The Arri is just such a reliable workhorse of a camera, and at the end of the day, knowing you are going to reliably capture what you aimed for and aren’t fighting the technology to do it is the most important thing in my view.
don't forget that LogC is one of the most universal color spaces, one of the easiest to work with, and the exposure curve is the closest to how film negatives work. So I mean... It's obvious that most of the movie directors prefer the "cinematic" feel rather than the crispness of the red sensors, which is more commonly used in commercials.
@@bluefilmsltd Bmpcc 6k is basically the only budget alternative to Alexa. A true cinema camera, not some corny ass photo camera for "film makers" like A7s and so on
@@bluefilmsltd Komodo is very limited, especially when it comes to low light. And it's super expensive as it needs to be kitted out. The best cheaper alternative to Arri is the Sony FX6. Color science makes it practically indistinguishable from Arri.
RED gets the headlines over fancy specs (4K, 6K, 8K) but Arri seems more practical and way less buggy. I've read about some DoPs preferring Sony cameras for their colour, which intrigued me.
My mentor is an ASC who prefers Sony, and their ability to capture deep tones of black skin without losing details in the shadows. The full frame low light and phenomenal dynamic range doesn’t hurt either. Personally, though, the look of Arri skin texture is nearly unbeatable, I’m quite fond of it
For me it's the highlight and shadow roll off from arri, I don't know much about the newer red cameras, but in the past they always looked to contrasy and harsh. And arri's footage is just very flexible and easy to work with and looks 'right'.
@@tomastuoma The “problem” with red is that they were to cheap that alot less experienced could buy them. And pre ipp2 there was easier to work with alexa in post production. And its easier to blame the tools than to admit youre need to learn a new pipeline. I love what red have done to the industry, but it was smart if arri to double expose and merge inside of the camera. You can use hdrx with red cameras and capture way more dynamic range. But I only used it a few times, cause it takes quite alot of space and is really taxing for the workstation to playback. Im happy with the dynamic range of the red helium, but I still hope in future to se some incamera merge. Canon do it two now.
@@joelarvidsson RED still has inferior documentation compared to Arri and Sony, they're just a little bit less scientific in their approach perhaps. It is a shame that Panasonic doesn't seem to be competing with the big three now
Thanks, as a photographer who is a fan of cinematography, I always wondered why Arri was dominant. Almost seems to parallel how years ago DSLR’s were accepted by professionals because they mimicked the way film cameras worked.
Yeah and Arri reminds me much of Canon. Very reliable, offering the best color science and user friendliness, while the technical numbers aren't impressive at all.
I think the real reason the DSLR became dominant is that electronic viewfinders were not as good as mirrors when cameras went digital. Today, yeah, mirrors are unnecessary because EVFs are so good now.
@@pacificostudios still it's far mor enjoyable to see trough the lens. with arri, i've always wanted to have this look at my photos, there's just no way to replicate the magic iq of arri+vintage superspeed
@@ignacymat I'm not sure what you're saying. An EVF is a tiny monitor attached to the image sensor. There is no parallax issue as with the old rangefinder cameras.
Just wrapped a commercial shot on Arri and it’s such a good point about usability, it has what you need and no need to fluff around, and of course the image is second to non
In our small production company we have Black magic pocket 6K. They are cheap, extremely versatile and easy to use. Also the company listens to our feedback and fixes things. In Greece these little chicks are very popular and used on shooting from 1000$ short films all the way up to 150.000$/episode ( which for Greece are a alot ) TV series as secondary cameras along side main cameras which are off course alexas or REDs. In soap operas of 30.000/episode 90% shout on 2 blackmagics with kit DZO's kit 20-55 / 50-125 But I have to say it. In Greece RED is more popular than Alexa. In fact only a sitcom I was BTS photographer had Alexa the last 2 years. Great video as always.
I work in the film industry since 1984. I owned filmcameras and followed the transition to digital. The biggest downside of the RED as a budget alternative (besides the look and Alexa colors and the camera usability) was the more complex workflow (requiring time consuming Import/conversion) and the unreliability during filming. Early models frequently lost takes and required reboots and after issues often the recording harddrives required reformatting. All that is lost time and reliability on a highly expensive filming day. NOT something you want.
Say thanks for them using the budget low end mSATA drives in those "mags" with factory firmware when they claimed "customised firmware" with all extra seller BS added. and sold in premium with lies. RED company CEO has very shady history in past as well. I would say to keep stay away from RED and its products.
I'm not an expert in the field but I follow a few different content creators behind the scenes who use RED cameras and well they seem to just be infinitely adjustable and lots of options, but more buggy and a more pretentious brand. If Arri makes it simple and is willing to work with the people using their cameras and taking feedback I can see why they're the default for a situation where you just need the best possible quality but also HAS to work no matter what
@@DerrickLytlephoto I dont like the closed ecosystem of red and arri and their over priced peripherals. Its just abusing the fact the average user doesn't care and will blindly accept the fact thats "just how it is". ill stick with a BlackMagic any day.
@@jacksonkangethe8043 The low light capture is incredible, the amount of ND in the filter wheel makes my job tons easier, a lot more user friendly builds, and not having to go on my phone to access wireless control or plug the evf back in every time something needs to change and I'm on steadicam or Ronin. The WCU-4 is awesome, and no hate on Arri here, they're an amazing company and they do great work, they just don't always have the crew in mind when they create their gear.
As the former CEO of Panavision Europe there is no doubt that the Arri Alexa series of cameras has been hugely successful and been the market leader in both camera rental and personal sales. However fast forward to today and increasingly the Sony Venice has grabbed the second spot and is in some respects better than the Alexa which now has an old tech sensor. The Panavision DXL2 is also a vastly underrated camera. A camera is however only half the game the other half being lenses and optics has a far greater choice and impact the final image more so that the camera sensor alone. Finally service matters a lot goes into the equipment package and the large rental houses like Panavision, Arri Media, Movietech, Panalight etc have skilled personnel with decades of knowledge and can truly support large productions 24/7
THANK YOU! I used to be a 1st AC and now work for Keslow and we can't keep the Sony Venice on the shelf. Meanwhile the Arri Alexa hasn't seen the light of day and the Mini's and LF's are only going out on commercials and some features. Sony of the other hand is constantly and increasingly requested. As a 1st AC the Sony Venice is more reliable and practible on a film set aside from it's size which now the Venice 2 has radically changed. Especially with the 8k sensor the Venice 2 will beat out projects from traditionally Arri DP's.
Jeff, as with any huge product, it's all perception as well as a competitive product. Beta lost to VHS, Netware lost to Microsoft's Active Directory. Panavision could catch up if they offered incentives and would keep up with form factors and sensor technology. They have the lenses, just like Nikon has in the consumer market, Panavision just needs a marketing angle to promote their brand in the digital world. Cinematographers love incentives.
@@bublegum7209 Well I can tell you this. For the Komodo Red claimes 16Stops of dynamic range. In real life it is 13.5 stops for an 1/SNR ratio =1. So do not believe what the companies say. Alexa LF has 14,7 Stops of DR in comparison.
I remember shooting a film on an Alexa in film school; I got the pleasure of DPing and grading the footage, and oh man, that was the most pleasant color grading I've ever done.
The Sony Venice really is the only other serious contender at this moment and is being seen more and more in television. Just the fact that you have every Nd up to 2.4, two different base ISO’s, and a 6k sensor. I used to actually hate that camera mostly due to it’s awkward Rialto system, but after doing a job where I had to constantly switch between 4K anamorphic and 6k spherical and creating a system that was easy to switch between the two formats, I have come to accept it. That being said, I think the Arri Mini LF is a game changer in the sense that it is small and easy to work with. Fixing the issues that made the original mini a pain. (Ie where the eyepiece plugged in). I have never had a good experience with Red. Colour shifting being the main issue in colder weather among it’s other issues.
You just described the pocket cinema camera 6K pro. Dual native ISO, Internal ND filters, and a 6K sensor. How is a 6K sensor in a camera that can't even do 120 FPS in any resolution worth 60K?
