ARRI Signature Zoom Showreel “Zoom around New York”

[@Audaucity]

Me seeing how beautiful the dynamic range is of the Alexa 35 only to forget this video is about zoom lenses 😁

[@RawmanFilm]

It renders 709 so close to what a few years back, the better "consumer" log could achieve

[@art_adams_arri]

That's part of the trick here: when you want to capture high dynamic range images you need lenses that don't fail in terms of flare, chromatic aberration, etc. when you really stress them out. These lenses were made with Alexa 35's dynamic range in mind.

[@whatisagent5629]

That 65-300 can zoom through space and time!!!

[@MichaelSmigiel]

This channel in criminally underrated.

[@art_adams_arri]

It's kinda weird, right? Tell your friends...

[@nicolaslabra2225]

these are a feat of engineering and artistry, seriously impressive.

[@art_adams_arri]

Thanks. And I appreciate the artistry comment... we take that part really seriously so we don't get lost in the engineering. We want to make great lenses, but they need to be great because of the images they deliver, not the technical specs (although those are impressive as well).

[@rafaelpuentescinematograph5620]

Thanks Art for this beautiful show !!!

[@maxsaltin1001]

Beautiful image man

[@cin8films]

Thanks Art! Great video.

[@idanceworldwide]

Arri my all time dream camerA...the dynamic range on any arri is insane oooops i forgot it was about the zoom lenses

[@offsideundo]

Pitch shift your voice down some and slow the pace of delivery and you'd have a classic Kin Nordine Word Jazz. ".... and the exposure....... doesn't ...... change..... at all.." Gold!

[@KaceyBakerFilms]

Looks stunning!

[@christiangrewe5996]

nice, thx for the clip! Beautiful and with style.

[@art_adams_arri]

You are most welcome. Thank you.

[@spotshooter1]

Nice work Art. Thanks for sharing.

[@art_adams_arri]

You are most welcome. Thank you for watching.

[@Marcelboldu]

Amazing!!!

[@kogbuefi]

AMAZING

[@dwaynedwards]

What ISO were these night shots using?

[@art_adams_arri]

The final shot in front of the boat/restaurant was at 1600 using existing light sources. Times Square was at either 800 or 400, I forget which. It was really bright!

[@dwaynedwards]

@@art_adams_arri thank you. These are amazing shots!

[@dwaynedwards]

@@art_adams_arri thank you. These are amazing shots!

[@art_adams_arri]

Thanks! It's cool to see what you can do with a few simple tools. When I was a freelance DP I loved the complex jobs, but the simple ones were more relaxing as the expectation was that you'd just make do with what you could find. There's a lot of satisfaction to be found in just making do! @@dwaynedwards

[@dwaynedwards]

@@art_adams_arri As a new DP, I'm starting to learn that as well. Being a perfectionist hinders your progress as a DP, you have to make mistakes to grow. You have to work with what you have already and be grateful for the opportunity to create and perfect along the way. Thank you for your reply, I really appreciate it.

[@mehranravi4791]

what was that short slider?

[@lqr824]

upper left at 5:10 looks really noisy and banded to me even in 2160p/4k, anyone else? Still, some really beautiful capabilities here. You could arguably shoot a whole movie with those two lenses.

[@djtesseract3064]

It's a technical issue with the KZbin MP4 AND Webm video compression formats that cause macroblocking, fuzzy edges and noise. The enhanced Wavelet-intraframe encoded versions I see on websites such as Vimeo are MUCH MUCH better! These CMOS image sensors and lenses are so good that we are now seeing video encoding issues which require the Internet to changeover to a new video encoding algorithm in order to see the best image quality. I would suggest a 2x2 pixel granularity Fractal encoder as the BEST image quality standard for intraframe video distribution codec!

[@idkanymore3382]

Its called KZbin data compression, Jesus dude... And yeah near 100k worth of lenses can shoot a movie. How new are you?

