was but as a CML member since near inception I look to this group for guidance. I agree with Geoff that at this price point the camera seems to be directly addressing Netflix and other 4k + delivery networks. I know nothing of the lenses but the tech specs on the camera are underwhelming at the price point. Not just talking my book but the Red 8k Helium/Monstro have demonstrable improvements in latitude, speed, resolution, color space. This feels like a stop gap measure. I dont believe in the space race for K's and severely miss shooting on 5245 stock for low grain (sorry I mean noise). I love Arri products  (particularly their lighting of late) and I buy into their philosophy of having a battle tested sensor that always delivers. However as an owner of several Red cameras (not by accident) I think they are pushing the technology further and faster. No knock on Arri. I think most people prefer the organic image and reliability of an Alexa but we have gotten to the point of splitting hairs. The Arri Sky Panel is probably the best single  product I have ever owned but I prefer to shoot with that light with a Red 8k sensor. Everyone has their preference and by no means am I trying to start a product battle. Exceptional work has been done by both cameras in the field. I'm just not sure what you are getting extra for the money in terms of impact. Honest question 

--
Jonathan Belinski
Director of Photography
Belinski Media LLC
phone: (917) 882-0126
email:  belinskimedia1@...

Argyris_Theos_cml
 

Reading on their site: “maintaining the ALEXA family’s optimal pixel size for highest overall image quality

This means they played safe: they added additional pixels to get their 4K resolution, without touching the pxel characteristics.

The image look will probably be unaffected.

Anyone who knows Alexa, will shoot LF without doubt.

In this context, they have a point.

Time will show

Best

 

Argyris Theos, gsc

DoP, Athens Greece

tel. +30 6944 725 315

skype: Argyris.Theos

www.vimeo.com/argyristheos

 

Will Weprin
 

Well Congratulations to ARRI on their new camera, which is very impressive indeed. I am particularly pleased that they chose not to sacrifice photo site size and continue the excellent overall image quality with the best coloromitry in the business. 

However, I have to pause and ask; do we really want this large format game? Recently, I have watched a lot of “large format” shows both on the big screen and at home to wrap my head around it. Productions shot with the ALEXA 65, 65mm film and IMAX and I have to say this ultra shallow depth of field thing is really bothering me. I will say that the shots with deep focus in large format are absolutely stunning. There is a spacial quality and a sense of depth that is really amazing. 

These ultra shallow depth of field shots are driving me crazy though. Usually it is impossible to make out anything in the background, it is just a mush of color and it is very claustrophobic to watch. With Super 35, we have always been able to achieve pretty shallow depth of field with fast lenses, but you can still tell what is in the background and it can be beautiful. Anamorphic has also been a wonderful way to achieve a different, more impressionistic bokeh as well. Large format reminds me of 3D, where all you can look at is the actors nose because that’s the only thing in focus and the rest of the production value is lost. 

There is a heightened resolution to faces and a nice smoothness to them at the same time. I am not saying that is good or bad, but it is measurable. Again the deep focus shots are amazing, especially the wides, but shooting large format with deep focus requires a lot more light. It’s an expensive way to shoot with cameras, lenses and/or film being more expensive. Is it necessary? 

With film 65mm film, we got more resolution, and rich color not to mention those expansive wides. With digital though, we haven’t been lacking in resolution for years, 

Take a look at the new Netflix show Altered Carbon to see what I am on about. Shot on ALEXA 65. 

Am I the only one who feels this way? Maybe so.

Will Weprin
ICG LOCAL 600
Director of Photography
Color Grading

ARRI AMIRA PREMIUM CAMERA PACKAGE AVAILABLE!

(510)-685-7224
willweprin@...
www.weprinfilms.com

On Sun, Feb 4, 2018 at 12:21 AM, Geoff Boyle <geoff@...> wrote:

I know that this will probably get me a load of grief but…

 

I was at the launch of the LF on Friday and it’s a lovely camera, as are all ARRI cameras with the exception of the 16BL!

However, I’m not sure that we need another non-standard image size. ARRI have been really good in the past in ensuring compatibility but now they launch a camera that, well, why launch it?

I realise that producers have learned to ask about numbers instead of pictures, thanks RED, but it’s really sad to see ARRI falling into this trap.

