IronFilm

Quite a few years back now, in the UK, when a kid failed his exams, it was no longer to be referred to as ‘failed’, but ‘deferred success’.
What a load of old shit.

I thought I'd go ask it to give me a post for this thread..... 
In 2023, the ARRI Alexa Classic might seem like an oldie, but it's still a goldie! Let's dive into why it could be your go-to camera:
Unbeatable Image Quality: This gem captures breathtaking visuals, boasting rich colors, a high dynamic range, and fabulous skin tones. It's cinematic magic rivals the latest models! Built to Last: ARRI's rock-solid construction means the Classic won't let you down, whether you're on a sweltering desert shoot or filming in the pouring rain. Budget-Friendly: Since it's older, the Classic's price tag is kinder to your wallet. It's perfect for indie filmmakers, students, or pros who want top-notch quality without breaking the bank. Accessorize to the Max: Compatibility with a vast array of lenses, matte boxes, and more means you'll be ready for any creative challenge! Seasoned Pro: The Classic's star-studded résumé is packed with top-tier film and TV projects. With a supportive user community, you'll never be stuck without help or advice. Keepin' Up with the Times: ARRI doesn't leave their classics behind—they still roll out firmware updates to enhance your camera's features and functionality. Familiar Territory: Already an ARRI pro? The Classic's intuitive interface makes switching between projects a breeze, ensuring that signature ARRI look throughout. However, it's worth noting that the Classic might not have all the bells and whistles of newer cameras. Plus, spare parts and servicing could become harder to find. Weigh these factors, and you'll know if the ARRI Alexa Classic is your ideal camera in 2023.

Don't upset the ChatGPT bots I am currently negotiating with one to write the next 100 blog posts for free 🙂

https://www.engadget.com/raspberry-pi-lets-you-have-your-own-global-shutter-camera-for-50-104547026.html
I am wondering what you will be able to get out of this.  1,6 Megapixel (1000x1600?) plus Global Shutter...
Just give me a nice film emulation app and a cool case!
 

Omg, the plot thickens!

It's learning...

I have a Sony F3 for sale in Los Angeles California. If anyone is interested please DM me.
Broatch
Sony F3 with RGB 444 installed. 
Hours 664
Comes with PL Mount. MTF Nikon Mount.
Berkey Top Plate.
2 SXS 32GB Cards.
2 Sony BPU60 Batteries and Sony Charger.


Both the LCD and the viewfinder work.

Comes with Ablecine Picture Profiles. Also comes with Macie Video Picture Profiles.
The S Log shooting RGB 444 is bloody amazing.
$1200


Looking for a local sale in Los Angeles. 

DM I will get back to you as soon as possible. 

Well gang, I regret to inform y'all that I'm finally selling my F3. Love the camera, got tons of great footage out of it, but the thing basically gathers dust these days. It deserves to be in the hands of a shooter who really needs it. 
If anyone's interested in a solid 4:4:4 body with all the essential accessories, feel free to DM me. 

https://www.ebay.co.uk/usr/eoshd
Take a look especially if you're in the UK!

And how do you think they got to that position?

When I see the prices of how "high" a F35 still sells for on eBay, when they do rarely pop up, vs an OG ALEXA Classic (which keeps on sliding down in price, cheaper and cheaper), then I'd say the choice is very obvious: get the Alexa!

Does the 2 Minute Challenge include pre and post production as well? 
Seems like a much more extreme version of the 48Hour Film Festivals. 

When I see the prices of how "high" a F35 still sells for on eBay, when they do rarely pop up, vs an OG ALEXA Classic (which keeps on sliding down in price, cheaper and cheaper), then I'd say the choice is very obvious: get the Alexa!

That's reasonably generous for a short film, glad you're looking after them!

This post is available on my blog a little more nicely formatted: Link
Trailer for the film
The making of RE:ACTING
Two weeks ago I wrote a post talking about how we shot our micro-budget short film. I talked about how we planned and shot one scene in the film.
I got some questions about where exactly the $3000 budget went, so I'm going to start this post by breaking down our costs.
Food & snacks for about 10-15 people per day (cooked in the evenings after the shoot) - $500
Camera equipment was mostly lent to us for free, but in order to move quickly we also had to rent two zoom lenses for seven days - $450
Props & costumes - $400
Location costs (parking, location rent etc..) - $400
Post-production - $1250
Keeping the budget this low was only possible because we were able to borrow a lot of gear, being smart about planning and making deals with other companies.
For example, we planned the shoot in June because that’s the month most Swedes are on vacation and we managed to get sponsored by a production company that did not have anything scheduled during the shoot, they would let us borrow most of the camera and lighting equipment for the whole production.
Additionally, we managed to save costs on props by negotiating a deal with a company that rents out police gear for film, including cars. Usually this would cost a lot as police gear is highly regulated, but we were able to get what we needed for one day of shooting in exchange for doing a short production for the company.
Another place where we had to get creative with costs was locations. As we wanted to shoot a total of 26 scenes in 13 different locations, we had to choose and plan our locations and scenes carefully. Not only did they have to come for free or at least very cheaply, we also had to get to three locations per day with a small crew.
In the last post I talked about scene 3 in the film and how we shot it in about two hours from arriving at the location. After Scene 3 we drove about 20 minutes to the next location to shoot Scene 22 where we transformed an inconspicuous location into something that would work for the production in more ways than one.