[@rameshparappanangadidop9416]

🔥🔥🔥🔥❤

[@shiralikerim1781]

👌👌👌

[@vjtv0710]

65 - 300 mm 👍👍👍

[@art_adams_arri]

It's a very cool lens. I'm a little startled that it looks as good as it does. I'm not used to that in a long zoom.

[@TiagodeJesusManifesto]

👏👏👏

[@cobymarcum1442]

100% not a fan of zoom shots unless it zooms hard and fast in an action movie which is 1970’s but it works. Slow zooms look like pharmaceutical advertisements. I appreciate that this is an amazing technical feat to be able to zoom while retaining great image quality. I would use these zooms in a heartbeat, but I wouldn’t change focal length during a shot unless it was for broadcast, then zooming doesn’t matter aesthetically. (Now that I’ve said these things I’m destined to need a zoom shot in my next film. 😒) I’m a big fan of Arri lenses. Master primes are amazing. 👍

[@art_adams_arri]

Yeah, we had some discussions internally about how to shoot this. I wanted to use the zooms as variable focal length lenses only, but we realized that the fact that they're zooms might not come through. The quality was obvious even through the eyepiece... I remember thinking, "How can I be seeing all this? This is a zoom..."

[@cobymarcum1442]

@@art_adams_arri I wish you would have called me. To show that it is a zoom in “real time” I would have set up a shot that looked good at common focal lengths and then shown that shot in a single take at common focal lengths within the focal length range of the zoom. For example, a couple sitting in the park with a nice backdrop. For the 16-32 the voiceover says something along the lines of, “To save time on a shoot, you can shoot with a zoom lens at the same fixed focal lengths that you would shoot with prime lenses. But with an Arri zoom lens you won’t sacrifice quality for convenience.” While the voiceover is saying this, the camera starts rolling in a single take starting at 16mm with the text “16mm” in the bottom left corner of the frame. With the camera still rolling we slowly zoom to 20mm, stopping at 20mm while still rolling and the text in the bottom lower corner of the frame updates to “20mm” with the lens staying at that focal length long enough for viewers to get a quick look. With the camera still rolling on the same take we then go to 24mm, pause, and so on up 32mm. A second opportunity to show the flexibility that a zoom affords is by finding a situation where the subjects need to be in a specific spot, and the camera needs to be in a specific spot for the shot to work, but there is perhaps a stream or a busy street that prevents closer camera placement while we show a wider shot to illustrate that getting too close to the subject with a wider lens is shown to include too many distracting background elements. As we zoom to find our frame before “action” we show the lens falling at an odd ball focal length that only a zoom can offer, and we zoom in just enough to remove some distracting foreground elements without zooming in so much that the shot gets too tight on the actors. This is obviously a puzzle in the physical world that would have to be hunted down and found by a location scout or a highly motivated intern with a viewfinder and a DSLR with a zoom so that they can report their findings, but if you’re not selling low cost lenses, and Arri is not a low budget option, then it is worth the time and effort to do another shoot showing the lens as a problem solving tool. A zoom fills focal length gaps that fixed primes cannot fill, in addition to speeding up shooting schedules. I hope this helps. Reach out any time if I can be of assistance. Please keep making great glass! 👍

[@art_adams_arri]

@@cobymarcum1442 Thanks, we will try. :) I know what you're saying. This was very much an improv'd event. We had some rough locations, and we shot things on the fly as we found them. I do like the idea of promoting the zooms as a problem solving tool. I guess I'd never thought of them that way, but rather as a fast way of finding a frame from a certain angle that stacks the subject against a nice background without having to move them camera in and out too much.

[@art_adams_arri]

I'm with you on zooming, but I realized if I didn't do it then viewers might not believe these were zooms. I could see the quality through the eyepiece and it was hard to believe that I wasn't using primes.

[@LycanVisuals]

cool

[@lifewalklens8447]

wow