ARRI ALEXA 35 First Look - Newsshooter

ARRI ALEXA 35 First Look – Newsshooter

ARRI has officially unveiled the ALEXA 35, a new Super 35 digital cinema camera with 17 stops of dynamic range and a host of new features that are all aimed to provide the best possible image quality.

The ALEXA 35 has big shoes to fill as it is the first ARRI camera to feature a sensor that isn’t based on the ALEV-III. The ALEV-III has been used in various forms in every single ALEXA camera since 2010. The ALEXA 35 represents the next big step for ARRI in the evolution of the ALEXA family.

If you were looking for the next big evolution in sensor performance, I would strongly argue that is exactly what ARRI has done. The image quality (although this is always highly subjective) and the dynamic range are the best I have ever seen from any camera, period.

The sequel needs to be better than the original

Image copyright Newsshooter

Nobody wants to make Speed 2 when they can make The Empire Strikes Back. For ARRI, the sequel had to be better than the original. Having to come up with a sensor that was better than the ALEV-III was certainly no easy task. It took a long time to develop and refine the ALEXA 35 before ARRI thought it was good enough to be released. ARRI is not the sort of company that is just going to rush a product out the door.

Setting a new standard for Super 35

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When ARRI set out to develop the ALEXA 35 it had to meet the following requirements:

  • Native 4K
  • Best image quality
  • More creative control
  • Fast and easy operation
  • Complete new accessory range
  • Comprehensive workflow tools
  • Robust and reliable

Best Image Quality

ARRI has always prioritized image quality over resolution. At the end of the day, it’s the image quality that matters the most, and ARRI’s philosophy has always been to create the best image quality with no compromises.

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You don’t mess with something people already like, you just improve on it. If there is one thing ARRI does well, it is listening to the end-user. By getting feedback from DPs around the world ARRI was able to come up with a camera that becomes yet another arrow in its impressive quiver. No camera is ever going to be exactly what every user wants, and that is why we have so many options available in the market. There is no such thing as the perfect camera and there probably never will be.

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Image copyright Newsshooter

There is absolutely no doubt that certain streaming service mandates were one of the reasons behind the development of the ALEXA 35, ALEXA LF, and Mini LF. With DPs not able to use the ALEXA Mini or AMIRA for certain productions, ARRI did need to bring out a Super 35 camera that could meet streaming mandates, to compliment the ALEXA LF and Mini LF.

Hands On

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I only got a relatively small amount of time to use the ALEXA 35 and it would be a disservice to the camera to call this a review. That is why this is just a first look. This was not a shipping version of the camera and it was still using quite early firmware, so I wasn’t able to test some of the features because they weren’t available.

I used the camera on a couple of TVCs and I was extremely impressed with the results I got. I can’t show any of that footage because it hasn’t been released yet.

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This is a top tier high-end digital cinema camera that will be used on major Hollywood theatrical releases and episodic television. For this first look, apart from testing some of the features and telling you what the camera can and can’t do, from an operational perspective, I’m primarily interested in seeing how the ALEXA 35 fares when used by a single shooter or small crew. I wasn’t interested in shooting in supercontrolled environments because there are already countless examples out there of how the camera performs in those conditions.

The ALEXA 35 is not necessarily going to be a camera that a lot of owner/operators are going to buy, although, the Mini LF had far more owner-operator preorder customers worldwide compared to rental houses than the original ALEXA Mini did. For most people, it is going to be a camera that you will rent.

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If you ever plan on renting or buying an ALEXA 35 then I hope this will give you a good insight into how to use the camera and what its strengths and weaknesses are.

Key features

  • Best Image Quality at native 4K and 120 fps
  • More dynamic range: 17 stops can handle any situation on set and is best for HDR
  • More contrast: Sophisticated stray-light suppression to accurately capture the full contrast range and character of each lens
  • More sensitivity: Lower noise, EI 6400 and optional Enhanced Sensitivity Mode
  • More accurate colors: REVEAL Color Science for better color reproduction, cleaner edges and faster grading
  • More Creative Control
  • The camera supports all S35 and LF lenses while fulfilling all 4K mandates
  • ARRI Textures: A new way to define grain and contrast in-camera, giving control back to the cinematographer
  • New look handling: View SDR and HDR of the same look on set, set Look Intensity, use in-camera LogC4 Look Library
  • Fast and Easy Operation
  • The smallest fully featured ALEXA
  • New left side display
  • Familiar MVF-2 viewfinder (now also in HDR), menu structure, Compact Drives 1TB & 2TB
  • 19 recording formats for all requirements
  • Advanced Color Match (ACM)
  • Streaming metadata for virtual studios
  • Comprehensive Workflow Tools: ARRI online tools, stand-alone apps & 3rd party tools
  • Robust and Reliable: For dependable working on set, a long product cycle, and a safe return on investment 

Above are 10 films that were commissioned by ARRI.