@@BROperatorTIME How is the Red Monstro Ranger worth 60K and can't do 120 FPS either? How does the Arri Alexa Mini LF, the camera featured in this video, come at 90K (ready to shoot package with cage and hotswap) and also doesn't shoot 6K nor 120fps? That's answer's simple really, it's because of the features that are built in such as multiple SDI inputs, timecode, genlock, power outs for monitors and wireless systems, as well as an ecosystem of accessories built straight for them. These cameras, as well as the Venice, are built for TV sets and feature films demanding the reliability and performance that the BMCC 6K pro simply cannot do. A majority of these shows have no need for 120 fps, and if they're looking for high frame rates, they're for such niche shots that they'll pull on deck a Phantom Flex 4K (which can do approximately 1000 frames) to handle, and has better color performance and dynamic range. Said camera, also costs about $90,000. In addition, the recording formats as well as dynamic range are just simply better on those cameras than what the BMCC 6K (Pro and non pro) can ever do. The BMCC has been used in pickup or cutaway shots like in Falcon and Winter Soldier, but not for a full on production.
@@BROperatorTIME Had to look up the stats on what is essentially a DSLR that shoots video. The pocket has 3 Nd’s! The thickest being only 6 stops (nd 1.8). The Venice has every stop from ND3 to ND 2.4 (8 stops) and thus has no need to add external ND’s to fill in the holes. The ARRI is a different story. The BM pocket has a super35 sensor. (23.1 x 12.99). The Venice has a full frame 35mm sensor (36.2 x 24.1). Arri Mini LF (36.7 x 25.5). BM plays this nice little game of shooting at 6k in “Blackmagic raw”. Which is Compressed to 5:1 at best. Other than that it records at 422 at 4K. The mini LF can only do 4.5K. But it can record RAW uncompressed. Up to 40 fps. BM can do 50 at 6k. Yet Arri can do 4444xq. While the BM does seem better in this sense it really isn’t. With it’s smaller sensor and less pixels it can increase speed, but at a loss to image quality. A lot of studios would simply not accept anything shot with a Pocket. Also the regular LF can do 150. So there’s that. Hell, if speed is all anybody wanted they would be shooting with Phantoms. While the BM can be useful in certain situations and on low budget projects, it’s dslr build makes it unseemly to work with in a professional setting. Just the fact that it has only one hdmi out on it would kill it. I use to pull on music videos when the canon 5d came out and that was a nightmare in itself. And what lenses could you put on it without some serious support. Also the Venice and the mini both have a plethora of added functionality and features that the Pocket can only dream of. I’m not crapping on Black Magic, or by extension Red, but they are companies that sell the bells and whistles over quality. Great for indie stuff, but little else.
@@mB-ke9bb No worries, and definitely didn't think otherwise! If anything you're adding more info to the conversation, and ultimately we're totally on the same page :D
I am a complete layperson when it comes to video, I am an audio person myself. I still see a film like quality to movies shot on ARRIs, I am not sure what it is and I don’t have the necessary knowledge to pinpoint it. There is a certain look to their footage that I find very appealing.
A small correction, Dune (2021) was shot on the new high-end variant of the LF series, the Arri Alexa LF IMAX and Alexa Mini LF IMAX because it was made specifically for that format and image quality (supporting 1.90:1 and 1.43:1 as native aspect ratios). Great video as always!
You do realize it's the same exact camera but with IMAX's stamp of approval right? Did you know that the open gate aspect ratio of any lf is exactly 1.43:1?
Aside from Panavision cameras, Arri just has the longest history of quality, high end cameras, both digital and film. That said, I have seen the Sony Venice on more jobs than any other camera for the last 5 years.
As a working Professional Sound Mixer, I actually liked working with the Alexa-mini, and it's got great, consistent time code that accepts my TC boxes. Fast set up on camera builds. Don't wait to put your boxes on a gimbal, the DP will get pissed, because the weight changes the gimbal balance. When they have it on the stand or table, get your scratch audio feed, and TC on cam quickly. Don't let the wires or boxes hang there, bongo tie or Velcro everything to a spot away from DP workflow.
As a RED shooter, I can attest to the complexbility for the most part on their functional usage, also red specialise in those warmer skin tones, ARRI is just amazing at those greens, just different tools for different needs, im yet to shoot on ARRI but would love to one day. Love how they aren't focused on resolution, but let the tonality do the talking.
I love my Mini LF....one of the best decision that I made is to purchase it, brought in a lot of work and rent request. The New S35 4k is coming in june....Arri Middle East already informed us, will hopefully go for it too.
I've wondered for a while now why so many filmmakers are using digital Arri cams instead of others, because looking at the specs I don't see many differences. That the color science of Arri is a key here makes sense. Also, it seems that there has been a BIG push by people world over to put the RED up as some type of "god level" camera, which I suppose is just because it is much more affordable for the average filmmaker.
The last point is the reason why the Arri is the go to camera. Even though they're cameras with better technical specs, to a cinematographer, IMAGE rules.
Depends what specs you're looking at - Arris are bulletproof and have their patented "Dual Gain Architecture" (far superior to the slow Canon DGO) which could be part of the reason why its image rules
Great video! For someone who used REDs, they overheat all the time lol. But going digital was a step backwards in quality in many ways. The only exception here is low light and night scenes. From scanning film I can tell you that around 40MP is when you aren't gaining more "detail", just sharper grain. Depending on the viewer, the softness of the projection was actually a better look. Which is why digital scans of film can look awful and noisey if not slightly blurred in post and or noise removal. Digital cameras have a looooong way to go until it matches what film quality can do. 2K is 4MP.. yeah that's right 10x lower in pixel count to a native 35mm film scan. Yes you can upscale to double without any noticeable impact. Funny thing is masters are 2K as well and only upscaled for Blu-ray. Whats shown in theaters are 2K JPEG2000 images in sequence on a SSD. Total size is around 4GB. What is even more sad is that Disney has billions and cannot be bothered to show movies or master movies in a higher quality. Seriously, your home blur-ray disc has a better image quality vs the theaters.
Digital scans of film can look awful… Yes they can. But they can also look amazing. Again the example is DUNE… Dune looked amazing in the theater and it was scanned to film and back again. By the way, just my two cents, the movie sucked. But it did look great.
A dcp isn’t only 4gb. 90 minute films is about 180fb. You’re way off there. Dcp will far exceed Blu-ray quality. 2k dcp has been the standard for film projection for awhile now, most films have a 2k pipeline and are upconverted to 4K later for Blu-ray. More k is not better. The 2k dcp has a higher bitrate. Also the 4K hdr versions of films usually get far less color grading time than the theatrical. Usually you start with the theatrical and use that as your baseline to do a trim pass on the 4K hdr. 4K is not the hero version. Just because they’re mastered at 2k doesn’t mean they aren’t of high quality that’s kinda a misnomer. 2k is still the most common pipeline and probably will be for awhile. Mostly because of vfx and pipeline costs. Netflix and the streamers are 4K pipelines from acquisition to finish though.
@@monkeyman1327 I believe your confusing the masters and what is sent to theaters. A have a few of those SSDs with the DCP package on it. How to train your dragon is 4GB. Its just JPEG2000 images with a audio file. The many digital projectors are only 1080 which is funny that its downscaled. Your paying $15 for a ticket and once again the home copy is superior in every way. Now if the studios want to release the uncompressed 2k masters. Well that may be a step up. However even the best digital masters are way off in quailty of a film scan done right. The problem is these studios do scans at 2k as well...
This is often cited as somehow an empirical fact, whereas film can only achieve these very high resolutions through digital scanning technology. In the days when film was shown as release prints in cinema, the compound of prints to get there would in no way yield such high resolution and all modern films shot on film would have to have a digital post workflow to maintain the high resolution of the original stock. So it's a somewhat mute point. Going digital was at first a step backwards in many ways over 10 years ago but that is no longer true, with modern high end digital cinema cameras surpassing film in many more ways than just pure resolution, as this video alludes to. Arris are at the lower end still of digital film resolutions, with only the large format Alexa 65 having +6K. No one cares about resolution any longer, whether they choose film or digital as their preferred originating medium. And saying "However even the best digital masters are way off in quailty of a film scan done right.", isn't particularly relevant - where are going to show the film scans? They must inevitably end up as a DCP of some kind. And DCI DCPs are full 12bit unsubsampled RGB too, unlike say even UHD Blu-Rays, so judging them by pure resolution again is slightly misleading. Film has only prospered and perhaps survived through digital technology. What does a film scanner use to record film? A sensor.
I disagree with your point on the standardization of accessories between ARRI and Panavision film cameras. They used to be completely proprietary. For example, Panavision only used side mounted 5/8” rods for mattebox/lens support, and the follow focus used a dovetail mount on the body itself, whereas ARRI uses bottom mounted 15mm or 19mm rods for mattebox, follow focus, and lens support. Even the batteries/cables have reverse polarity from each other.
