Our long uncut test video will be live on our Vimeo asap! This was rendered today so here's the list of things we’ve noticed post render that we wish we could have fixed! At 12:16 we think we have broken RU-vids data rate limits as in 4K we get a heavy stutter which isn’t there in the rendered file we uploaded. At 11:37 there should be a 7 and a ⅓ take instead a 7 stop on the Mini LF segment. We will be uploading full tests to our video so you can see the difference. Are you based in London? We are holding several events at our CVP ARRI Creative Space! You can sign up here - cvp.com/events Thanks so much for watching, we will be doing a follow-up video so let us know what you want to see in that below and what you think of the ALEXA 35 down below! Jake
nobody is choosing an EI for "evenest distribution of dynamic range". Everyone i know is looking to weight the dynamic range towards the highlights as much as they can without seeing noise, which is why the LF tends to be shot half a stop lower. If the native EI is 800, nobodys going to shoot at 400 just to even it out.
@@MrIsaacE well, yes and no. The guys have clearly stated that that's the midlle ground, not the default EI or "the best EI". It's up to a DP to choose the EI for a corresponding scene. Like it's always better to shoot dark scenes at lower EI/ISO values to have more room in shadows, and it's way safer to go higher on EI/ISO in bright daylight than say in dusk. Yet again, I agree with a statement that generally the highlight range is where the devil is and where everyone is usually trying to get the max out of and that most will shoot at 800 as a default value. It's just that I think guys really know what they are talking about and that's not what they've meant saying
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Dear CVP, thank you for everything you do for filmmakers. Your decision to go deep into the review space as a unique selling proposition for your store is so cool. You guys are legends.
You guys do some of the best, or the best, reviews in the business. Really appreciate this one!! Especially being so quick on the release. Very in depth.
You say the Enhanced Sensitivity is very similar to temporal noise reduction - and yes in some ways it is, but sampling the noise from the "dark side" of every frame, and nothing more, is a much more mechanical/engineered solution, rather than the computationally intensive way temporal noise reduction works in post. It's very elegant.
Looks great, damn shame Arri aren't planning on making a2x (Alexa LF) or a3x (Alexa 65) versions of the alev 4, at least from when I talked to them a while ago, I hoped they changed their mind.
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It would be funny if they posted this video about the new Arri and everyone commented on how awesome the new image is. Then months later they came out with a second video telling us it was actually shot with a blackmagic camera and a cheap kit lens.
Make a camera stand with also joystick 🕹️ Gaming button system exhaust box system make a top and up. Font or back panel back panel used used camera system and setting and other functionality.
The URSA has compressed RAW. Other than that the Alexa is better in everyway. It should be for $60,000 + dollars. You could buy 10 ursas for that amount.
Isn't HDE the compression that you say is missing from ARRIRAW? The point of ARRIRAW is that it is RAW and only a lossless technique can be used, which is what HDE is accomplishing. Otherwise it wouldn't be called ARRIRAW.
i guess everybody is. a35 leaves LF behind like LF is just a "normal" camera. and then, if you watch former latitude tests between sony, red and arri LF you just realize how powerful the new alexa is...
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Raptor is better in lowlight IMO. If you look at the underexpose the Raptor is less noisy. If you watch the underexposure parts of this test the 35 doesn't look any better than the LF or Mini underexposed. Color holds up well on ARRI but they get noisy.
hii cvp.i have a question : so you have a super 35 sensor built in alexa 35 and it can shoot 4.6 k and it uses the whole surfaces of the sensor my first question is : when i want to shoot 1080p with alexa 35 , does it use a small part of the sensor only for this to achieve ? what if it use the whole surface of the sensor for shooting lower resolutions like 1080 p and 720 but instead it will have bigger pixel size,bigger than 6.5 micro meter is it possible that the camera merges some 4 pixels together so they represent one pixel to shoot 720p for example?
The Alexa35 allows you to shoot any of the resolution options using essentially the full width of the sensor, when shooting ProRes. You separate select the sensor area to shoot with and then the resolution and framerate you want to shoot, meaning that a full sensor area shooting at 1080p is downscaled. RAW is a different story however, as the whole point is to capture the sensor readout rather than a "video" file, this means that downscaling isn't really a thing and you're only able to shoot RAW in whatever resolution the sensor area you're shooting in allows.
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I believe they may have been using the "Reveal" color science built for the new sensor on the LF. That color science is not provided for the Mini. I'm not a fan of this new color science, at all.
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Nice design... but another s35 is ultimately not that exciting. The sensor would most certainly perform even better with full-frame surface area, you could get a more interesting large format look if you want, and it could easily have a 4.5k s35 window mode.
Wouldn't that just cannibalize the mini LF. I'm not that knowledgeable in the technical aspect of cine camera tech btw so I'm genuinely asking. Feels like doing that would make the mini lf redundant tho.
