cameras don’t get any better than this

#alexamini #cinematography #sonyfx30
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In this video we're going to take a first look at the Alexa Mini LF, and compare it to what I usually shoot on (Sony a7iv and Sony FX3) to see if this $100k camera with $40k lenses is worth it's weight in gold or not.

[@breveganlyfe]

Once again, Amazing video! We need a comparison video between the Arri and the FX30, not in terms of specs but more like couple short films showcasing the capabilities of the FX30 next to the Arri. That will illustrate what you meant when you mentioned that all your current cameras are good enough and this Arri would be overkill.

[@avdpost]

Congrats on the NBA gig! Love doc work. But yah shooting docs on Arri can be amazing but also add another level of weight and damn the battery and media management. I think for solo operating work there is something to be said about using a more solo oriented camera (which I think the Burano is more targeting) like a C500/300/C70 or FX6 (don't get me started on the FX9) just to have the more managable battery life and more efficient codecs. So I can manage things solo are make my day a bit more easily. One of the biggest reasons I love'd working with Alexa's and Venice's on the few projects I have had a lot to do with the team. These cameras are not just simple to use, but also built with a team in mind. More power distro for follow focus systems, control, mounting and big enough to work with an ac, operator etc etc, plenty of SDI I/O to send and even receive signals, etc. The mini obviously crosses the line a bit more, but definately the larger cinema cameras are often a mix of amazing image quality and excellent workflow with a team, heck even just a side panel for control so an ac can change settings fast. Very excited to see what you have cooking!

[@sloppysteaks]

yeah with an AC and a crew the Arri's are totally manageable as an operator. i'm just running A/C power for this one too. thanks for watching!

[@romankuhler]

It’s like the Pareto principle. It looks just 20% better then other cameras, but that’s what gives you 80% more cinema feeling😄 what a great talking head man👍 great video🍿🍿🍿😄

[@zechenwei1139]

I'm pretty sure that's not the message lol.🤨

[@romankuhler]

@@zechenwei1139 😄👍

[@TwaynePereira]

Always appreciate your clarity Patrick. I think people often forget that these cameras are designed to make workflow easier. While you are paying for a great sensor, colour science and glass you are also paying for ease of use as you described. You're not fiddling with menus, settings and other distractions. You move through your day quicker, your set up time is reduced, and ultimately you're saving production budget. You're also right about the lenses. I've put Zeiss CP3, Cookes and Leica glass on my S3, and it takes the image to whole other level. The separation are so thin and I find we get so caught up every pixel, sensor or newest tool and forget about what's important - story.

[@sloppysteaks]

Yeah I would also say that this camera makes the day much slower though. It chews batteries, it’s so heavy you need an easy rig no matter what and it burns though media like crazy. I think a nice mirrorless setup is still the easiest way to tell stories right now.

[@michialharris1850]

Sometimes when it comes to the image it’s about what image inspires you to create, not that it will make you better and what you said about the glass is so true. I bought a anamorphic lens for my Xh2s and it changed the way all my other footage from other lenses look like shit lol

[@j.zuberi]

Glass is truly what ppl overlook, for me thats what i focus on is the glass. That plus the skills is make something look PRO vs rookie. Skills make the aesthetic POP...not the gear, although it helps to create it. And Signature Primes are def my dream purchase lenses, especially the WIDES.

[@AllThingsFilm1]

If nothing else, I lived vicariously through your experience with the ARRI camera for just under 7 minutes. But, yes, the cameras available today are quite capable for multiple budgets and high quality videography. Thanks for sharing this with us. I look forward to any BTS you make with the ARRI camera. It will be fascinating, either way.

[@CineDailies]

Preach. Stoked to hear more about the NBA gig

[@dreamvision_media]

behold....the holy grail

[@chrisjohnsonfilms]

Would love to see you make short cinematic movie like in past

[@MarkBennettCameraCrisis]

Roger, this was great. Tell Patrick I said hi.

[@sloppysteaks]

Rog says hi

[@alexamickey]

Love your videos brother. good stuff! I feel this. I recently acquired an Alexa mini and while I'm STOKED and completely in love, I feel the same way. I don't NEED it. My URSA G2 and a7S3 still make images I'm happy with. If I weren't planning to do freelance as an owner/operator and rent it out, I would not have bought it. Reminder friends, you most like already have everything you need.

[@OscarCloud]

I would love to see Alexa mini with these lenses and your cheapest lights vs your everyday cam and your best lighting gear just to push the point further

[@clayschmoldt8933]

Or even use the cheapest glass on the Alexa and the primes on his cheapest camera.