I dont know anything about this business but I have noticed that the Panavision logo is in the end of a lot less movie credits these days. It used to be on basically every movie at the very tail of the credits where they listed all the equipment firms.
I’ll also add that Alexa’s have always been quieter than RED, and the Venice with that extra recorder thing on the back. There was a generation of REDs that I remember cast members would ask to turn off during rehearsals cause they sounded like little jet engines. And, ARRI knew better than to try and reinvent the wheel, and instead licensed Ambient’s already trusted TV generator. The TC clock in the early REDs were useless, and the camera’s had to have an ext. TC generator ride along, which no one was happy about.
Every Arri camera needs an external TC. Never been to a shoot where there wasn't EXT TC on every camera. Arri has much better TC crystal but still drifts after a few hours.
Yes, it is definitely the Gold standard and it does have a really great look. operation wise it's pretty easy to use and post-production-wise... the colors are solid. I shoot Blackmagic Mostly and I have done tests with footage from both cams and I have to say that what it comes down to is who's using the camera and who's handling post-production... Some of the most beautiful work I have seen comes from Blackmagic Cameras and some of the messiest work I have seen is from Arri. So this ain't just about the camera and I hope that the takeaway isn't that once you get an Arri that your content will be like that Of Deakins, Hoytema, Fraser. Don't put your basket where you can't reach it. It's A solid system but make sure you are making way for solid personal development and not rely on an Arri. My 2 cents.
I've been using Black magic Ursa Mini Pro for the past 6 years for my TV spots, and it produces beautiful images. Also, it's around $60k less than the ARRI.
@@chicagospots interesting. Are you involved much in the post production? And if so what tends to be your workflow? Are you more in the Adobe realm or resolve…or?
Im not into cinematography so I was curious why so many ppl chose Arri instead of Red...this video made it crystal clear thankyou...I had a chance to try RED once and it BLEW MY MIND....with all the buttons....psh mental breakdown
It's all about the image quality (colors, smooth roll-off) and how easily it grades. Everything else (stability, usability, reliability, accessories, codecs) is just secondary.
I 100% disagree. Reliability and stability beats quality in real like 90% of the time. Even Deakins said that at the end of the day, if the director said he got a cellphone to shoot he'd go with it.
@@jas_bataille LOOOOOl. Deakins is a meme DP just like Shane Hurlbut (who said so many silly things to the laughter of other DPs) - I hope there will be a day when I don't see Deakins promoting some product. A DP should be a DP, making money by being a DP and not a goddamn marketing talking head for some companies. Plus, Deakins has only one good movie under his belt - his work on average is MEDIOCRE. I'd rather listen to Tarantino, Eggers, Anderson who shoot exclusively on analog. Deakins can go shoot on a potato - his opinion is absolutely invalid.
One of the main reasons cinematographers gravitated easily towards the Alexa is the simple film-like workflow. They used to choose a certain film stock for a certain scenario, essentially baking in the look without much deviation, for the most part. The only viable alternative at the beginning was the RED (very few could actually choose Genesis), and that camera required dialing in the settings just right to get your look, otherwise things would looks really quite bad out of the box. You could not screw up these things with an Alexa - you just had to expose and WB correctly and you knew you're gonna be solid with the production, which is similar to the way they used to work with film. Knowing what you're going to get every time without fiddling with every single setting on the camera is pretty priceless.
I remember using Red Epic a lot, and having tons of bugs and crashes and overheating problems. Those never happened with the Sony FS5 II and FS7 we had. And the look was good enough for our advertising productions. So, I used to choose the Sonys over the Reds at that moment, since we didn't have any Arris. But yes, Arris are superior in every single way.
They should try Red with Leica lenses. Much better look and more character imo....but at the end of the day the quality of the DOP is much more important
I first found out about ARRI by way of the ARRIFLEX they used on Friday the 13th Pt. 6(?). I've been interested in learning more about them ever since.
Worst part with cinema is everyone is hanging on to the 24hz standard because it looks classical, but you get tons of judder and artefacts on modern panels. I get that it means more storage and editing time is needed but that's tough shit..
@@jonathanparle8429 I’m on a LG-C1 and I’ve given up on adding motion settings, I’ve got it all off. Surprising it’s fixed most issues but wide panning you’ll notice judder. Even more of a fix has been buying my favourite films on Blu-ray, way better experience than watching on a service. 1917’s detail is crushed by Netflix bitrate but in blu-ray it’s amazing.
@@brad_hensil Thanks for your reply, I'll try to read more about what you mentioned. I'm from India, where they make most movies a year (usually trash, sorry if truth hurts to other readers). Yet, there's no easy way for a person to get hold of film stock and labs. There's practically only 'one' functioning lab in the whole country.
As someone like myself that would like to get into the film industry who is 40yrs and has had struggles with education with having several learning disabilities in school and life what would you say is the best introductory Film cameras that isn't too complicated and is quite affordable, which has been my passion since I was 13 in1994 to be a Film director , but as adult I understand the Film industry is very hard to get into so I wouldn't mind any job even if I could get coffees, I just would love to be in it.
The best intro-level cinema camera I’ve seen today is the blackmagic design pocket cinema cameras. Even for a brand new camera, the price is outstanding, it shoots raw, and pro-res, very user-friendly menu, and the noise pattern on the newer ones feels very filmic. We use them at work, and they make a great image. You can buy the original pocket cinema camera used for around $500, but if you wanna get the 4K one, it’s $1,300 brand new, which is amazing for a cinema camera. There’s a few other models, but do some shopping, figure out how you want to shoot. As for learning directing, learn to write screenplays and tell stories, learn to Light and take pictures, Watch great movies, great plays, look at great photography, read classic literature, read the Bible, take fascination with people’s stories, take some acting classes (not meisner), learn basic sound work. And make films while you are doing all that. The best way to learn is by doing a project, and it’ll make your research more effective. And remember that Directing is building a relationship. The crew you work with are people too, and they have feelings, sensibilities, and ideas. A good Director recognizes when there’s a good idea, and is objective when an idea is not good. But sometimes the bad idea is a gateway to a good one, or that idea makes its way into some other part of the project or maybe a different project altogether. If you want to direct movies, then go direct movies. They don’t cost that much to make when you’re starting out. When you’re done making them, show them to people and get their feedback. And have a thick skin, because you will get some bad feedback haha. But this is how we learn.
@@Chandler_Goodrich Oh thank you for that, I really appreciate the advice, it gives me hope that I can still live my dream to one day become a Filmmaker. I would love to be in any field of Filmmaking just to learn the craft would be amazing. I will looking into those cameras as a starting point to learn how to shoot films as I'm on a disability pension and can't afford anything to expensive. Again thank you for the advice and the kind words.
@@robertobuatti7226 it’s a pleasure! But just know that you don’t need a fancy camera to start filmmaking. The best camera is the one you have access to.
Correct me if I am wrong, but in 2010's red was a more affordable option closer in price to canon c300. then alexa started to expand into a segment. Red cameras were not very high quality either
I wish you would have elaborated on the "tiny bit of pixel movement" that Deakins was talking about. 7:30 I find it very interesting that even shooting on digital, you need a bit of noise for a "better" experience. It reminds me of when the CD came out, many people didn't like it because it was too sterile, even though it clearly has a better frequency and dynamic range than vinyl or tape. I mean you can always make the look (or sound) warmer or add noise in post, depending on what you want. But again, i'm no expert. (Great essay btw!)
How much of the camera's "look" is maintained after the footage has been post-processed? After all the digital effects and compositing and colour grading etc... it must have gone through umpteen software packages mangling the raw image before we see the final product?
The difference is the dynamic range. For a good "Look" you need at least 14 stops. If the camera has only 12 stops you need to desaturate the highlights. Also color depends a lot on the choice of the color dyes on top of the pixels. ARRI is using a custom color filter there. And the optical lowpass filter makes a big difference too. ARRI uses a very demmanding 2nd order design which is VERY costly to produce - but it makes a difference.
Now you see why cinema cameras are so expensive the "RAW" file hold up to all that processing a lot better than the compressed versions do. Think of it like the Three Little Pigs: the raw file is the one made of brick.
As an Indy filmmaker, I love using a lightweight 4K camera I own rather than rent, and one that gives me lots of flexibility. I shoot with a Canon C200 and EOS R, most often with a 24 mm f/1.4 lens and an Atomos monitor (Shinobi or Ninja V). I've never had a reliability issue. Maybe someday I'll get behind an ARRI, but I haven't had any troubles with this set.
