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ARRI's brand new 4K S35 sensor is mere weeks away


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30 minutes ago, IronFilm said:

I think the difficult part with ALEXAs is just all the factors adding up, by itself any one isn't a deal breaker though. 

But they are:

No easy access to quick audio changes. (not true for the AMIRA)

No built in ND filters. (not true for the Mini cameras and AMIRA)

The heavy weight, which in turns makes all the support equipment heavier too! (Although the Mini cameras are again of course smaller, and the AMIRA is somewhat slightly slimmer than the full size ALEXAs by a tad)

Needing a human chain of batteries supplied to it to keep it on and running (I exaggerate a little! ha, but yeah, the battery demands are quite a bit heavier than anything you'd be used to).

No info/controls on the operator side (except for the AMIRA).

So the ALEXA 35 with the Sonosax module mostly addresses all of those points, except for the battery demands which has got heavier than ever. 

The Alexa 35 should build up quite a bit smaller than the Mini for general shooting. The problem with the Mini is that it wasn't designed to be operated on the shoulder or even on sticks. It was a small body for Steadicam, Gimbal or Drone shots. Thus, to make it work, you needed to add a cage and battery plate but due to the design of the body, the battery plate is always quite far away from the back of the camera. The new Alexa 35 doesn't have this issue so should be a much better form factor despite the possible weight increase in batteries.

Battery plate directly mounts to new Alexa 35



Alexa Mini solution: (Not so Mini any more)






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11 minutes ago, webrunner5 said:

Amazing to see 3 Sony A7s cameras in there. Talk about a price difference, wow.

The chart is actually a little bit misleading - there weren't three films shot on A7 cameras.  Of the 49 feature films that premiered at Cannes, three of them used an A7 camera within their camera lineup.  Of course, the A7 might only have contributed a single shot to the film to be included.

The list is:


“Elvis”: DP – Mandy Walker. Cameras – ARRI ALEXA 65, ARRI ALEXA LF

“Masquerade”: DP – Laurent Tangy. Cameras – ARRICAM ST, ARRICAM LT

“Novembre”: DP – Nicolas Loir. Cameras – ARRI ALEXA Mini LF

“Top Gun: Maverick”: DP- Claudio Miranda. Cameras – Sony VENICE

“Three Thousand Years of Longing”: DP – John Seale. Cameras – ARRI ALEXA LF ARRI Mini LF, RED Komodo

“Don Juan”: DP – Sebastien Buchmann. Cameras: ARRICAM Studio 

“Irma Vep”: DP – Yorick Le Saux and Denis Lenoir. Cameras – ARRI ALEXA Mini LF

“All That Breathes”: DP – Ben Bernhard. Cameras – Canon EOS C500 MkII, Panasonic LUMIX S1H

“Feminist Ripost”: DP – Simon Depardon. Cameras – Sony FX9, Sony FX6, Sony Alpha 7SII

“Marcel!”: DP: Daria D’Antonio. Cameras: ARRI ALEXA Mini

“Butterfly Vision”: DP: Khrystyna Lizogub. Cameras – ARRI ALEXA Mini, Sony FDR-AX1 4K Camcorder, iPhone 11X Pro

“Harka” : DP: Maximilian Pittner. Cameras – ARRICAM LT

“Les Pires”: DP: Éric Dumont. Cameras – ARRI ALEXA Mini

“Metronom”: DP: Tudor Vladimir Panduru. Cameras – ARRI ALEXA Mini

“Return To Seoul”: DP – Thomas Favel. Cameras – ARRI ALEXA Mini

“Rodeo”: DP – Raphaël Vandenbussche. Cameras: ARRI ALEXA Mini 

“The Stranger”: DP: Sam Chiplin. Cameras – ARRI ALEXA Mini 

“Alma Viva”: DoP – Rui Poças. Cameras – ARRI ALEXA Mini

“La Jauria”: DP – Balthazar Lab. Cameras – RED Gemini

“Sons of Ramses”: DP Sylvain Verdet. Cameras – ARRI ALEXA Mini

“Magdala”: DP – Mathieu Gaudet. Cameras – Aaton Xtera 

“Polaris”: DP – Ainara Vera and Inuk Silis. Cameras – Sony FX3, Sony Alpha 7iii

“The Strange Case Of Jacky Caillou” DP – Mathieu Gaudet. Cameras – ARRI ALEXA Mini

“The Dam”: DP – Bassem Fayad. Cameras- RED Scarlet, Sony Alpha 7S III

“De Humani Corporis Fabrica”: DP – Verena Paravel and Lucien Castaing-Taylor. Cameras – Marshall Electronics CV 225-M Lipstick