Except they already said themselves this sensor design itself cannot be larger because of the electronics around the edge of the sensor. Considering their history I'm sure they tested it and came to the conclusion that a larger sensor would not benefit this camera. Especially considering that the Alexa LF doesn't really have more dynamic range than the standard Alexa, despite the larger sensor.
@@TechnoBabble The dynamic range between this and the LF is still really close. I like the FOV and look of large format more... so if I had the budget... I'd still rather shoot on the LF.
@@Frontigenics really close? The LF isn't better than the standard S35 AlevIII in dynamic range, meaning it's ~2.5 stops worse... That's a big difference.
Everybody IS complaining about auto focus. PLEASE GO VLOG AND GET THE LITTLE BOY CAMERAS . REAL FILMMAKERS ACTUALLY WORK. J/S . $78k CAMERA . Lol.. OBVIOUSLY AUTO FOCUS WASNT THE FOCUS .
yup. that's the point. cinema cameras don't usually have autofocus since 99% of movies aren't shot with autofocus. they have at least if not multiple focus pullers on set. arri's main goal is image quality, not consumer ease of use marketing features
The "Soft Nostalgic" Looks so much like film it's fantastic, and it's wonderful they are letting that look live in camera and not making it something you have to add in post. Arri has done it again.
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Agree)) I did test of this camera yesterday and what I see in Resolve is soft nostalgic is great. I also did these test using black diffusion FX 1 and 1/2. Together it gives soft and pleasant skin.
The color is clearly better. Many times I watch compare shots and think it's not worth the hype with certain cameras. But this is pretty insane. That is a gorgeous image. 75k gorgeous is in the eye of the beholder. Great work as usual.
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I think S35 is really the sweet spot for sensor size. Full-frame is sexy and it does let you make the most of your lenses' resolving power (plus capturing waterfall bokeh on the edges of vintage lenses), but especially when using longer lenses, the DOF can be too shallow to be usable. This forces you to stop down, so you lose light and also change the image characteristics. With S35 you can shoot wide open and still have enough DOF to work with, which makes it a lot more useful for shooting in natural light.
Pfft, what? No. I've learned one solid thing from internet comment sections, which is that if a camera isn't full frame it's dead on arrival and pointless. Apparently ARRI never got the memo!
The depth of field is the same, the angle of view has just changed. That's it. You can match blur circles and field of view if you wish. There's no 'more' resolving power with large format.
@@kedbear79 That's a theoretical point that misses the practical application. If you go from shooting S35 to shooting full-frame and someone asks for a closeup on the talent, do you give them a wider shot to preserve the DOF? No, you give them the same framing you did on S35, except now the DOF is shallower. If you want to have the same DOF at the same framing, you either need to use a wider lens or stop down, both of which will change the image characteristics. I like how I can shoot at f/2 on S35 and still get a usable DOF from longer lenses. I could have been more clear with the resolving power bit though, what I meant is that you can get more resolution out of your lenses with larger sensors. (Resolving power stays constant, but there's more lens to resolve, so more resolution captured by bigger image circles.)
Honestly, still a super 35 kinda guy. Love the lenses I have, love the lenses on offer. The only thing that the LF systems have is getting closer to that unique isolation in DoF that fast wide glass for Medium Format has. Thank you for this camera Arri. My DP cares less for LF haha.
I was first watching the official ARRI video, but this is SO much better. Really, really well done. Very detailed. You clearly put a lot of work into it, but it shows! Thank you!
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awesome video! i would love to see a dynamic range comparison between the Alexa 35 and the 8k Venice 2. Is there really an extra stop in the highlights? Also interested in a color comparison using their rec709's. appreciate all the great info so far!
I hope this has effect on other manufacturers obsession with resolution and sensor size. They are important but not to the detriment of DR, rolling shutter, recording capability etc.
Well it’s possible to have a sensor to pretty much all of those things, you just need to not to intentionally cripple the camera. The Sony A1 (for the mirrorless lovers) and Venice (for the cinema camera users) have high resolution 8k, unlimited recording in said 8k mode, great rolling shutter for a non global shutter, and good dynamic range. Not Arri good but still incredible Dynamic range.
@@RiceCubeTech My comment was in regards to the irrespective tradeoff in manufacturing cost of the individual aspects mentioned, not the possibility of it.