I love your channel and the content you are making but I have one compliant with the music choices. They are just soo peaceful that I immediately get sleepy.
I hope 70mm film will make a comeback and the pictures aren’t messed up with high contrast filters like today. Every movie looks like Renderings nowadays 😢
Having worked with Alexa footage, the skin tones are just perfect but the Sony Venice has the specs to compete and for TV shows its been popping as the go-to camera of choice. The one I'd never touch again is RED, yeah it's super sharp but it looks so clean and digital that isn't as pleasing but maybe it's just me being bias towards Alexa.
I just saw The Creator by Gareth Edwards - shot on the Sony FX3. All I can say is - "Step Aside ARRI" - the sheer abilities of lower-end cinema cameras now is UNREAL. Now ANYONE can access these and make a great film.
If you have over 100 grand to spend for just 1 camera., also you'll more than likely need at least 2 or 3 of them to be able to shoot multiple angles or if one breaks or gets damaged. Soo I don't think half a million dollar investment is doable for everyday people who want to start making films haha
@TarmanTheChampion It's also pointless too. Shooting with lower end models achieves equivalent quality and, with the rise of AI, you can augment it without such heavy investment and crew. No need for pretentiously large and expensive film shoots anymore. 👍
Oh the Alexa Super 35 4k....I remember hearing it would release in 2020....then early 2021 and now....where is it? Still, ARRI cameras are great, I shot some short films with the Alexa Classic and the Amira and while both are rather old, they're still so much better looking than most new cameras.
im on a film right now and think they should be using 3c500 instead of 2 arri - an af 70-200 (or 200/2) would be picking up all sorts that would make the edit - the arri hype is a bit much
A fun fact about reliability: a truck full of Arri equipment burned down and the camera looked bad, but it was still running and producing a normal image. Isn't that incredible
go to your local rental houses, depending on where you live if you have an Arri rental house near thats your best bet, but if you are like me and there are no Arri rentals in the country, contact your local rentals, ask about going there and getting some hands on experience.
Arri’s first foray into digital camera systems was called the D-50 I believe and was a total flop. Don’t remember the exact year but it was back when Red was new and many people weren’t sure about going to digital.
The D-20 was their very first digital cinema camera. You're correct that the camera wasn't exactly great, but Arri's reputation helped to keep as a top contender when they finally announced the Alexa in 2009 at NAB.
Little metaphors, such as the iphone-apple software pairing, help make these videos so relatable, approachable, and entertaining. I feel like I've learned so much about cinematography from this channel. Thank you for these videos!
Could you do more Crew Breakdown videos :) I'd love to see you discuss the role of Script supervisor or maybe DP! Producer would be really cool too !! Love your videos
it will be interesting if the picture cameras from canon, sony and nikon are slowly drifting in this field and take away market share. nikon will probably release the Z6-III in the next year that combines their 24MP BSI sensor with the new fast Expeed processor. The signal to noise ratio from this sensor is already great. so, from the hardware, I think, that should be already good enough to support these needs. the question then is, if they can increase their efforts to fulfill the needs of the videographer. it will be interesting how this goes forward. a lot of enthusiasts already use their gear to shoot pictures and make video clips.it might not be that far from a high end video blogger at home to use the same gear to make high quality movies.
I mean Arri was making the 35mm and 16mm cameras used by Hollywood before. So they're not "mimicking" a film camera, they just adapted their literal film camera system with a digital sensor. And... voilà! Now... people don't know this... but Leica make stuff for everyone (even cameras for Panasonic with the SH series being a complete copy of the SL models with a few more buttons and extra firmware stuff) in the world of still photography, and the experience is second to none, for the same exact reason. Can't be this many years of experience in ergonomics. The worst mistakes of digital camera makers was to completely change the ergonomics around, which was not needed. That's the key reason why Arri and Leica will never be beaten - even if the later isn't the brand of "choice" for most photographers, the truth is, they own the market of lenses from cellphones to large-format primes!
Sony Venice has wider gamut, dynamic range and noise that is far more like film (variations in size over luminance). But the Arri is far harder to mess up the settings, and the Sony menu is a mess. I.e. the transition to digital from film was easier with the Arri. It’s easier to use, and harder to fruk up. I’ve posted over 100 features, and the Arri gets consistent results (I examine the metadata so I know what’s been done in the settings by the dop). imo the Sony creates better image both in it’s character and technical range, but is harder to learn how to use.
I'm seeing lots of Sony logos but, other than Panavision, the only comparison in the script was with Red..? The only mention of Sony was that Panavision use some of their imaging technology. I'm genuinely interested to know why (if most movies that aren't shot on Alexa are shot on Venice) wasn't Venice even mentioned?
The Arri is just such a reliable workhorse of a camera, and at the end of the day, knowing you are going to reliably capture what you aimed for and aren’t fighting the technology to do it is the most important thing in my view.
don't forget that LogC is one of the most universal color spaces, one of the easiest to work with, and the exposure curve is the closest to how film negatives work. So I mean... It's obvious that most of the movie directors prefer the "cinematic" feel rather than the crispness of the red sensors, which is more commonly used in commercials.
Agreed. However, there are much cheaper reliable workhorses like the BlackMagic 6K Pro.
@@bluefilmsltd Bmpcc 6k is basically the only budget alternative to Alexa. A true cinema camera, not some corny ass photo camera for "film makers" like A7s and so on
@@Rogeras32 Yeah. Maybe the Red Komodo too?
@@bluefilmsltd Komodo is very limited, especially when it comes to low light. And it's super expensive as it needs to be kitted out.
The best cheaper alternative to Arri is the Sony FX6. Color science makes it practically indistinguishable from Arri.
RED gets the headlines over fancy specs (4K, 6K, 8K) but Arri seems more practical and way less buggy. I've read about some DoPs preferring Sony cameras for their colour, which intrigued me.
My mentor is an ASC who prefers Sony, and their ability to capture deep tones of black skin without losing details in the shadows. The full frame low light and phenomenal dynamic range doesn’t hurt either. Personally, though, the look of Arri skin texture is nearly unbeatable, I’m quite fond of it
For me it's the highlight and shadow roll off from arri, I don't know much about the newer red cameras, but in the past they always looked to contrasy and harsh. And arri's footage is just very flexible and easy to work with and looks 'right'.
I shoot on a Sony A7SIII, it's the perfect marriage of video and still for me, and I love it for exactly those reasons. It's a low light monster.
@@tomastuoma The “problem” with red is that they were to cheap that alot less experienced could buy them. And pre ipp2 there was easier to work with alexa in post production. And its easier to blame the tools than to admit youre need to learn a new pipeline. I love what red have done to the industry, but it was smart if arri to double expose and merge inside of the camera. You can use hdrx with red cameras and capture way more dynamic range. But I only used it a few times, cause it takes quite alot of space and is really taxing for the workstation to playback. Im happy with the dynamic range of the red helium, but I still hope in future to se some incamera merge. Canon do it two now.
@@joelarvidsson RED still has inferior documentation compared to Arri and Sony, they're just a little bit less scientific in their approach perhaps. It is a shame that Panasonic doesn't seem to be competing with the big three now
Thanks, as a photographer who is a fan of cinematography, I always wondered why Arri was dominant. Almost seems to parallel how years ago DSLR’s were accepted by professionals because they mimicked the way film cameras worked.
Yeah and Arri reminds me much of Canon. Very reliable, offering the best color science and user friendliness, while the technical numbers aren't impressive at all.
@@friday3001 Nowadays Canon's number's aren't looking too bad either.
I think the real reason the DSLR became dominant is that electronic viewfinders were not as good as mirrors when cameras went digital. Today, yeah, mirrors are unnecessary because EVFs are so good now.
@@pacificostudios still it's far mor enjoyable to see trough the lens. with arri, i've always wanted to have this look at my photos, there's just no way to replicate the magic iq of arri+vintage superspeed
@@ignacymat I'm not sure what you're saying. An EVF is a tiny monitor attached to the image sensor. There is no parallax issue as with the old rangefinder cameras.
Just wrapped a commercial shot on Arri and it’s such a good point about usability, it has what you need and no need to fluff around, and of course the image is second to non
In our small production company we have Black magic pocket 6K. They are cheap, extremely versatile and easy to use. Also the company listens to our feedback and fixes things. In Greece these little chicks are very popular and used on shooting from 1000$ short films all the way up to 150.000$/episode ( which for Greece are a alot ) TV series as secondary cameras along side main cameras which are off course alexas or REDs. In soap operas of 30.000/episode 90% shout on 2 blackmagics with kit DZO's kit 20-55 / 50-125
But I have to say it. In Greece RED is more popular than Alexa. In fact only a sitcom I was BTS photographer had Alexa the last 2 years.