Sensor

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There was immense pressure on ARRI to come up with an entirely new sensor that was better than the ALEV-III. The ALEV-III exceeded ARRI’s greatest expectations and if you think that every ARRI camera released in the last 12 years has used a variation of the original ALEV-III sensor that is the ultimate testament to just how good it is.

In an age where technology continues to move rapidly, the fact that the ALEV-III sensor is still revered in the industry as the gold standard shows you just how right ARRI got it back in 2010. Because that sensor was so good, that is why ARRI continued to use it for so long.

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Image copyright Newsshooter

You can’t just magically pluck a sensor out of thin air and expect it to be better than the ALEV-III. ARRI tried numerous sensors until they eventually found the right one. What is interesting is that this new sensor is not made by the same company that made the ALEV-III. The new ALEV-IV sesnor is made by a third-party to ARRI’s design.

The development of the camera started way back in 2016 when ARRI first saw the basis of what is now the new sensor, the ALEV-IV. From there it was a long process and it wasn’t till 2019 that they really started to put together and design what is now the ALEXA 35.

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The new ALEV-IV sensor that is in the ALEXA 35 was developed specifically for the Super 35 format and it utilizes a technology where the analog to digital converters actually sit on the sensor board. Previously ARRI always had two boards, a sensor board and a separate board that housed the analog to digital convertors. Having the analog to digital converters actually sitting on the sensor board allows ARRI to shorten the high-frequency analog lines which in turn allows you to create a cleaner image with less line noise, and less fixed pattern noise. The caveat to doing this is that you can’t stitch a sensor board like this anymore, which is what ARRI was doing in the past with cameras like the ALEXA 65, ALEXA LF, and Mini LF. So ARRI can’t just stitch this new sensor to create a larger sensor.

Creating a good-looking roll-off in the highlights is probably one of the most difficult tasks for any sensor designer and ARRI uses considerable resources to ensure exceptional highlight handling. The ALEXA 35 sensor’s wide exposure latitude translates into a “thick” digital negative; which provides tremendous flexibility when color grading. The sensor’s ability to retain definition, even when extremely under or overexposed, provides that extra bit of security in post. Its high dynamic range makes the images from the ALEXA 35, from day one, future-proof for high dynamic range (HDR) display technologies. The unique design of the sensor ensures wide exposure latitude and low noise at all sensitivity settings without making any compromises in image quality. 

The New Super 35 format native 4K 3:2 sensor allows you to shoot at up to 120 fps and it has 17 stops of dynamic range. 17 stops is a whopping 2.5 stops more than previous ARRI cameras and more than any other digital camera on the market today. These are actual stops of dynamic range and not claimed dynamic range numbers that some manufacturers like to throw around. ARRI has a history of accurately, or rather conservatively, measuring the dynamic range of its sensors.

Now, I have used this camera and I can tell you that I have never seen or used another camera that comes anywhere near what the ALEXA 35 is capable of. The sensor in this camera is simply phenomenal.

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ALEXA 35

The new sensor in the ALEXA 35 has 1.5 stops more in the highlights while still retaining that renowned ARRI highlight roll-off. Additionally, you also get 1 more stop in the shadows as well. All of this while still maintaining a base sensitivity of EI 800. At every EI value, you are getting 17 stops. The only difference is where those stops are getting allocated depending on what EI value you are using. The fact that you can still get 7.3 stops above middle grey when shooting at EI 200 is astounding. If you use EI 3200 or 6400 you are getting a whopping 11.4 stops above middle grey. That’s more stops than some cameras have in total.

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ALEV-III

As a comparison, above you can see the stop distribution above and below middle grey for the ALEV-III sensor

So what does having 17 stops really mean in the real world? Well, not only do you end up with a camera that can handle just about any lighting conditions you can throw at it, but it gives you so much flexibility and room in post for manipulating and stretching your image. In conditions where you may have previously had to ND windows, there will be situations where you won’t need to do that anymore. If you are working on HDR projects this is a camera you will want to use.