“Enys Men”: DP – Mark Jenkin. Camera – Bolex H16 SB

“El Agua”: DP: Giuseppe Truppi. Cameras – ARRI ALEXA Mini LF

“Falcon Lake”: DP – Kristof Brandl. Cameras – ARRI 416

“The Five Devils”: DP: Paul Guilhaume. Cameras – ARRICAM LT

“Will-o’-The-Wisp”: DP: Rui Poças. Cameras – Sony VENICE

“The Green Perfume”: DP: Sébastien Buchmann. Cameras – ARRICAM Lite, Aaton Penelope

“La Montagne“: DP: Alexis Kavyrchine. Cameras – ARRI ALEXA Mini

“One Fine Morning”: DP: Denis Lenoir. Cameras – ARRICAM Lite

“Pamfir”: DP: Nikita Kuzmenko. Cameras – ARRI ALEXA Mini LF
“Paris Memories”: DP: Stéphane Fontaine. Cameras – RED V-Raptor

“Under the Fig Trees”: DP: Frida Marzouk. Cameras – ARRI ALEXA Mini 

“Spinning Gold”: DP – Byron Werner. Cameras – ARRI ALEXA Mini

“Boy from Heaven”: DP – Pierre Aim. Cameras – ARRI ALEXA LF 

“Brother and Sister”: DP – Irina Lubtchansky. Cameras – ARRI ALEXA Mini

“Decision to Leave”: DP: Ji-Yong Kim. Cameras – ARRI ALEXA Mini

“The Eight Mountains”: D – Ruben Impens. Cameras – ARRI ALEXA Mini LF

“Forever Young”: DP – Julien Poupard. Cameras – ARRI ALEXA Mini

“Leila’s Brothers”: DP – Hooman Behmanesh. Camera – ARRI ALEXA Mini LF

“Nostalgia”: DP: Paolo Carnera. Cameras – ARRI ALEXA Mini

“R.M.N.”: DP – Tudor Vladimir Panduru. Cameras – ARRI ALEXA LF

“Showing Up”: DP – Christopher Blauvelt. Cameras – ARRI ALEXA Mini

“Tchaikovsky’s Wife”: DP – Vladislav Opelyants. Cameras – ARRI ALEXA LF

“Tori and Lokita”: DP – Benoît Dervaux. Cameras – RED Komodo, RED Monstro

“Triangle of Sadness”: DP – Fredrik Wenzel. Cameras – ARRI ALEXA LF


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  • 2 weeks later...
21 hours ago, webrunner5 said:

Looks like Arri is stating 17 stops for it. Not too shabby.


Yeah, I saw some footage comparing the ALEXA Mini with the 35 filming an open fire and the Mini clipped on the flames but the 35 managed to capture them without clipping.  Needless to say, the cinematographer was pretty excited about it, as it meant that they no longer had to choose between exposing for the skintones or the highlights, and people sitting around a camp fire is a relatively common scene I think.

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I think lighting was fine. It emphazises the subtle facial expressions and emotions of the character actors. Though they should have used a haze machine to illustrate the mood and atmosphere much better of the laid back lads enjoying a perfect laid back lads evening and activity.  But the sound was a bit scratchy. I hope I got that right what you meant. 🙂  

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20 minutes ago, PannySVHS said:

I think lighting was fine. It emphazises the subtle facial expressions and emotions of the character actors. Though they should have used a haze machine to illustrate the mood and atmosphere much better of the laid back lads enjoying a perfect laid back lads evening and activity.  But the sound was a bit scratchy. I hope I got that right what you meant. 🙂  

Umm....  well, in regards to the lighting, what he's referring to is the fact that these cowboys are sitting around a fire, supposedly at night, but for some reason they are being lit by a white single-point sharp light-source that makes their fire look like a dull-semi-glowing object.

Look at this frame:


It looks like exactly what it is: cowboys sitting around a fire lit by several kilowatts of flood-lights from just off camera.

but yes, the sound is a little scratchy!  Calling @IronFilm !!!

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Yeah, for me at least, the lighting anomaly really took away from the gravitas of the scene itself as this was the moment in the narrative where Mr. Taggart fully realised the extent of the indiscipline amongst his charges that would ultimately undermine his goal of driving the citizens of Rock Ridge away from their homes.

In fact, Mel Brook's original reference for the scene was "Fractious Actions Rattle Taggart" which was abbreviated and became the erroneous name by which the scene is now widely referred to.

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Totally agree. Fits the sublteness, sujet and thrills of the scene though, but of course much less the atmosphere of a quiet and peaceful campfire of course. Haze should have been coming from somewhere to go well along with the sound by all means. But then sound was very well articulated and can stand well on its own. @kye

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