Is the ARRI Alexa 35 Worth the Hype?

Comment - Let me know what you think of the ‪@ARRIChannel‬ ALEXA 35! Big Shout out to our amazing actress ‪@lhanarichard7553‬ Richard for taking part in this video.
Want to learn more about how Arri's latest camera, the Alexa 35, is changing the game in filmmaking? Watch our KZbin video for an overview and find out why we selected this camera for our latest project, Sweet Secret.
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[@JonasStuart]

Yeah, totally in love with the image from this beast. Happy to settle for my apartment-level cameras though °¬)

[@lightinsidecinema]

Yeah the main importance is continuing to create. I absolutely love the pocket cinemas and fx3.

[@JonasStuart]

@@lightinsidecinema Yeah, 3.5 years with my BMPCC 4K and still loving it...

[@patrick4912]

Thanks for posting! I've seen people complain about the new colour science, it's not as good etc. Did you notice that it needed extra work in post to get it as nice as SOC in the mini?

[@lightinsidecinema]

@@patrick4912 I did notice that the log is not as vibrant as the log c3 however, I do find that it is a much easier log to work with in post. I primarily shot using the nostalgic but I also experimented using the soft nostalgic. Im a big sucker for analog. The soft nostalgic has a little bloom in the highlights. Its like the cherry on top of the cake. Matching this with my mini was actually a breeze when your working in aces but it can be a little bit more challenging shot matching using other color spaces. I’ll work on a video matching these two cameras and see where it goes.

[@stevenc.wilson1025]

Very informative! Clear and concise. Thx

[@lightinsidecinema]

@@stevenc.wilson1025 thank you be on the lookout for the next vid

[@nebulapizzacatfilms]

I love this content. I dont see a lot of indie projects working with an arri alexa. Amazing.

[@lightinsidecinema]

Thank you

[@Drrezzin]

Wow, yeah...let's all buy an Arri! lol

[@lightinsidecinema]

There is more avenues than buying though. I get that not everyone has the capital for an arri camera, but rental houses are popping up everywhere and you’d be surprised how inexpensive it is to rent an arri camera nowadays.

[@darkodj4131]

My favourite is LogC3 from older ALEXA debayered in Resolve to LogC4, it has best of both Worlds !

[@lightinsidecinema]

@@darkodj4131 💯 percent agree! Im sorry Arri but there is just something about LogC3 that LogC4 can replicate

[@darkodj4131]

@@lightinsidecinema This is my film I recently shot entirely in ARRIRAW 2.8K and debarred to LogC4 kzbin.info/www/bejne/ZondinmppJWDjrcsi=bF689PRzQEKVzJ5L

[@darkodj4131]

@@lightinsidecinema this is my film shot in ARRIRAW LogC3 converted to Logc4 kzbin.info/www/bejne/ZondinmppJWDjrcsi=bF689PRzQEKVzJ5L

[@ruff1draft]

How many megapixels does the Arri Alexa 35 have

[@lightinsidecinema]

@@ruff1draft approximately equivalent to 18 megapixels

[@ruff1draft]

@@lightinsidecinema Oh ok thanks for this information I have always been a bit curious. So two megapixels more than the Sony A74 when it's in Crop Mode.

Imo this is the only camera that is really better than other cameras. You can get a zv e1 for 2000 bucks and you can get an image so close to a 35000€ red camera that you only pay for a bigger body and specialized stuff... which is okay but getting a better image? There is only the alexa 35. But the catch is not all scenes exeed the stops worse cameras offer ... anyway if i win the lottery, alexa 35 you will be mine 😂

[@lightinsidecinema]

That zv e1 is supposed to be really amazing to work with. I never worked with it before. I love the alexa 35 but the mini is in my opinion a little more versatile. Of course any camera you get, there will always be some sort of drawback.

@@lightinsidecinema hmm interesting, would you use the old mini still or only the mini lf?

[@lightinsidecinema]

Oh yes, the mini will always have a place for my productions. I love the alexa 35 because it does have built in arri raw vs having to pay for it separately on the older mini and the alexa 35 does have the built in look library. The main issue with the 35 is that it’s not as mobile as the mini. For small budgeted indie productions, I find the mini to be a better fit than the 35. At least with the mini you can get away with a minimal crew but the 35, it’s a bit more of a challenge

@@lightinsidecinema cool!thanks for the info!

[@errol3184]

Original was CCD. CMOS sensors have a "sharper" rolloff...there is a look to them compared to CCD. CCD seems to have this flatter rollout. With the older Alexa it's more like a painting or film. I can't say the Sony F55, as another CCD, reminds me of film or a painting in any subtle way, but the rolloff is very flat. It's especially noticeable in the background to me for some reason. I wish this wasn't one of the few things just inherent with the camera that you can't just titration with in post. Yes, I see the "highlight rolloff" in the DaVinci RAW tab for both my BRAW and ProRes RAW to CDNG transcodes but it never does squat. Anyways, moving to a CMOS sensor is going to force a bit of new look that comes with that. Can the camera still record true 444? Does it need to? I've seen plenty of internet hearsay saying 422 is the max for ALL CMOS, but you can simulate per say with downsampling. Alexa35 doesn't have the resolution to do that and still publish in 4K. I've also seen you get as much subsampled color as you're going to get at 422 with CMOS anyway.

[@lightinsidecinema]

@@errol3184 the alexa 35 does have a few limitations but you are right the older alexa mini does have that painterly feel and the alexa 35 does still retain that in a way but it does give off more digital in my opinion. Yes it can shoot 444 but the storage you need is insane. I do like the new high density encoding but for example this short film i shot with it, I shot over 6 terabytes. Of course that was in 4.6k arri raw not prores. The alexa mini I never came close to shooting that much storage. Which kinda boggles my mind on it.

[@TechnoBabble]

The original Alexa used the Alev III sensor, which was CMOS. The F55 also uses a CMOS sensor... I'm not really sure what you're talking about with a 422 limit on CMOS, as though it's a downside of that particular technology. CCDs also used bayer filters and they also had the same colour resolution limitations. It seems you may be thinking of how the Sony F35/Panavision Genesis used a striped sensor with small, rectangular photosites to allow for true 4:4:4 1080p readout and misinterpreting that as how all CCDs worked.

[@lightinsidecinema]

@@TechnoBabble Love your response. Very insightful. Thanks

[@errol3184]

@TechnoBabble You're right. I looked it up the other day...saw a pdf. The internet is full of it. I saw the ccd thing on a comment, I think in more than one place and never noticed "CMOS" tagged next to the camera descriptions. I see them now, but it seems I have to look. With some other cameras, it being CMOS, is one of the first things they let you know sometimes, including the new Alexa. My worst comment ever.

[@christopherbell2840]

@@TechnoBabble "CCDs also used bayer filters and they also had the same colour resolution limitations." Which cameras are you referring to? Broadcast and ENG CCD cameras(which included the F900 and first two gens of the VariCam) use three separate chips, one each for red, green and blue. They don't use bayer pattern filters and produce full color resolution.

[@coin777]

Your voice is to saturated

[@lightinsidecinema]

@@coin777 yeah the mic I used wasn’t the greatest mic and it was peaking at some points during the video. I did what I could to correct it but it’s one of those things you live and learn. Im going to start using my dji mics for future videos