It was very evident to me from just looking at some images from the camera that the amount of highlight retention is far better than any camera I have ever used or seen, and that includes the Mini LF, by some considerable margin. I could see details in the highlights that I couldn’t see with other cameras. The usable latitude that the camera has is extremely impressive.

You don’t need to shoot dynamic range test charts to see the difference, you can clearly see it with your own eyes. Above you can see comparison images between the ALEXA 35 and the AMIRA. Both cameras were set at EI 800 and the exact same lens and T stop were used. I set the ALEXA 35 to a point where clipping just started to appear in the absolute brightest part of the scene. False color for both cameras is being sent out over their respective SDI outputs

I did this test and my jaw dropped to the floor. The amount of highlight retention the ALEXA 35 has is ridiculous. All you have to do is look at the waveform differences.

If you look at the same image from both cameras with a Look applied you can see how heavily they both appear to be clipped. However, the LogC4 image from the ALEXA 35 retains so much information, that everything is still there.

Just as another comparison, above you can see the LogC4 image from the ALEXA 35, and the same image with a Look applied. This clearly shows you just how much latitude this camera gives you with highlight retention.

If you want to go a step further, here is the ALEXA 35 set at EI 1600, where you get 10.4 stops above middle grey.

Ok, let’s step it up one more level and have a look at EI 3200 where you can a whopping 11.4 stops above middle grey. I could almost expose correctly for middle grey on the camera that had no direct light on it while not blowing out the window.

If we go to another extreme we can look at how the camera behaves at a very low EI setting of 200. Here, you get 7.3 stops above middle grey. This is almost comical because there are a lot of cameras on the market where even if you shoot as their base ISO you won’t see 7.3 stops above middle grey.

Above you can see a couple of frames taken in very difficult lighting conditions. You can recover details in very bright windows very easily. The dynamic range of the camera is so impressive. These aren’t even graded images! These are just with a LUT and highlight recovery applied in the DaVinci Resolve RAW tab.

When shooting high dynamic range scenes or scenes where you need to protect your highlights, the ALEXA 35 provides a large safety net.

I will do a lot more tests once I get hold of the camera for a proper review. Please remember this is just a first look and not a review.

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The actual physical size of the sensor used in the ALEXA 35 is fairly comparable to that of the ALEXA Mini. It is a 4.6K (4608 x 3164) 3:2 sensor and it has physical dimensions of 27.99 x 19.22mm.

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Above you can see the comparative sensor sizes of the ALEXA 65, ALEXA LF and Mini LF, as well as the ALEXA SXT and ALEXA Mini.

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The ALEV-IV 4:3 sensor has a pixel pitch of 6.075 μm.

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ARRI has also made sure that the sensor has been optimally centered in the camera body. This allows you to flip the camera upside down and get the exact same result.

ARRI is also utilizing a special calibration unit that is attached to the sensor board during manufacturing. This allows them to calibrate every sensor and make sure that every sensor in every ALEXA 35 is identical. The servicing department can also access this calibration if need be, and adjust for sensor drifts over time. 

The front of the sensor board also features ARRI’s motorized FSND filters.

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The ALEXA 35 can read lens metadata and it supports ARRI LDS-1, ARRI LDS-2, Cooke /i, Canon EF mount and ENG (Hirose connector).

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The new sensor in the ALEXA 35 allows you to record in quite a few different frame sizes depending on your needs. This allows you to meet all of the 4K mandates imposed by ceratin streaming services. Now, you may be thinking, hold on, how does a 3.3K 6:5 recording mode meet 4K streaming requirements. Well, I am glad you asked. The minimum 4K mandate for using 2x anamorphic lenses is 3840 x 2160 pixels (8.29 MP). It is not the resolution or aspect ratio that matters, but the number of megapixels that dictates the requirement. When shooting 3.3K 6:5 on the ALEXA 35 you are actually capturing 9.3 MP.

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Some other streaming services actually require more than 8.29 MP when shooting 2x anamorphic so what has ARRI done to meet these requirements? Well, you can also shoot in 4.6K 3:2 Open Gate and use custom 3.8K 6:5 frame lines to get a 3796 x 3164 12MP image to meet those requirements.