[@Mathieu89]

I agree with you regarding it only being a notch better than anything you own. I honestly don't see much difference between this and other talking head shots you've done with significantly cheaper cameras. It's maybe 1-2% 'better' for 50x the price. Maybe it's more noticeable when KZbin compression isn't a factor? Out of curiosity, what was the workflow like for the files? Did you find them easy to work with, or was your timeline having issues with the (presumably) massive file sizes?

[@sloppysteaks]

I agree! Files are a breeze. Shoots ProRes (I don’t bother with raw on any camera)

[@valentingeringswald]

You have a good point here. The best camera is the one you have on you. And the lenses and lighting is what makes the big difference

[@kylemckenna]

Another fantastic video, Pat! I always appreciate your honesty and method with videos like this - I've learned a lot from them. Respect, dude 👍

[@sloppysteaks]

Thanks! Appreciate you watching.

[@jannisnewiadomsky]

This is so great ! I love the autofocus on that camera !

[@MicaelWidell]

Hmm why does the footage look so soft and unsharp? Is your face just slightly out of focus, did you make it softer on purpose, or is the lens just soft? Don't get me wrong, the ambience and bokeh is great, but it just looks too unsharp for my taste.

[@sloppysteaks]

It’s literally too sharp as it is haha

[@GregsGadgets]

I thought this was Roger Deakins for a second... but it's just some kid.

[@AliManuel.]

It will be nice to see some shots with the Lumix and Prime lenses. Congrats on the Doco 🔥

[@SurajBoddu]

Was the Storyblocks spot shot on the Arri too?

[@sloppysteaks]

Just the first shot of the laptop. Rest is fx30

[@SurajBoddu]

lmaooo i wouldve never been able to tell @@sloppysteaks

[@alexedwards1612]

Crazy to think any menu system is easier than a Blackmagic! Great vid.

[@AxTechs]

Ok, I paused the video before it even started - are you shooting the piece to camera on mini lf!? I can't tell cause of colour sience or anything like that, the only reason I can tell is because of the LF's very specific sensor size

[@JoeOrber]

Awesome video! I love how humble and true to your passion you are, keep up the fantastic work! 😊

[@sloppysteaks]

Thanks for watching

[@linusziegler7086]

great video! had to sub immediately after seeing the title lol

[@LuisLopez-we8eg]

bro mad

[@RetoBuri]

such an important point you are making!!

[@renaissancedigital5730]

Hard to come back from the SOC images from any Alexa after you start using them frequently. Production Design is king though.

[@thehighestsoapbox7561]

This was fun. good energy. More footage would be cool. Try that lens on your a7s please

[@sloppysteaks]

Thnx. No can do on the Sony.

[@kazlepek6552]

It’s The Glass 🤝

[@JetBlkNewYear]

“What are you fuckin nuts” 😂

[@LaFuenteOnFilm]

The glass makes the difference 🔎

[@DRAMAFLS_official]

Great video bro!!!🎉

[@Nonixification]

KZbin compression: "nah not today."

[@sloppysteaks]

KZbin compression is actually on the receiving end. Not the file. It’s each instance (user)

[@gillesvanleeuwen]

Now you have to shoot something on a Sony with that Signature Prime

[@sloppysteaks]

Nah

[@temitayoisme]

Solid take, i agree about the glass. Funny thing is, i worked with the primes and didn't really enjoy the clean look, i still prefer the DZO' Vespids. Maybe i'm just a villain in the multiverse who loves unclean things

[@sloppysteaks]

I used the dzo too today beside the signature and I don’t like em hahah the DZO is way too crispy with no life imo

[@temitayoisme]

@@sloppysteaks yeah, i'd love them to be a lil less sharp, they only got that in their retro lineup but it's too retro too. We really can't have it all.

[@seanswee]

Roger Deakins shoots on an Blackmagic Ursa

[@wakkowarner8810]

I just wonder how much media costs. How many minutes or hours of footage can you record on one drive.

[@sloppysteaks]

About 2 hours on a 1tb codex that costs $2700

[@wakkowarner8810]

​@@sloppysteaks I’ll stick with my bmpcc 4k; that drive costs more than the camera I used. Is the image quality that much better to justify such a high price.

[@jaredlank]

Total cost breakdown for the rental(s)?

[@sloppysteaks]

I got a deal so it wouldn’t be accurate to reality

[@jonsimo]

Thank you for not posting a "Hollywood cinema camera vs. iPhone" video

[@sloppysteaks]

I’d never 🙏

[@CINEMAWORX]

Dope!!