Great video as always.
While it remains to be seen, I suspect the Blackmagic 12K 2024 and the 17K 2024 are going to give Arri a run for the money.
I work in the film industry since 1984. I owned filmcameras and followed the transition to digital. The biggest downside of the RED as a budget alternative (besides the look and Alexa colors and the camera usability) was the more complex workflow (requiring time consuming Import/conversion) and the unreliability during filming. Early models frequently lost takes and required reboots and after issues often the recording harddrives required reformatting. All that is lost time and reliability on a highly expensive filming day. NOT something you want.
Say thanks for them using the budget low end mSATA drives in those "mags" with factory firmware when they claimed "customised firmware" with all extra seller BS added. and sold in premium with lies. RED company CEO has very shady history in past as well. I would say to keep stay away from RED and its products.
I'm not an expert in the field but I follow a few different content creators behind the scenes who use RED cameras and well they seem to just be infinitely adjustable and lots of options, but more buggy and a more pretentious brand. If Arri makes it simple and is willing to work with the people using their cameras and taking feedback I can see why they're the default for a situation where you just need the best possible quality but also HAS to work no matter what
BlackMagic.....
I’ve never had issues with any of my Reds (knock on wood)
@@DerrickLytlephoto I dont like the closed ecosystem of red and arri and their over priced peripherals. Its just abusing the fact the average user doesn't care and will blindly accept the fact thats "just how it is". ill stick with a BlackMagic any day.
I also think that the Arri is much more user-friendly than other Cinema Cameras. Especially for the ACs.
exactly!
As an AC the Sony Venice beats out Arri hands down.
@@Mssmilelovejoy lol why so? Sony doesn't have a system similar to WCU-4
@@jacksonkangethe8043 The low light capture is incredible, the amount of ND in the filter wheel makes my job tons easier, a lot more user friendly builds, and not having to go on my phone to access wireless control or plug the evf back in every time something needs to change and I'm on steadicam or Ronin. The WCU-4 is awesome, and no hate on Arri here, they're an amazing company and they do great work, they just don't always have the crew in mind when they create their gear.
@@Mssmilelovejoy LOL, the venice has such a retarded menu system and the whole thing looks and feels like another "videographer" consumer camera.
As the former CEO of Panavision Europe there is no doubt that the Arri Alexa series of cameras has been hugely successful and been the market leader in both camera rental and personal sales. However fast forward to today and increasingly the Sony Venice has grabbed the second spot and is in some respects better than the Alexa which now has an old tech sensor. The Panavision DXL2 is also a vastly underrated camera.
A camera is however only half the game the other half being lenses and optics has a far greater choice and impact the final image more so that the camera sensor alone.
Finally service matters a lot goes into the equipment package and the large rental houses like Panavision, Arri Media, Movietech, Panalight etc have skilled personnel with decades of knowledge and can truly support large productions 24/7
Wait are you the former ceo??
Can we network?Im an extremely visionary upcoming film maker and I am willing to learn some serious game
THANK YOU! I used to be a 1st AC and now work for Keslow and we can't keep the Sony Venice on the shelf. Meanwhile the Arri Alexa hasn't seen the light of day and the Mini's and LF's are only going out on commercials and some features. Sony of the other hand is constantly and increasingly requested. As a 1st AC the Sony Venice is more reliable and practible on a film set aside from it's size which now the Venice 2 has radically changed. Especially with the 8k sensor the Venice 2 will beat out projects from traditionally Arri DP's.
@@ncredable8907 Did you just describe yourself as "extremely visionary"?
Jeff, as with any huge product, it's all perception as well as a competitive product. Beta lost to VHS, Netware lost to Microsoft's Active Directory. Panavision could catch up if they offered incentives and would keep up with form factors and sensor technology. They have the lenses, just like Nikon has in the consumer market, Panavision just needs a marketing angle to promote their brand in the digital world. Cinematographers love incentives.
Long story short: Arri has the best dynamic range of all digital cameras and reliability.
nope
@@LanaaAmor Which camera has a better dynamic range?
@@GreatCassian i believe Red V Raptor has more
@@bublegum7209 Well I can tell you this. For the Komodo Red claimes 16Stops of dynamic range. In real life it is 13.5 stops for an 1/SNR ratio =1. So do not believe what the companies say.
Alexa LF has 14,7 Stops of DR in comparison.
@@GreatCassian its more how those cams hold their colors in those higher and lower stops..
I remember shooting a film on an Alexa in film school; I got the pleasure of DPing and grading the footage, and oh man, that was the most pleasant color grading I've ever done.
DPing, heh.
amazing video, always wondered why Arri cameras were so popular :)
Good
Didn't expect to see you here, and with so few upvotes. Almost didn't realize it was you.
The Sony Venice really is the only other serious contender at this moment and is being seen more and more in television. Just the fact that you have every Nd up to 2.4, two different base ISO’s, and a 6k sensor. I used to actually hate that camera mostly due to it’s awkward Rialto system, but after doing a job where I had to constantly switch between 4K anamorphic and 6k spherical and creating a system that was easy to switch between the two formats, I have come to accept it. That being said, I think the Arri Mini LF is a game changer in the sense that it is small and easy to work with. Fixing the issues that made the original mini a pain. (Ie where the eyepiece plugged in). I have never had a good experience with Red. Colour shifting being the main issue in colder weather among it’s other issues.
You just described the pocket cinema camera 6K pro. Dual native ISO, Internal ND filters, and a 6K sensor.
How is a 6K sensor in a camera that can't even do 120 FPS in any resolution worth 60K?
@@BROperatorTIME How is the Red Monstro Ranger worth 60K and can't do 120 FPS either?
How does the Arri Alexa Mini LF, the camera featured in this video, come at 90K (ready to shoot package with cage and hotswap) and also doesn't shoot 6K nor 120fps?
That's answer's simple really, it's because of the features that are built in such as multiple SDI inputs, timecode, genlock, power outs for monitors and wireless systems, as well as an ecosystem of accessories built straight for them. These cameras, as well as the Venice, are built for TV sets and feature films demanding the reliability and performance that the BMCC 6K pro simply cannot do. A majority of these shows have no need for 120 fps, and if they're looking for high frame rates, they're for such niche shots that they'll pull on deck a Phantom Flex 4K (which can do approximately 1000 frames) to handle, and has better color performance and dynamic range. Said camera, also costs about $90,000.
In addition, the recording formats as well as dynamic range are just simply better on those cameras than what the BMCC 6K (Pro and non pro) can ever do. The BMCC has been used in pickup or cutaway shots like in Falcon and Winter Soldier, but not for a full on production.
@@BROperatorTIME Had to look up the stats on what is essentially a DSLR that shoots video. The pocket has 3 Nd’s! The thickest being only 6 stops (nd 1.8). The Venice has every stop from ND3 to ND 2.4 (8 stops) and thus has no need to add external ND’s to fill in the holes. The ARRI is a different story.
The BM pocket has a super35 sensor. (23.1 x 12.99). The Venice has a full frame 35mm sensor (36.2 x 24.1). Arri Mini LF (36.7 x 25.5).
BM plays this nice little game of shooting at 6k in “Blackmagic raw”. Which is Compressed to 5:1 at best. Other than that it records at 422 at 4K. The mini LF can only do 4.5K. But it can record RAW uncompressed. Up to 40 fps. BM can do 50 at 6k. Yet Arri can do 4444xq. While the BM does seem better in this sense it really isn’t. With it’s smaller sensor and less pixels it can increase speed, but at a loss to image quality. A lot of studios would simply not accept anything shot with a Pocket. Also the regular LF can do 150. So there’s that. Hell, if speed is all anybody wanted they would be shooting with Phantoms.
While the BM can be useful in certain situations and on low budget projects, it’s dslr build makes it unseemly to work with in a professional setting. Just the fact that it has only one hdmi out on it would kill it. I use to pull on music videos when the canon 5d came out and that was a nightmare in itself. And what lenses could you put on it without some serious support.
Also the Venice and the mini both have a plethora of added functionality and features that the Pocket can only dream of. I’m not crapping on Black Magic, or by extension Red, but they are companies that sell the bells and whistles over quality. Great for indie stuff, but little else.