As it is a Super 35-sized sensor DPs have the ability to use both S35 and LF lenses on the camera. This allows for a lot of creative freedom and if you already own existing S35 lenses you can use them on this camera. That is great for anyone who has an ALEXA Mini and is thinking of upgrading to the ALEXA 35.

In a lot of ways, the original ALEXA and its sensor were a make-or-break moment for ARRI. If they hadn’t gotten it right, who knows where they would be today. I don’t think you would be able to find any modern-day camera that is utilizing the same sensor or variation of that sensor 10 years later. This was a big part of what made the ALEXA family of cameras so successful. This new sensor looks to continue that strong legacy that was forged more than a decade ago.

This is just the third camera (if you don’t count the rental only ALEXA 65) that ARRI has released with a sensor that is capable of recording 4K images without the need for upscaling.

I have seen overexposure tests where the ALEXA 35 is placed next to a competing high-end camera and the results are truly outstanding.

More Contrast

The unexpected issue that ARRI ran into is that because the sensor in the ALEXA 35 is capable of so many stops of dynamic range they found that there was so much light bouncing around inside the camera and lens mount that it was affecting contrast. This led to the shadows and dark areas in the image looking milky. The veiling light that bounces around and makes the blacks milky actually takes away from the dynamic range. You ideally want rich deep blacks and not milky blacks.

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What ARRI needed to do is to find a way of suppressing this stray light and this was a project that took more than a year to solve. Most light suppressing coatings are not very robust and they rub off easily. This means that they weren’t suitable for use in a lens mount. After a lot of trial and error, ARRI eventually came up with a very sophisticated stray light suppression technology that involved using a very expensive coating in combination with special ridges and light masks that are placed inside of the camera cavity.

What this ultimately achieves is that it lets the camera accurately capture the full contrast range and character of each lens while also providing deep and rich blacks. The other benefit of reducing this stray light is that now you can more clearly see the difference between lenses. This allows you to see a much more accurate representation of what the lens is actually capturing. This means that the camera isn’t going to alter the characteristics of the lens that you are using.

After trying this out with the camera I certainly did notice more contrast and richer blacks than what I usually see on my AMIRA.

This stray light suppression in camera will help any lens and lens mount combination, however, for the absolute best contrast ARRI recommends using their own stray light optimized lens mounts:

  • Existing ARRI LPL Mount (LBUS)
  • Existing ARRI PL-to-LPL Adapter
  • Existing ARRI EF Mount (LBUS)
  • New ARRI PL Mount (LBUS)
  • New ARRI PL Mount (Hirose)

All of the above lens mounts have been optimized using these new stray light suppression techniques.

All the existing lens mounts that work on the ALEXA Mini, Mini LF, and AMIRA will fit on the ALEXA 35, however, they are not going to offer the same light suppression capabilities.

More Sensitivity & Less Noise

ARRI is actually calling the ALEXA 35 a ‘High ISO’ camera. Not only does it have less image noise than any previous ARRI camera, but you can also now set the exposure index up to EI 6400. Previously the maximum EI available on any ARRI camera was EI 3200.

EI settings on the ALEXA 35 range from EI 160 to EI 6400.

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Image copyright Newsshooter

ARRI has also added a secondary EI setting called Enhanced Sensitivity Mode. Essentially this is a mode where more noise reduction is applied. This mode is available from EI 2560 to EI 6400 and it is denoted by the EI value having the letters ES after it. ARRI hasn’t made the Enhanced Sensitivity Mode for lower EI values because at settings under EI 2560 it didn’t make a big difference

These Enhanced Sensitivity Mode settings are available in the same place where you find the regular EI values.

Anytime you shoot in the Enhanced Sensitivity Mode, the noise reduction is getting baked into both ARRIRAW and ProRes files.

So how does the Enhanced Sensitivity Mode actually work and what is it doing? Well, I am glad you asked. If, for example, you are shooting at 24fps and 180° shutter angle, half the time the camera is capturing an image, and half the time it isn’t. So what ARRI has done is to utilize that time when the camera isn’t capturing an image to have the camera capture a second image. They are then just taking the noise reduction that is being applied to that second image and combining it with the noise from the first image to reduce the noise of the image that is actually being recorded. The second frame is then thrown away because there is no need to process it. This may all sound complicated, but it is actually a very smart way of applying noise reduction without affecting the image in an overly negative way.