In the June camera tests the Alexa and the F65 stood out as the best images regardless of resolution.

So Sony have introduced a camera that gives is F65 images in a better format and 3 perf, 4 perf & FF image sizes where ARRI have brought out something a bit bigger than FF with a non-standard sized UHD facility.

 

I’m sorry ARRI, I think you’ve lost the plot. FF Is a pain for AC’s and really isn’t required for most work. What we needed from you was, well, a camera with the Alexa look and the Venice image sizes.

 

ARRI has had a huge lead in image quality for a long time, combine that with their complete system and they’re almost unbeatable, almost.

 

Unless they make a major mistake and in making that mistake hand the market to a competitor.

 

I think that they may have just made that mistake…

 

 

Cheers

 

Geoff Boyle

Sysadmin

josephmastrangelo@...
 

I think this camera is going to be hugely popular. A full frame Alexa, say no more. It's a great creative option for us and I'm sure the results will be stunning.

But the main motivation for its existence would appear to be to get around current Netflix guidelines, and that's where it's not a complete success story, because a lot of Super 35mm glass won't cover the full frame format. I see that Arri are touting the UHD windowed mode that should work with lenses 35mm and up, but this is still restrictive, and my understanding is that not even UHD capture is high enough resolution for Netflix original content - it has to be 4096 pixels wide. Yes, there is full frame glass out there but I imagine it is in relatively short supply and a lot of people won't appreciate the narrowing of their know lens options.

It's fascinating to see how wedded to this sensor Arri are. In order to deliver true 4K, they have had to make the sensor bigger, forcing us into large format cinematography. It makes sense of course because even after 8 years its images are still industry leading. But surely at some point they are going to have to 'upgrade' to a newer sensor with a tighter pixel density like every other camera manufacturer has over the intervening years.

J Mastrangelo
Focus Puller
London, UK

Feli di Giorgio
 




On Feb 4, 2018, at 4:33 AM, josephmastrangelo@... wrote:

But the main motivation for its existence would appear to be to get around current Netflix guidelines, and that's where it's not a complete success story, because a lot of Super 35mm glass won't cover the full frame format. I see that Arri are touting the UHD windowed mode that should work with lenses 35mm and up, but this is still restrictive, and my understanding is that not even UHD capture is high enough resolution for Netflix original content - it has to be 4096 pixels wide.
J Mastrangelo
Focus Puller
London, UK


If I am understanding this correctly, then this is quite worrying.

Just how useable is the s35 UHD window, if in most cases you lose all focal lengths below 35mm? Who’s going to shoot a show without wide angle lenses? And is UHD even enough for Netflix or are they insisting on 4k DCI @ 4096?

What about those who have invested in purchasing their own s35 glass and suddenly find themselves in a situation where they lose all focal lengths below 35mm, because they won’t properly cover the UHD s35 window mode? 

What if you want to shoot with vintage glass like a Cooke 18-100 or Zeiss Super Speeds mk3, Super Baltars, Cooke Speed Pancro etc?
I doubt that most of that glass will properly cover the UHD window, below 35 or 50mm. I know for certain that the Cooke 18-100 barely covers the current S35 Alexa. Is all of that glass suddenly rendered useless and the palette of lenses that we draw with  drastically reduced? 


Feli di Giorgio

VFX / Bay Area


_______________________________________________
Feli di Giorgio - feli2@... - www.felidigiorgio.com





JD Houston
 


On Feb 4, 2018, at 8:47 AM, Feli di Giorgio <feli2@...> wrote:



Just how useable is the s35 UHD window, if in most cases you lose all focal lengths below 35mm? Who’s going to shoot a show without wide angle lenses? And is UHD even enough for Netflix or are they insisting on 4k DCI @ 4096?


Requirements are for 4096 photo sites across the frame.  That is easy to do with Bayer pattern cameras.


Jim Houston
Pasadena, CA


 

I suspect Arri will have taken this into consideration during product development :-)

Michael J Sanders
Director of Photography/Cinematographer  

reel & credits @ www.mjsanders.co.uk   

mobile:   07976 269818   
diary:      020 8426 2200


On Feb 4, 2018, at 8:47 AM, Feli di Giorgio <feli2@...> wrote:

Just how useable is the s35 UHD window, if in most cases you lose all focal lengths below 35mm? Who’s going to shoot a show without wide angle lenses? And is UHD even enough for Netflix or are they insisting on 4k DCI @ 4096?