@@DonGutierrez Sorry, I didn’t see your post before I posted. I wasn’t stealing your Phantom analogy, I swear.
@@mB-ke9bb No worries, and definitely didn't think otherwise! If anything you're adding more info to the conversation, and ultimately we're totally on the same page :D
I am a complete layperson when it comes to video, I am an audio person myself. I still see a film like quality to movies shot on ARRIs, I am not sure what it is and I don’t have the necessary knowledge to pinpoint it. There is a certain look to their footage that I find very appealing.
HAHAHA I love how you put a clip of the Will Smith slap walk-up when you spoke about the Oscars, Now that's subtle comedy. @0:32 Genuis! haha
A small correction, Dune (2021) was shot on the new high-end variant of the LF series, the Arri Alexa LF IMAX and Alexa Mini LF IMAX because it was made specifically for that format and image quality (supporting 1.90:1 and 1.43:1 as native aspect ratios). Great video as always!
You do realize it's the same exact camera but with IMAX's stamp of approval right? Did you know that the open gate aspect ratio of any lf is exactly 1.43:1?
At the end of the process the whole video movie was then filtered through 35mm film to try and improve the look of the harsh video process.
There is nothing like an mini lf imax …. The Mini lf is just approved for IMAX
@@zebius4157 It's actually 1,33 if I'm not mistaken. But so close it's not even noticeable unless you show both ratios on top of each other
@@bighands69could you elaborate what this means to someone who doesn’t know about cameras ? I’m curious
Aside from Panavision cameras, Arri just has the longest history of quality, high end cameras, both digital and film. That said, I have seen the Sony Venice on more jobs than any other camera for the last 5 years.
Arri's image and reliability is amazing. Thank you for making this video.
I feel like each one of these videos posted by *In Depth Cine* is a masterclass in itself. The editing and motion graphics are BEAUTIFUL.
As a working Professional Sound Mixer, I actually liked working with the Alexa-mini, and it's got great, consistent time code that accepts my TC boxes. Fast set up on camera builds. Don't wait to put your boxes on a gimbal, the DP will get pissed, because the weight changes the gimbal balance. When they have it on the stand or table, get your scratch audio feed, and TC on cam quickly. Don't let the wires or boxes hang there, bongo tie or Velcro everything to a spot away from DP workflow.
As a RED shooter, I can attest to the complexbility for the most part on their functional usage, also red specialise in those warmer skin tones, ARRI is just amazing at those greens, just different tools for different needs, im yet to shoot on ARRI but would love to one day. Love how they aren't focused on resolution, but let the tonality do the talking.
I love my Mini LF....one of the best decision that I made is to purchase it, brought in a lot of work and rent request.
The New S35 4k is coming in june....Arri Middle East already informed us, will hopefully go for it too.
I've wondered for a while now why so many filmmakers are using digital Arri cams instead of others, because looking at the specs I don't see many differences. That the color science of Arri is a key here makes sense. Also, it seems that there has been a BIG push by people world over to put the RED up as some type of "god level" camera, which I suppose is just because it is much more affordable for the average filmmaker.
The last point is the reason why the Arri is the go to camera. Even though they're cameras with better technical specs, to a cinematographer, IMAGE rules.
Depends what specs you're looking at - Arris are bulletproof and have their patented "Dual Gain Architecture" (far superior to the slow Canon DGO) which could be part of the reason why its image rules
@@DollyRanch Exactly. A beautiful piece of tech and innovation.
if image rules then they'd be shooting on film
Not true. I work with a ProDP and a good DP knows that the shoot going well without technical issues is also very important
Great video! For someone who used REDs, they overheat all the time lol. But going digital was a step backwards in quality in many ways. The only exception here is low light and night scenes. From scanning film I can tell you that around 40MP is when you aren't gaining more "detail", just sharper grain. Depending on the viewer, the softness of the projection was actually a better look. Which is why digital scans of film can look awful and noisey if not slightly blurred in post and or noise removal.
Digital cameras have a looooong way to go until it matches what film quality can do. 2K is 4MP.. yeah that's right 10x lower in pixel count to a native 35mm film scan. Yes you can upscale to double without any noticeable impact. Funny thing is masters are 2K as well and only upscaled for Blu-ray. Whats shown in theaters are 2K JPEG2000 images in sequence on a SSD. Total size is around 4GB. What is even more sad is that Disney has billions and cannot be bothered to show movies or master movies in a higher quality. Seriously, your home blur-ray disc has a better image quality vs the theaters.
Digital scans of film can look awful… Yes they can. But they can also look amazing. Again the example is DUNE… Dune looked amazing in the theater and it was scanned to film and back again. By the way, just my two cents, the movie sucked. But it did look great.
A dcp isn’t only 4gb. 90 minute films is about 180fb. You’re way off there. Dcp will far exceed Blu-ray quality. 2k dcp has been the standard for film projection for awhile now, most films have a 2k pipeline and are upconverted to 4K later for Blu-ray. More k is not better. The 2k dcp has a higher bitrate. Also the 4K hdr versions of films usually get far less color grading time than the theatrical. Usually you start with the theatrical and use that as your baseline to do a trim pass on the 4K hdr. 4K is not the hero version. Just because they’re mastered at 2k doesn’t mean they aren’t of high quality that’s kinda a misnomer.
2k is still the most common pipeline and probably will be for awhile. Mostly because of vfx and pipeline costs. Netflix and the streamers are 4K pipelines from acquisition to finish though.
@@monkeyman1327 I believe your confusing the masters and what is sent to theaters. A have a few of those SSDs with the DCP package on it. How to train your dragon is 4GB. Its just JPEG2000 images with a audio file. The many digital projectors are only 1080 which is funny that its downscaled. Your paying $15 for a ticket and once again the home copy is superior in every way. Now if the studios want to release the uncompressed 2k masters. Well that may be a step up. However even the best digital masters are way off in quailty of a film scan done right. The problem is these studios do scans at 2k as well...
This is often cited as somehow an empirical fact, whereas film can only achieve these very high resolutions through digital scanning technology. In the days when film was shown as release prints in cinema, the compound of prints to get there would in no way yield such high resolution and all modern films shot on film would have to have a digital post workflow to maintain the high resolution of the original stock. So it's a somewhat mute point. Going digital was at first a step backwards in many ways over 10 years ago but that is no longer true, with modern high end digital cinema cameras surpassing film in many more ways than just pure resolution, as this video alludes to. Arris are at the lower end still of digital film resolutions, with only the large format Alexa 65 having +6K. No one cares about resolution any longer, whether they choose film or digital as their preferred originating medium.
And saying "However even the best digital masters are way off in quailty of a film scan done right.", isn't particularly relevant - where are going to show the film scans? They must inevitably end up as a DCP of some kind. And DCI DCPs are full 12bit unsubsampled RGB too, unlike say even UHD Blu-Rays, so judging them by pure resolution again is slightly misleading. Film has only prospered and perhaps survived through digital technology. What does a film scanner use to record film? A sensor.
Always looking forward to watching more videos. Thx from South Korea.
I disagree with your point on the standardization of accessories between ARRI and Panavision film cameras. They used to be completely proprietary. For example, Panavision only used side mounted 5/8” rods for mattebox/lens support, and the follow focus used a dovetail mount on the body itself, whereas ARRI uses bottom mounted 15mm or 19mm rods for mattebox, follow focus, and lens support. Even the batteries/cables have reverse polarity from each other.
I dont know anything about this business but I have noticed that the Panavision logo is in the end of a lot less movie credits these days. It used to be on basically every movie at the very tail of the credits where they listed all the equipment firms.
I’ll also add that Alexa’s have always been quieter than RED, and the Venice with that extra recorder thing on the back. There was a generation of REDs that I remember cast members would ask to turn off during rehearsals cause they sounded like little jet engines.
And, ARRI knew better than to try and reinvent the wheel, and instead licensed Ambient’s already trusted TV generator. The TC clock in the early REDs were useless, and the camera’s had to have an ext. TC generator ride along, which no one was happy about.
Every Arri camera needs an external TC. Never been to a shoot where there wasn't EXT TC on every camera. Arri has much better TC crystal but still drifts after a few hours.
The Alexa Classic is still magic to this day. I've shot some of my best work on the Classic.
Hey Daniel. Do you have any links to some of your work done on the classic?
@@pjsagnia Hi! yes if you search "The Devil's Lamp - that's a short film on the Classic. ruclips.net/video/I1DEiv_7f_8/видео.html
Thanks. Writing simply as one who watches films, I love the Alexa look.
me too every tv show and movie shot with it tv show fringe my favorite season 4 and 5 was shot with it looks stunning!