Such a great surprise to get coverage this early. Can't wait for the ALEXA 65 9.4k and the LF 6K - maybe they are bluffing If the camera can handle 7 stops over but only 4 stops under - shouldn't you meter for 1 or two stops under to begin with? Behaves more like film I suppose and exposing to the right will have a lot of headroom. It being 13bit capture is odd. The texture settings being baked in raw are odd, as that is something I always thought about being one of the never mentioned advantages of raw recording: you can fine tune how the interpolation ads sharpness and reduces noise.
any digital camera, regardless of brand, should ETTR imo. before it clips of course. im not a dp but i think we should really pay attention to waveform more than the light meter anyways. my philosophy is to over expose at any given chance. past arriraw captures 12bit log, as the new sensor captures more dynamic range, they feel 12bit is no longer enough. they also put file size into consideration, and they decided 1 more bit depth is all they need. file size is important because large file size impact performance while capturing and in post production. we don't need more junk that slow down our digital devices. the new texture feature is happening at the earliest level of image processing. it has to do with how the sensor sees the image or something, i can't explain. that's why it's baked into raw. check out Potato Jet's video, he has an actual guy at arri explaining this. if you want the raw advantages you mentioned, i guess you can just use default texture. it's basically the same as anything before i think. also check out arri's video regarding image quality on their channel. this new texture feature really is a new and weird one. feels like a digital-y rather than organic kind of feature, and i'm not so sure i'm a big fan of that direction.
to explain why i think we should always ettr, because the brighter stops hold more information, because of how light works in an exponential kind of way
@@danielhuang2488 In an ideal, one really should always ETTR before clipping as it provides a technically high quality image. Instead of underexposing, with help of one’sDIT on set, adjust the image with CDLs to achieve the desired look.
This is why Arri is the king of the cinema market. While RED and other manufactures are chasing K's, Arri is focused on what DOP's are actually looking for. Better color and texture. If you're wondering why the best DOP's don't really care about 6K and 8K look up Steve Yedlin's tests. And I don't really agree on your view of the new Arri Texture feature not being relevant on larger sets. Arri is giving back the control to the DOP's that they used to have over the look of their images. I think it's a very smart move that a lot of cinematographers will be really happy about. Hope the ARRI Alexa 35 starts a new trend in the entire camera market!
@@morucek Don't be so sure about that. Remember that most RED projects on Netflix use the VistaVision sensor. That would mean that they would've gone for the Alexa LF (and Mini LF) when it became available (not many did). And the 8K Red had a Super 35 version that people also could've used in Netflix projects but most don't. It seems like the new standard is going to be LF/VistaVision/Full frame and this is just going to be another option for those projects in Netflix that would've gone to Super 35 anyway and so they now could choose between Panavision Millennium DXL2, Red's whatever Super 35 they want, using the 4K crop to Super 35 on the Venice 1 and 2, and this Alexa 35.
There's a place for all tools. Options and competition are good. " the best DOP's don't really care about 6K and 8K" Ok, well that's only part of the equation. Directors/Producers telling certain VFX heavy stories might value 8k or higher capture as it results in more post options and/or composting. Or a production might want to capture expensive action pieces in 8k for reframing purposes, or if it's going to be chaotic to shoot.
God how useful this video is!!! thanks Man, I watched whole video and I found that I knew about camera. please make more useful contents like this about alphabetic expressions of photography and Video camera. thanks a lot, subscribed
As an analog film hardliner I’m very impressed with the Alexa 35. And I’m very happy we’re back to Super 35. I can’t wait for DPs and colorist to screw up again and make people look like plastic.
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Nice comprehensive look at this amazing camera. A few shots had missed focus but overall great. Don't tell anyone but I have missed focus a time or two. Thanks
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I really want to the see the difference of two cameras exposure like arri 35 and sony a7s3 not the color difference but exposure at same lighting conditions....which camera takes more light or which image gives clean signal without noise
Honestly if I had money I will never pay such a huge money for camera like this . With this money you can buy a lot of cinemas cameras with better results canon Panasonic Sony the quality is more better than arri Alexa
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I have never seen the Arri menu but just from seing these shor snippets of it I must say it is so simple and self explainatory. Stuff is actually named after what it does. i wish other manufacturers would learn from that
Watched all the short films with this camera release - definitely looks sharper - but to my eye the Reveal colour science looks a bit more Fuji-esque than Kodak-like the colour science of old. Looks like Arri have gone for a more scientific and accurate rendition of colour.
I know you link to this in the description, but it doesn't seem to lead to the software download. Any idea where to download arri reference tool? thanks, and thanks for making this video!!
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Hello 👋Sorry for the random approach you seem to be an ambitious individual which gives me the idea to know if you’re open minded to look into a new way of generating an income,it may or may not be a fit for you, but if I send you some info would you check it out?
Amazed that slow readout speed always gets relegated to..."oh well quick whip pans look bad"..ALL in-frame motion is effected by slow readout speed...apart from the original 2.8k alexa...at 24fps 180..7.8ms and Amira..with killer 3.2ms readout...I personally think all Arri motion is purposely compromised (sacrificed for DNR and heat) .not like film with even slower open gate shutter speed at about 1/48th a sec...or 23ms...its an organic look and "looks" sharp...Arri's although beautiful..has just "okay" motion cadence and rendering of motion. (Yes I get all of Hollywood has adopted this as standard sadly)
24:55 so what's the "full frame look" then? also, as far as I know, 23:33 this isn't true, at least not on high end productions. super 35 is still the standard.