Feli di Giorgio
 



On Feb 4, 2018, at 9:51 AM, Michael Sanders <glowstars@...> wrote:

I suspect Arri will have taken this into consideration during product development :-)

Michael J Sanders
Director of Photography/Cinematographer  

Of course they did, but that doesn’t change the fact that apparently their UHD window won’t be covered by the image circle of most s35 lenses. If you’re fine with that then you’re covered (no pun intended), but for others this could be a problem. I have a substantial investment in s35 glass, so this is something of concern to me.



Feli di Giorgio

VFX / Bay Area


_______________________________________________
Feli di Giorgio - feli2@... - www.felidigiorgio.com




On Feb 4, 2018, at 8:47 AM, Feli di Giorgio <feli2@...> wrote:

Just how useable is the s35 UHD window, if in most cases you lose all focal lengths below 35mm? Who’s going to shoot a show without wide angle lenses? And is UHD even enough for Netflix or are they insisting on 4k DCI @ 4096?


_._

Nick Morrison
 

I understand the concern about viability of s35 lenses on LF sensors, but I do think we'll also see a growth in high end expanders that will help extend the life of these classic sets of glass.

I also think this move by Arri, Sony and RED into "large format" sensors makes sense - and follows historic trends.

Filmmaking embraced 1.33 for decades, but quickly evolved into widescreen formats when challenged by TV.

I think today's rapid growth in cellphone imaging is having a similar effect on high end cinema, and driving us towards larger formats. From "Tangerine" to RED's Hydrogen cellphone that will shoot raw video, the trends are clear. Powerful cinematic tools are being democratized, and the film industry is responding w/ larger, more dynamic sensors that are beyond the public's grasp.

These cameras are more expensive, their formats more unique, and their workflows less accessible. In an age where content is king, content creators are king-makers, and the tools clearly matter. Yes you can make a movie on your iphone, but no one will doubt it will look a 1000x better if you shoot it on an Alexa LF.

I personally welcome these developments: larger sensors open up new opportunities for filmmakers creatively and visually.

My only hope is Arri, Sony, and RED work hard to extend access to these elite imagers. One of the glories of the democritization of cinema has been the flurry of new voices and stories being told. It would be great to see this trend continue, even as top flight cameras get more rarified and elite. 

_____________
Nick Morrison
Founder, Director and Lead Creative
(646) 236-7884
smallgiant.tv

fitzmaurice@...
 

I can't wait to test the LF against the Varicam, Large format is nice for a look but to Feli's point I really like having options about what glass to use. There is definitely going to be people that insist this new camera is the only way to shoot but this has been an issue since digital cameras over took film. Ford/Chevy thing. I really wish ARRI would have just made a new sensor that was 5.2k super 35 4:3 ARRIRAW at about half the size of this new camera. The way I shoot I like to use different glass for different moods, My last movie I used Cooke Pancros with Black Satin #2 filter and then the commercial after the movie I used Zeiss Ultra Primes. Lenses have so much character that it will be a bummer not to have options. Maybe TLS will start rehousing old Hasselblad lenses ;-)

Michael FitzMaurice
Cinematographer
Los Angeles, Ca

 

Just how useable is the s35 UHD window, if in most cases you lose all focal lengths below 35mm? Who’s going to shoot a show without wide angle lenses? And is UHD even enough for Netflix or are they insisting on 4k DCI @ 4096?
 
What about those who have invested in purchasing their own s35 glass and suddenly find themselves in a situation where they lose all focal lengths below 35mm, because they won’t properly cover the UHD s35 window mode? 
 
What if you want to shoot with vintage glass like a Cooke 18-100 or Zeiss Super Speeds mk3, Super Baltars, Cooke Speed Pancro etc?
I doubt that most of that glass will properly cover the UHD window, below 35 or 50mm. I know for certain that the Cooke 18-100 barely covers the current S35 Alexa. Is all of that glass suddenly rendered useless and the palette of lenses that we draw with  drastically reduced? 
What I saw from the first videos posted by Arri it's that ultra DoF creaminess that remembers me DSRL world... I was convinced that in the new cameras would be incremented Dynamic Range, more ND filters built in, and for sure 4K for S35 lenses (with new pixel technology)... Nowadays you can use arri signature primes, Thaila or Cooke s7 with future modified mounts (LPL), no mini version because of the sensor/processor and larger mount... simple you can't be lightweight in FF.