Its all about the "additive color" tech of Arri that has been patented. Its insane image processing
Yes, it is definitely the Gold standard and it does have a really great look. operation wise it's pretty easy to use and post-production-wise... the colors are solid. I shoot Blackmagic Mostly and I have done tests with footage from both cams and I have to say that what it comes down to is who's using the camera and who's handling post-production... Some of the most beautiful work I have seen comes from Blackmagic Cameras and some of the messiest work I have seen is from Arri. So this ain't just about the camera and I hope that the takeaway isn't that once you get an Arri that your content will be like that Of Deakins, Hoytema, Fraser. Don't put your basket where you can't reach it. It's A solid system but make sure you are making way for solid personal development and not rely on an Arri. My 2 cents.
What Black Magic camera have you been using?
@@galaga00 been using the 6k and UMP G2
I've been using Black magic Ursa Mini Pro for the past 6 years for my TV spots, and it produces beautiful images. Also, it's around $60k less than the ARRI.
@@chicagospots interesting. Are you involved much in the post production? And if so what tends to be your workflow? Are you more in the Adobe realm or resolve…or?
@@galaga00 Yes, I cut all my spots in Adobe Premiere.
Im not into cinematography so I was curious why so many ppl chose Arri instead of Red...this video made it crystal clear thankyou...I had a chance to try RED once and it BLEW MY MIND....with all the buttons....psh mental breakdown
Closing a PL Mount to a big cinema lens is one of the most satisfying moment of my work :)
It's all about the image quality (colors, smooth roll-off) and how easily it grades. Everything else (stability, usability, reliability, accessories, codecs) is just secondary.
I 100% disagree. Reliability and stability beats quality in real like 90% of the time. Even Deakins said that at the end of the day, if the director said he got a cellphone to shoot he'd go with it.
@@jas_bataille LOOOOOl. Deakins is a meme DP just like Shane Hurlbut (who said so many silly things to the laughter of other DPs) - I hope there will be a day when I don't see Deakins promoting some product. A DP should be a DP, making money by being a DP and not a goddamn marketing talking head for some companies. Plus, Deakins has only one good movie under his belt - his work on average is MEDIOCRE. I'd rather listen to Tarantino, Eggers, Anderson who shoot exclusively on analog. Deakins can go shoot on a potato - his opinion is absolutely invalid.
One of the main reasons cinematographers gravitated easily towards the Alexa is the simple film-like workflow. They used to choose a certain film stock for a certain scenario, essentially baking in the look without much deviation, for the most part. The only viable alternative at the beginning was the RED (very few could actually choose Genesis), and that camera required dialing in the settings just right to get your look, otherwise things would looks really quite bad out of the box. You could not screw up these things with an Alexa - you just had to expose and WB correctly and you knew you're gonna be solid with the production, which is similar to the way they used to work with film. Knowing what you're going to get every time without fiddling with every single setting on the camera is pretty priceless.
Very very cool explanation !
Maybe one day you could make a clip about red clipping to pinkish on many digital cams until only some years back...
I remember using Red Epic a lot, and having tons of bugs and crashes and overheating problems.
Those never happened with the Sony FS5 II and FS7 we had. And the look was good enough for our advertising productions. So, I used to choose the Sonys over the Reds at that moment, since we didn't have any Arris.
But yes, Arris are superior in every single way.
I’m currently doing my training at panavision and it’s really an incredible experience
I recognize your voice as the narrator of the ‘library film tapes’ in Dune!
Nicely done👍☺️
My new favorite channel. 10/10 work.
They should try Red with Leica lenses. Much better look and more character imo....but at the end of the day the quality of the DOP is much more important
Arriflex film cameras I have used. ARRI 35mm 2c, ARRI 16mm S, ARRI 16mm BL, ARRI 16 SR, ARRI 35mm 3, ARRI 35mm BL. I was a clapper loader now retired.
I first found out about ARRI by way of the ARRIFLEX they used on Friday the 13th Pt. 6(?). I've been interested in learning more about them ever since.
10:21 bro in 2007 when the Red One was overheating, the Arri Alexa had nothing heat, it didn't even exist til three years later.. AN UNFAIR COMPARISON
Wow didn’t know Arri cameras were that dominant. They look amazing!
Their lenses too, they really make a good product
ive tried Red Cam , next on my list to use is Arri ! Very insightful video! thank you
Excellent video! Makes it a pleasure to watch and learn…thank you.
Worst part with cinema is everyone is hanging on to the 24hz standard because it looks classical, but you get tons of judder and artefacts on modern panels.
I get that it means more storage and editing time is needed but that's tough shit..
@@jonathanparle8429 I’m on a LG-C1 and I’ve given up on adding motion settings, I’ve got it all off. Surprising it’s fixed most issues but wide panning you’ll notice judder.
Even more of a fix has been buying my favourite films on Blu-ray, way better experience than watching on a service. 1917’s detail is crushed by Netflix bitrate but in blu-ray it’s amazing.
I like at 4:47 the 25/75 on the left of the screen is mirrored. O'conner is spelled backwards.
I love both Arri 65 and 35 mm film stock. I want both of them to live so that we can have more options 😘
You can still rent Arriflex/Arricam range cameras from the company and other rental houses. They're the most common film cameras available
@@brad_hensil Thanks for your reply, I'll try to read more about what you mentioned. I'm from India, where they make most movies a year (usually trash, sorry if truth hurts to other readers). Yet, there's no easy way for a person to get hold of film stock and labs. There's practically only 'one' functioning lab in the whole country.
As someone like myself that would like to get into the film industry who is 40yrs and has had struggles with education with having several learning disabilities in school and life what would you say is the best introductory Film cameras that isn't too complicated and is quite affordable, which has been my passion since I was 13 in1994 to be a Film director , but as adult I understand the Film industry is very hard to get into so I wouldn't mind any job even if I could get coffees, I just would love to be in it.
The best intro-level cinema camera I’ve seen today is the blackmagic design pocket cinema cameras. Even for a brand new camera, the price is outstanding, it shoots raw, and pro-res, very user-friendly menu, and the noise pattern on the newer ones feels very filmic. We use them at work, and they make a great image. You can buy the original pocket cinema camera used for around $500, but if you wanna get the 4K one, it’s $1,300 brand new, which is amazing for a cinema camera.
There’s a few other models, but do some shopping, figure out how you want to shoot.
As for learning directing, learn to write screenplays and tell stories, learn to Light and take pictures, Watch great movies, great plays, look at great photography, read classic literature, read the Bible, take fascination with people’s stories, take some acting classes (not meisner), learn basic sound work. And make films while you are doing all that. The best way to learn is by doing a project, and it’ll make your research more effective.
And remember that Directing is building a relationship. The crew you work with are people too, and they have feelings, sensibilities, and ideas. A good Director recognizes when there’s a good idea, and is objective when an idea is not good. But sometimes the bad idea is a gateway to a good one, or that idea makes its way into some other part of the project or maybe a different project altogether.
If you want to direct movies, then go direct movies. They don’t cost that much to make when you’re starting out. When you’re done making them, show them to people and get their feedback. And have a thick skin, because you will get some bad feedback haha. But this is how we learn.
@@Chandler_Goodrich Oh thank you for that, I really appreciate the advice, it gives me hope that I can still live my dream to one day become a Filmmaker. I would love to be in any field of Filmmaking just to learn the craft would be amazing. I will looking into those cameras as a starting point to learn how to shoot films as I'm on a disability pension and can't afford anything to expensive. Again thank you for the advice and the kind words.
@@robertobuatti7226 it’s a pleasure! But just know that you don’t need a fancy camera to start filmmaking. The best camera is the one you have access to.
@@Chandler_Goodrich Oh yes definitely, thank you, I really appreciate it.
Correct me if I am wrong, but in 2010's red was a more affordable option closer in price to canon c300. then alexa started to expand into a segment. Red cameras were not very high quality either
Great job with this video
I wish you would have elaborated on the "tiny bit of pixel movement" that Deakins was talking about. 7:30 I find it very interesting that even shooting on digital, you need a bit of noise for a "better" experience. It reminds me of when the CD came out, many people didn't like it because it was too sterile, even though it clearly has a better frequency and dynamic range than vinyl or tape. I mean you can always make the look (or sound) warmer or add noise in post, depending on what you want. But again, i'm no expert. (Great essay btw!)
you could use a red epic or Sony a7 IV or do you think the quality not good enough for a movie
How much of the camera's "look" is maintained after the footage has been post-processed? After all the digital effects and compositing and colour grading etc... it must have gone through umpteen software packages mangling the raw image before we see the final product?