Schedule for day 4 of the shoot
Scene #22
Scene 22 is a police interrogation with the main character Karl, where he finally gets the courage to act well and completes his character arc.
The good thing about interrogation rooms is that when you really look at them and how they appear in films, they're just rooms with neutral-coloured walls and often a one-way mirror.
We realised that all we needed for this location was a white wall and enough space to fit a table and chairs. I figured the common room in the basement of my apartment building would fit our needs, and we could rent it for just $30 a day.

The corner where the bed is standing is where we shot this whole scene.
Doesn’t look like much when you look at it like this, but just dress it up right and light it with intent and you can make anything work.

Dressed up and lit.
When I scouted this room there were several things that made me feel like this was going to make a good location:
Few, small windows, making it easy to block out sunlight
Big space, fitting the whole crew without problem
Access to a bathroom and a kitchen so we could break for lunch here. (which we did)
Bottom floor, so we could get our equipment in and out of the room quickly.
We shot during the daytime, so we had to block out the light from the windows and ended up using just an Astera tube with grid for lighting as well as a floppy for some negative fill.

Floor plan & lighting schematic I made ahead of the shoot
For this scene we chose to shoot from a 90-degree angle to emphasise the movement when Karl leans forward and takes control of the situation.
In contrast to the rest of the film which is shot around 28-35mm, we chose to use a tighter lens to make Karl appear more cramped up and put on the spot.

Acting tough

Being out-witted
These are the two shots that run for most of this scene, and the third shot is of Karl's friend and dim-witted drug dealer Josef who is (poorly) trying to talk his way out of the situation.

Josef, the drug dealer
This shot we chose to do from head-on with the police in silhouette instead. This is both because Josef is acting as comedic relief in the middle of a tense scene and comedy genereally plays better in a wider shot, and also because we wanted to sell the feeling of it being an actual interrogation room more.
Rounding up
This interrogation room scene is a simple scene but I still think that many good principles were applied in its planning. We kept the lighting simple, we got a location that was close to the other two locations of the day, we didn’t have to do a lot of rigging, and in the end we shot it in a way that made it a lot more interesting than you’d expect when you saw the room for the first time.
So, the next time you’re faced with a scene that you don’t have the budget for. Take a step back and consider what the essential parts of the scene are. Then try to be creative with lighting and blocking to enhance your location. If you do this you can often get away with shooting a scene that you thought was out of your budget.
In the third part of this series I’ll give another example of how we got away with shooting a scene that on the surface seems impossible at this budget - an interior scene in a moving car during night time.

Josef, shocked that we pulled it off.
Again, feel free to reach out to me if you have any specific questions.

You mean 8K 120p isn't industry standard? Don't tell the forum this, there could be a mutiny. 

Ofcourse it is..most ( if not all..) jobs are still delivered in 1080p..

Agreed! I went through a phase of wanting one, but I got talked down by an owner who said they loved it but moved on to an Alexa Classic.

Just to contribute to this resurrected thread, here is my Alexa Classic on a music video recently. Heavy but beautiful image. 

That's why the Mini is so extremely popular, but their secondhand prices are still a long way yet from being "affordable".

There is an ARRI Alexa Classic (with High Speed license) for only US$5K on eBay right now:
https://www.ebay.com/itm/Arri-Alexa-Classic-Camera-High-Speed-Ready-To-Shoot-Package-w-Case-600-Ship/174312729518
 
That's because they hadn't used the Mini before. 

But once they had, the Mini became their default. 

The only ARRI shoots I've worked on during the last couple of years which were not Mini shoots was because they were low budget stuff which couldn't afford the rental rate for a Mini so used a different ARRI instead. 

 

oh I dunno, I'd say it! Think I've only worked with one camera that's smaller in recent months. And that was on a no budget student film. (the Panasonic GH5)

Yes, he's back! 😃

been aaaagggeeesssss since the last upload
 
oh wait, he had one from just two months ago that I missed (which was removed, then added):
 

#1 wish: give us zero delay SDI output!! (they can go with DIN instead of BNC if they need to save space, no big deal, one of my old Atomos monitors already uses DIN instead of BNC)
  
Oh snap! We posted this at exactly the same time. 

Looks like S5mk2 is the very easy answer for OP's answer!
Except they want it secondhand...  well, coin flip then in getting either the Panasonic S5mk1 or Nikon Z6