____________________
 
Luigi Tadiotto
DP
Italy, Venice

Gavin Greenwalt
 

“Just how useable is the s35 UHD window”
Feli di Giorgio

 

Yeah it’s quite a bit larger than a true s35 sensor.  Arri’s UHD window is 31.7mm (vs s35’s 24.9mm) which is similar to the coverage when using a 'standard’ (6k Dragon is 30.7mm) RED chip. There are a lot of older s35mm lenses that don’t cover Dragon 6k.  

 

Alexa gets a big benefit from the large photo sites it has plus the Dual Gain Architecture, as it is averaging noise in the chip/A-Ds.  
- Jim Houston

 

Large photo sites aren’t that much of an advantage.   At an equal resolution yes big pixels would give you an advantage but usually smaller pixels means proportionally more pixels and more pixels means noise averaging from down sampling.  Signal theory says your down sampled Signal to Noise Ratio is n-samples * SnR of each sample.  So if you had an 8k sensor vs a 4k sensor you would have 4x as many samples and your SnR would be 4x higher by down sampling to 4k from 8k.   

I also suspect that by this point every modern sensor is using dual gain. 

Gavin Greenwalt / VFX
Seattle, WA



From: Feli di Giorgio
Sent: Sunday, February 4, 2018 8:47 AM
To: cml-general@...
Cc: Feli di Giorgio
Subject: Re: [general] Do we really want the ARRI LF ?

 

 

 



On Feb 4, 2018, at 4:33 AM, josephmastrangelo@... wrote:


But the main motivation for its existence would appear to be to get around current Netflix guidelines, and that's where it's not a complete success story, because a lot of Super 35mm glass won't cover the full frame format. I see that Arri are touting the UHD windowed mode that should work with lenses 35mm and up, but this is still restrictive, and my understanding is that not even UHD capture is high enough resolution for Netflix original content - it has to be 4096 pixels wide.

J Mastrangelo
Focus Puller
London, UK

 

 

If I am understanding this correctly, then this is quite worrying.

 

Just how useable is the s35 UHD window, if in most cases you lose all focal lengths below 35mm? Who’s going to shoot a show without wide angle lenses? And is UHD even enough for Netflix or are they insisting on 4k DCI @ 4096?

 

What about those who have invested in purchasing their own s35 glass and suddenly find themselves in a situation where they lose all focal lengths below 35mm, because they won’t properly cover the UHD s35 window mode? 

 

What if you want to shoot with vintage glass like a Cooke 18-100 or Zeiss Super Speeds mk3, Super Baltars, Cooke Speed Pancro etc?

I doubt that most of that glass will properly cover the UHD window, below 35 or 50mm. I know for certain that the Cooke 18-100 barely covers the current S35 Alexa. Is all of that glass suddenly rendered useless and the palette of lenses that we draw with  drastically reduced? 

 

 

Feli di Giorgio

 

VFX / Bay Area

 

 

_______________________________________________
Feli di Giorgio - feli2@... - www.felidigiorgio.com

 

 

 

 

 

Diego
 

Ok, here is what I believe is happening (maybe making a crazy guess, but looking at their marketing and client fidelity I think this makes a whole lot of sense):

They are making their first large format for sale camera, thats ALL!

Punchline: They will wait another year or two years to make a “firmware update to the LF” that will have a 4096 pixel count windowing option, this release I believe will also be covered by most s35 glass they themselves have so much invested on (I mean... do you guys REALLY think they would have put out those insanely expensive Zeiss Master Anamorphics without knowing that their investment in R&D and manufacturing wasnt gonna pay off for years to come? This is Arri we are talking about, no?) and in that same year - god I wish I knew when this is going to happen - release their 4K (or 4069 aka “Netflix and VOD friendly” set of cameras -btw, screw you Netflix if anyone is listening) Mini and Amira versions to give the previous owner operators of these “older” model cameras the opportunity to recover their investment. And at the same time before the release, they will be building a market for LF cameras and LF glass of their own with the new mount THAT EVEN PANAVISION has agreed to make adaptors and lenses for...