The difference is the dynamic range. For a good "Look" you need at least 14 stops. If the camera has only 12 stops you need to desaturate the highlights. Also color depends a lot on the choice of the color dyes on top of the pixels. ARRI is using a custom color filter there. And the optical lowpass filter makes a big difference too. ARRI uses a very demmanding 2nd order design which is VERY costly to produce - but it makes a difference.
Now you see why cinema cameras are so expensive the "RAW" file hold up to all that processing a lot better than the compressed versions do. Think of it like the Three Little Pigs: the raw file is the one made of brick.
Thank you. Very informative and well presented.
I can see why Arri is the most used. Though, I do enjoy movies shot on Red, Panavision, Sony Venice, IMAX cameras
I’ve never had to cross my fingers or hold my breath and pray with an Arri camera.
Film is still being shot, digital is not the only format out there! I shoot both, and I still love film!
As an Indy filmmaker, I love using a lightweight 4K camera I own rather than rent, and one that gives me lots of flexibility. I shoot with a Canon C200 and EOS R, most often with a 24 mm f/1.4 lens and an Atomos monitor (Shinobi or Ninja V). I've never had a reliability issue. Maybe someday I'll get behind an ARRI, but I haven't had any troubles with this set.
@@spanishprisoner Sorry, I meant EOS R. The sub-$2000 Canon full-frame mirrorless camera.
I run a c300mkII. It's showing it's age a little now -- but there's _still_ not many other cameras I'd want for the type of documentary work I do.
I love your channel and the content you are making but I have one compliant with the music choices. They are just soo peaceful that I immediately get sleepy.
Love this channel!
Could someone tell me is ATEEZ-Halazia music video taken using Arri camera or not? Cuz i always wondering how the look is sooo good
Thank you for this video. Very insightful and informative.
**buys an arri for youtube shorts*
That’s a minimum requirement
😂😂
I hope 70mm film will make a comeback and the pictures aren’t messed up with high contrast filters like today. Every movie looks like Renderings nowadays 😢
Arri focuses on whats actually important, and not just what looks impressive on a spec sheet.
Having worked with Alexa footage, the skin tones are just perfect but the Sony Venice has the specs to compete and for TV shows its been popping as the go-to camera of choice. The one I'd never touch again is RED, yeah it's super sharp but it looks so clean and digital that isn't as pleasing but maybe it's just me being bias towards Alexa.
Sony has that Fujifilm "blueishness" to it which on most uncalibrated Fluorescent and LED backlit TV's looks good enough due to how HD handles color.
@@mzaite the old fuji s5 pro had amazing skin tones. I had to do a lot of testing with Slog3 in order to match it with the Panasonic footage.
@@makatron Maybe it's my hold over preconception from Velvia.
@@mzaite velvia was my favourite stock film, loved the green reproduction
@@makatron It was really good at that.
Such an interesting and well done video, thanks!
I just saw The Creator by Gareth Edwards - shot on the Sony FX3.
All I can say is - "Step Aside ARRI" - the sheer abilities of lower-end cinema cameras now is UNREAL.
Now ANYONE can access these and make a great film.
If you have over 100 grand to spend for just 1 camera., also you'll more than likely need at least 2 or 3 of them to be able to shoot multiple angles or if one breaks or gets damaged. Soo I don't think half a million dollar investment is doable for everyday people who want to start making films haha
@TarmanTheChampion It's also pointless too. Shooting with lower end models achieves equivalent quality and, with the rise of AI, you can augment it without such heavy investment and crew. No need for pretentiously large and expensive film shoots anymore. 👍
Oh the Alexa Super 35 4k....I remember hearing it would release in 2020....then early 2021 and now....where is it? Still, ARRI cameras are great, I shot some short films with the Alexa Classic and the Amira and while both are rather old, they're still so much better looking than most new cameras.
… and that’s not even mentioning the lighting EQ, which is really Arri as well !
im on a film right now and think they should be using 3c500 instead of 2 arri - an af 70-200 (or 200/2) would be picking up all sorts that would make the edit - the arri hype is a bit much
i wish arri made a mirrorless camera with the same sensor for us plebs to take pictures of our cats :)
ty a nikon d2-3 for low mp mid 2000s sensor feel
The the picture quality of arii is really good
Great video as usual 👏🏻👏🏻
A fun fact about reliability: a truck full of Arri equipment burned down and the camera looked bad, but it was still running and producing a normal image. Isn't that incredible
I saw that! I was hoping they might want to sell it to me cheap! Haha
Superb man
Very informative. Great presentation.
Being fresh out of film school I wonder how to ever get my hands on Arri cameras and learning about them more considering they’re so expensive
go to your local rental houses, depending on where you live if you have an Arri rental house near thats your best bet, but if you are like me and there are no Arri rentals in the country, contact your local rentals, ask about going there and getting some hands on experience.
The fundamental for all cameras are the the same.
It’s hard to focus when I’m wondering why you used the slap footage
Arri’s first foray into digital camera systems was called the D-50 I believe and was a total flop. Don’t remember the exact year but it was back when Red was new and many people weren’t sure about going to digital.
The D-20 was their very first digital cinema camera. You're correct that the camera wasn't exactly great, but Arri's reputation helped to keep as a top contender when they finally announced the Alexa in 2009 at NAB.
Great video and I completely agree.
Little metaphors, such as the iphone-apple software pairing, help make these videos so relatable, approachable, and entertaining. I feel like I've learned so much about cinematography from this channel. Thank you for these videos!
Could you do more Crew Breakdown videos :)
I'd love to see you discuss the role of Script supervisor or maybe DP! Producer would be really cool too !!
Love your videos
it will be interesting if the picture cameras from canon, sony and nikon are slowly drifting in this field and take away market share.
nikon will probably release the Z6-III in the next year that combines their 24MP BSI sensor with the new fast Expeed processor. The signal to noise ratio from this sensor is already great. so, from the hardware, I think, that should be already good enough to support these needs.
the question then is, if they can increase their efforts to fulfill the needs of the videographer.
it will be interesting how this goes forward. a lot of enthusiasts already use their gear to shoot pictures and make video clips.it might not be that far from a high end video blogger at home to use the same gear to make high quality movies.
Thank you for pronouncing Arri correctly
Im thinking of getting BlackMagic camera, are those good?
They have great class too!
I mean Arri was making the 35mm and 16mm cameras used by Hollywood before. So they're not "mimicking" a film camera, they just adapted their literal film camera system with a digital sensor. And... voilà! Now... people don't know this... but Leica make stuff for everyone (even cameras for Panasonic with the SH series being a complete copy of the SL models with a few more buttons and extra firmware stuff) in the world of still photography, and the experience is second to none, for the same exact reason. Can't be this many years of experience in ergonomics. The worst mistakes of digital camera makers was to completely change the ergonomics around, which was not needed. That's the key reason why Arri and Leica will never be beaten - even if the later isn't the brand of "choice" for most photographers, the truth is, they own the market of lenses from cellphones to large-format primes!
I was under the impression that most movies were shot with RED. Thanks for the video
Sony Venice has wider gamut, dynamic range and noise that is far more like film (variations in size over luminance). But the Arri is far harder to mess up the settings, and the Sony menu is a mess. I.e. the transition to digital from film was easier with the Arri. It’s easier to use, and harder to fruk up. I’ve posted over 100 features, and the Arri gets consistent results (I examine the metadata so I know what’s been done in the settings by the dop). imo the Sony creates better image both in it’s character and technical range, but is harder to learn how to use.
lol, Sony messed up their menu system from entey level mirrorless camera all the way to their professional cinema camera 😂
also you are in peru and drop your sony in the soup you wont get another one next day latest
Sony menu system is something beyond comprehension. A million buttons and one crappy scrollwheel to actually do anything
Both Arri and RED shoot much better pictures than my phone 😵💫
I'm seeing lots of Sony logos but, other than Panavision, the only comparison in the script was with Red..? The only mention of Sony was that Panavision use some of their imaging technology. I'm genuinely interested to know why (if most movies that aren't shot on Alexa are shot on Venice) wasn't Venice even mentioned?
great camera, great video :)
The shade!
I would love to see a Cinematography style video on Christopher Doyle
Alexa has just the best picture, the best colors (by far) and a fool proof system.