The issue with noise reduction is if you just have one frame, the algorithm that is being used can have a hard time trying to differentiate between fine image detail and noise. Because noise is random, the moment you have two frames, it becomes a lot easier to distinguish between noise and fine image detail.

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Above you can see from the camera metadata that the averaged frames are listed as 2 instead of 1 when using the Enhanced Sensitivity Mode. This does not mean that the image data of the two frames is being merged, but rather just the image noise. The motion blur is not affected in this process.

Now, there are some caveats when using the Enhanced Sensitivity Mode because there’s no such thing as a free lunch. Because this is a form of temporal noise reduction it is possible to see some faint ghost trails with fast movements or if a really large flash goes off. It can take a couple of frames after a big change happens in ceratin images for the noise reduction to react. ARRI is being very upfront about this because they want customers to be very aware of these potential issues.

I did notice this faint ghost trail when I was shooting at 6400 ES and following a train moving across a bridge.

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There are also limitations when it comes to frame rates because the camera because the camera is having to run at twice the framerate. Above you can see that the maximum frames per second when using a 180° shutter angle drops to 60fps when shooting ARRIRAW, 30fps when shooting 4.6K 3:2 Open Gate ProRes, 48fps when shooting 4.6K 16:9, and 60fps in all other ProRes recording modes.

You also need to be aware that the shutter angle needs to be 180° or less for the Enhanced Sensitivity Mode to work.

The ES works well and for the first time ever when using an ARRI camera I was comfortable shooting at higher ISO levels.

Major Overhaul of ARRI Color Science

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Having extra dynamic range, better contrast and better noise suppression are only parts of the puzzle. Image processing is the next big step and this ultimately goes a long way toward determining what your images will look like.

Over the last few years, ARRI color scientists have looked closely at the processing and spent a lot of time talking to DPs, colorists, and post supervisors to get a better picture of what could be improved.

This led to the creation of what ARRI calls the Reveal Color Science. Yes, this is just a marketing term, but what it actually does is a very important step in the overall creation of the image.

So what is the Reveal Color Science and what does it do? The Reveal Color Science happens in the camera. ARRIRAW goes through the Reveal Color Science pipeline and then the ProRes recordings are created and the various outputs can be displayed in the viewfinder, SDI outputs, and frame grabs. Now, if you shoot ARRIRAW, you will be seeing images processed with Reveal Color Science on your monitor, but the heavy lifting is done later on. You can then utilize the new ARRI Reference Tool (ART) software or programs like DaVinci Resolve, FilmLight, Colorfront, etc. to process your images with Reveal.

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So what exactly is it? Well, Reveal Color Science consists of quite a few different processes. The first is a new ARRI Debayer algorithm called ADA-7 which converts ARRIRAW into camera native RGB image data. ADA-7 is a much more powerful algorithm than ARRI has used before and this is only possible because of the increased processing power in the ALEXA 35. ADA-7 now provides cleaner images and cleaner edges when working with green or blue screens.

When the ARRIRAW is Debayered into RGB image data it is literally just a cloud of points of color values that represent what parts of the spectrum the sensor is sensitive to. You can’t do anything with this information, yet, because this is just the first step.

Now that you have this representation of what the sensor is seeing, you need to do something with it. It has to be converted into a color space. Ideally, you want to put it into a color space that is a good representation of what the human eye sees.

What ARRI has done is come up with what they call ARRI Color Engine ACE4. This is not a traditional matrix and what that means is that it is able to more accurately recreate nuanced colors. It also allows for better skin tone reproduction and better chroma tracking across different exposure levels. If you underexpose or overexpose your image, once you correct that footage the colors remain true without skewing and changing.

It also helps with creating more deeply saturated colors when shooting objects like neon signs, brake lights, or anything else that has very strong colors. Usually, these are the type of things that never quite look right when you are shooting with a digital camera.

The other benefit is if you are filming in low key scenes such as overcast days you can get better colors and better color differentiation.

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The RGB image data is placed in a new color space called ARRI Wide Gamut AWG4. If you are not familiar with what a color space is, it is a method for writing down colors as numbers in order to store, process, and display images. There are two different types of color spaces, scene referred color spaces and display referred color spaces. Display referred color spaces you may be familiar with are Rec.709, P3, and Rec.2020. Scene referred color spaces are not limited by display technologies. and they are optimal for capturing more color information. Scene referred color spaces are spaces like ARRI Wide Gamut and ACES.