I mean, this sounds -from a marketing and client loyalty standpoint- like an absolutely brilliant move from Arri in my opinion... And they get to keep that magic sensor and pixel size I, and many more are such massive supporters of... i mean... 🔝🔝🔝🔝

But then again. Maybe Im wrong 😂

Great thread this one! Thanks again Geoff, you rule!

Best,

Diego Gilly
Cinematographer
Instagram: @dgilly
LA / NY


On Feb 4, 2018, at 10:27 AM, Feli di Giorgio <feli2@...> wrote:



On Feb 4, 2018, at 9:51 AM, Michael Sanders <glowstars@...> wrote:

I suspect Arri will have taken this into consideration during product development :-)

Michael J Sanders
Director of Photography/Cinematographer  

Of course they did, but that doesn’t change the fact that apparently their UHD window won’t be covered by the image circle of most s35 lenses. If you’re fine with that then you’re covered (no pun intended), but for others this could be a problem. I have a substantial investment in s35 glass, so this is something of concern to me.



Feli di Giorgio

VFX / Bay Area


_______________________________________________
Feli di Giorgio - feli2@... - www.felidigiorgio.com




On Feb 4, 2018, at 8:47 AM, Feli di Giorgio <feli2@...> wrote:

Just how useable is the s35 UHD window, if in most cases you lose all focal lengths below 35mm? Who’s going to shoot a show without wide angle lenses? And is UHD even enough for Netflix or are they insisting on 4k DCI @ 4096?


_._

Jad Beyrouthy
 

Good point Diego! 

Launching a large format Alexa with the same color fidelity and performance arri’s customers are used to makes a lot of sense. 

It gets arri back in competition with the new large format cameras and lets them get into Netflix and other networks market.

The updates will come later as usual with arri they might add a s35 4k compatible workflow for their existing lenses.

I see this camera as a very versatile tool that gives productions a variety of formats and lenses.

Cheers!


Jad Beyrouthy
Cinematographer | Colorist
M: 00961 3 083975
E: jad@...
W: www.greenbeansproductions.com
W: www.jadbeyrouthy.com 
The company accepts no liability for the content of this email, or for the consequences of any actions taken on the basis of the information provided, unless that information is subsequently confirmed in writing. If you are not the intended recipient you are notified that disclosing, copying, distributing or taking any action in reliance on the contents of this information is strictly prohibited.

On Feb 5, 2018, at 08:02, Diego via Cml.News <hifidg=yahoo.com@...> wrote:

Ok, here is what I believe is happening (maybe making a crazy guess, but looking at their marketing and client fidelity I think this makes a whole lot of sense):

They are making their first large format for sale camera, thats ALL!

Jordan Cushing
 

On Mon, Feb 5, 2018 at 05:13 am, Jad Beyrouthy wrote:
they might add a s35 4k compatible workflow for their existing lenses.
I don't see how this would be possible without a sensor upgrade.  Perhaps that's in the roadmap, but as it stands it would be the same as an up-resed Alexa. 

Talking to people at the BSC show, there wasn't as much enthusiasm about this camera as one might have expected.
--
Jordan Cushing
DOP
London Milan

Feli di Giorgio
 


I don’t think that’s going to happen because the size of the photo sites is fixed in hardware and dictates the image circle of the UHD / 4k window. 
You can’t physically change hardware with a software update. The LF sensor is what it is. 

I understand how Arri ended up here. Given that they carried over the existing sensor the UHD/4k window is dictated by the size of the individual photo sites. So, unless they redesigned the sensor with a greater pixel density they didn’t have much of a choice.

Feli di Giorgio

VFX / Bay Area



On Feb 4, 2018, at 10:02 PM, Diego <hifidg@...> wrote:

Ok, here is what I believe is happening (maybe making a crazy guess, but looking at their marketing and client fidelity I think this makes a whole lot of sense):

They are making their first large format for sale camera, thats ALL!