[@Slipsch]

You should just buy the Cooke SP3 and use FX3 (or the mark II if it comes out) and call it a day.

[@sloppysteaks]

Don’t like the look of em or the FX3

[@Slipsch]

@@sloppysteaks That is interesting. Now you made me doubt myself, I never tried it on FX3, tried it on other camera and made an order and it has yet to arrive. What makes you come into that conclusion? Any specific thing you didn't like?

[@sloppysteaks]

⁠@@Slipschhonestly it’s just such a over done look - they did a good job matching the classic panchro that I dont find it interesting. they’re far from bad or anything. Still beautiful.

[@nopro_films]

Prensilitè!

[@indopacificfilms4257]

Can you put that lens on your A74 and show us the look of it

[@sloppysteaks]

I cannot

[@bryangarciafilms]

Damn, great timing with this video. I'm in the middle of a trade (my fx6 for an fx9) simply for the bump in image quality. But now youre making me reconsider. Its me HI Im the problem its me

[@liamosborne6859]

i see roger deakins, i click

[@TheFilmmakersWorkshop]

Congratulations. Seriously, cool to Have a gig with the NBA and be able to rent an ARRI and test out their amazing kit. Good luck with that job and your true crime documentary which I am manifesting for you for 2024 😉

Could you try this lenses on your sony camera?

[@sloppysteaks]

Unfortunately nobody has an LPL to E adapter available to buy or rent

[@matheussp13]

cool shih tzu

[@BryanElliott_]

Crazy bro 😎 lol 😂 great video

[@chrisgorys]

You gotta check out the supreme primes they are amazing 👌🏼

[@sloppysteaks]

I did! Much prefer the signatures (I also got an impression filter I picked)

[@dccoletrain]

I thought it was shot on an iPhone until you mentioned it 😂

[@sloppysteaks]

no you didn’t

[@MrVh78]

Arri LF for a talking head interview LMFAO

[@sloppysteaks]

You realize this is the norm for big budget documentary work, right?

[@MrVh78]

@@sloppysteaks bro i shoot projects where I’ve used everything from Arriex 435 film cameras to LF to Sony’s. The commercials I shoot are of brands you use daily, LF is an overkill here, this coming from a guy who shoots nothing less than $250k projects . Having said that it’s his budget he can do what he wants

[@scenesplus]

At the end of the day, the audience doesn't care what camera or lens you used. You just need to be personally happy with your results.

[@sloppysteaks]

This is short sighted. Audience definitely cares it’s part of how they experience your work. You have to choose wisely to tell your story.

[@scenesplus]

If it were the camera, everyone would use the same camera. But you get it, it's the story that counts.

[@sloppysteaks]

@@scenesplus I mean at the highest level there’s only 2 cameras anyone is using

[@Fedor_Dokuchaev_Color]

For any professional postproduction workflow RAW is so much better than 10-bit Sony footage. If you want to upgrade you production value, find a great colorist. There should be plenty in Toronto area. New ARRI REVEAL color science is available only for ARRIRAW if you use Mini LF, by the way.

[@sloppysteaks]

I don’t bother with raw, ever. I do all my own color for every production

[@Fedor_Dokuchaev_Color]

@@sloppysteaks Doing everything yourself is fine if you are a solo filmmaker, but team elevates your production value. Cinema cameras like ARRI are designed to be used with a team. Camera itself won't give you a much better image than Sony FX30, unfortunately. "ARRI look" is a nice marketing slogan, but what is important is the quality of data that it collects. Check "On Color Science" article by Steve Yedlin (DoP of "Last Jedi", "Knives Out"), it is a must-read for DoPs and colorists. And good luck with your NBA documentary!

[@raman139]

Compare to FX30 ❤bro

[@mostlyharmless88]

This is so true, same thing for home recording ... .no that better microphone is not going to turn you into John Lennon .... your songs will still suck...

[@JoeOrber]

But you will suck in more style 😂 Also, it will open your eyes (or in this case, ears) and you’ll feel the urge to keep on improving 😊

[@Marcus_Visbal]

Arri’s aren’t worth it anymore

[@sloppysteaks]

Explain

[@unknowncaller4739]

Yeah no sh*t

[@sloppysteaks]

Really great addition to the conversation

[@unknowncaller4739]

@@sloppysteaks I can recognize that you’re the future but until then I have to give you a hard time 🤝😤