You would think that the bigger the scene referred color space, the better, but this is not the case. The trouble with scene referred color spaces is that they contain ‘virtual’ colors that are outside of the human spectrum and we can’t actually see them. The other problem with ‘virtual’ colors is that they can result in negative values and some post production programs see these neagtive values and then just place them at a value of zero which results in gamut clipping. This is why capturing ‘virtual’ colors is not ideal. Bigger isn’t always better.

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Above is the spectrum of colors we can see (the horseshoe shape) and how that compares to color spaces like ACES, Rec.2020, and Rec.709.

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Now, if we look at ARRI Wide Gamut AWG4 you can see that it is slightly larger than Rec.2020, but not too large that it introduces too many ‘virtual’ colors that can’t be seen by the human eye. Also, you don’t want to capture too much extra blue/green color information that the human eye can see because it makes it harder for a colorist to grade footage. Eyes are not cameras and cameras are not eyes. What they both see is different and it is a fine balancing act to get a good compromise that works well for both.

ARRI Wide Gamut AWG4 is fully enclosed and compatible with ACES. ALEXA Wide Gamut, used on all previous ALEXA cameras, was not fully enclosed by ACES and required extra processing steps to prevent strange color processing. 

The camera captures really accurate colors straight out of the box. I found that in a lot of cases all I had to do it to apply the Rec 709-D65 LUT to get a great looking image.

New LogC Curve

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Because the sensor in the ALEXA 35 is capturing more dynamic range, ARRI needed to come up with a new Log curve (LogC4). What is interesting, and this is hard to get your head around at first, is that middle grey with LogC4 is 29%, which is considerably less than the 38% of LogC3 (the current version of LogC). Yes, the image looks dark if you are viewing LogC4, but once you apply one of the new LUTs which I will talk about further in the next section, the image will look correctly exposed. I usually monitor with a LUT, but occasionally I want to have a quick look at the Log image. This took some getting used to with the ALEXA 35 because the image looks dark and you think you are underexposing.

With the existing LogC curve there is a different curve depending on the ASA setting. Now, with LogC4 it is the same curve for all ASA settings.

LogC4 LUTS

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An image in a new color space with a new Log curve requires new LUTs. The new ARRI LUTs for LogC4 are able to take full advantage of the new sensor’s dynamic range, color space and Log curve to provide optimal results for DPs and colorists. The LogC4 LUTs have more saturation and more contrast than previous LogC3 LUTs.

These new LUTs are free and they are available for a wide range of different color space transforms. ARRI highly recommends that you use these new LUTs because if you try and just grade a LogC4 image without doing a color transform first you will run into issues. It isn’t the same as working with a LogC3 image.

Older 3D LUTs that were used for ARRI LogC3 (e.g. for ALEXA, AMIRA, ALEXA Mini, ALEXA LF and ALEXA Mini LF) should not be used for screening or post-production workflows together with ARRI S35 4K footage.

Can you intercut images from other ARRI cameras with the ALEXA 35?

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Because this is an entirely new sensor, the ALEXA 35 isn’t going to be an exact match with existing ARRI cameras. However, with the ALEXA LF and the Mini LF if you are shooting ARRIRAW you can take that footage and utilize the new Reveal Color Science. This way your footage can be processed in the same way as the ALEXA 35. You can then utilize all of the benefits of the new processing including the same Debayering technique, ARRI Wide Gamut AWG4, LogC4, and the new LUTs. Just to be crystal clear you are not going to get the extra dynamic range or the other benefits of the ALEXA 35 by doing this, however, this all helps in matching the ALEXA LF and Mini LF with the ALEXA 35 if you are using them together.

More Creative Control

I know we have already talked a lot about the new sensor and image processing, but ARRI has also put a lot of other items in the ALEXA 35 that enable DPs to have more creative control with how they use the camera. So let’s have a closer look at what these new items in the ALEXA 35 are.

Textures

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ARRI has added a new feature called Textures where users of the ALEXA 35 can choose from a wide array of different image settings.

An ARRI Texture file is a combination of 30 image settings. ARRI Textures can be chosen in-camera like Look files, or a film stock. The ALEXA 35 comes with several ARRI Texture files pre-installed.


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