Punchline: They will wait another year or two years to make a “firmware update to the LF” that will have a 4096 pixel count windowing option, this release I believe will also be covered by most s35 glass they themselves have so much invested on (I mean... do you guys REALLY think they would have put out those insanely expensive Zeiss Master Anamorphics without knowing that their investment in R&D and manufacturing wasnt gonna pay off for years to come? This is Arri we are talking about, no?) and in that same year - god I wish I knew when this is going to happen - release their 4K (or 4069 aka “Netflix and VOD friendly” set of cameras -btw, screw you Netflix if anyone is listening) Mini and Amira versions to give the previous owner operators of these “older” model cameras the opportunity to recover their investment. And at the same time before the release, they will be building a market for LF cameras and LF glass of their own with the new mount THAT EVEN PANAVISION has agreed to make adaptors and lenses for...

Diego Gilly
Cinematographer
Instagram: @dgilly
LA / NY

_______________________________________________
Feli di Giorgio - feli2@... - www.felidigiorgio.com





Thomas Gleeson
 

The new Arri LF sensor certainly has some gotchas when windowed down to S35 but as it will live mainly as rental camera who cares? If you want to go VistaVision (full frame) size sensor hire the LF and if you plan to shoot S35 go the SXT or Mini ? Why would you hire a more expensive LF then window it ? Its the same sensor technology. Lots of productions will suit S35 and others will suit larger sensors. Pick your poison.

Steve Oakley
 

because of the need for 4K delivery now… and not just Netflix.

you bring up the other point  : the most non-standard number is the price.  before you say its a mostly rental house item, there are plenty of folks out there that own various flavors of RED, Sony, Canon and even Amiras / Alexas personally. They have an economic model that works for them. clearly this doesn’t fit into that model but producers will be asking for it because they heard the buzz.  sure there are a few DP’s that have bought more expensive film cams back in the day, but thats a handful of people.

Now if you are renting it, the rate for the basic body is gonna easily be 2X the price of almost any other camera. Ditto the rates of the  new primes if they are even available.  On a very practical sense, if you could have a just as good camera package for 1/2 or less as a rental and could then spend that money on : another crew person or three, upgrade the catering, or not worry so much about the OT you can’t avoid, etc I think you know how the money is better spent… assuming you aren’t working in the money is no object world which is pretty small.  

as an owner/operator, its money _out_ of the DP’s pocket,  there is less incentive to rent some one else’s gear when you can use your own and make the money on it.

as a rental house, do you want to dump $250-300K into a set of lenses that fit on exactly ONE camera right now… whats the ROI period ? generally pretty ugly compared to other glass thats 1/2-1/5 the price, in demand, works on all ( or most ) of your cameras in inventory.  so to get the glass to go out, you have to price competitively which would extend the return period into a rather long time frame for the most part… maybe this glass will be so amazing everyone wants it, or maybe not.

so besides the issues present about non-standard frame sizes, image coverage, limited lens selections, overall production workflow there are some economic things to consider which I think are not to be underestimated in the cameras market success.

Steve Oakley
DP / Editor / Colorist / VFX Artist
Madison & Milwaukee WI
920 544 2230


On Feb 5, 2018, at 5:25 PM, Thomas Gleeson <lensboy235@...> wrote:

The new Arri LF sensor certainly has some gotchas when windowed down to S35 but as it will live mainly as rental camera who cares? If you want to go VistaVision (full frame) size sensor hire the LF and if you plan to shoot S35 go the SXT or Mini ? Why would you hire a more expensive LF then window it ? Its the same sensor technology. Lots of productions will suit S35 and others will suit larger sensors. Pick your poison.

Feli di Giorgio
 

I think the problem is that there still is no s35 DCI 4K Alexa for productions that demand 4K capture.

You still can’t shoot 4K Netflix or Amazon shows on a s35 Alexa body.

If you need 4K and want to shoot Alexa your only options are the LF in FF mode or going all out and shooting the A65.

I hate to say it but Arri may have miscalculated here, by not redesigning the sensor to properly deliver a s35 window.

And before everyone jumps on me as an Arri hater, I am firmly in the ‘Better pixels, not more pixels’ camp and adore my old Alexa EV (and my ancient IIc)...

Feli di Giorgio

VFX / Bay Area


On Feb 5, 2018, at 15:25, Thomas Gleeson <lensboy235@...> wrote:

If you want to go VistaVision (full frame) size sensor hire the LF and if you plan to shoot S35 go the SXT or Mini ? Why would you hire a more expensive LF then window it ? Its the same sensor technology. Lots of productions will suit S35 and others will suit larger sensors.

Previous Topic Next Topic