Considering shooting a feature in Arri Alexa 3.2: Viable option?

[omar robles]

Just wondering what everyones thoughts was on shooting a feature on the Arri Alexa XT.  A partner of mine is concerned shooting on it will limit our options for distribution, thinking 4k is the the more viable option.  The thing is I love the look of ARRI and I prefer it over all the other affordable 4k and higher options out there.  I tell him that Skyfall was only 2.8 resolution and Blade Runner was 3.2 and that didn't hinder those films in anyways(I realize they had a master DP behind them).  What do you think of this issue? Is shooting on a non LF Arri Alexa a lost cause?

[David Mullen ASC]

You should be fine. If you see the new HBO Camera Assessment Series, the classic Alexa (Mini) is their gold standard for testing and it held up in the 4K DCP presentation at the Linwood Dunn Academy theater I saw, on their large screen, it was not noticeably softer than the other cameras tested (Alexa 35, Sony Venice 2, Red V-Raptor, Blackmagic 12K). And I was sitting in the second row.

[omar robles]

Thank you David

Your expertise is always appreciated in these forums.  Funny I just listened to the Deakins podcast episode in which they interviewed you.  It was a really great listen.

 

thanks

O.R

[Jon O'Brien]

Yes, we are very fortunate to have David's expertise here. I've learned so much from his expert advice.

Sadly a lot of people seem overawed by mere numbers. 6K better than 3K automatically because it's a bigger number, where as it's the look as perceived on the screen in front of you that's the important thing. It takes courage sometimes to stand by your convictions and tell someone that no, the number represents definition, yes, but the 'smaller number' camera actually has a better look for that specific purpose and for that project, on the screen. How do you argue the case? That can be tricky. People are often funny when it comes to cameras. Ego can come into it, my camera's better than your's etc, but how do you define a good look? It takes the eye of an artist to know what's the best look.

Edited August 9, 2023 by Jon O'Brien

[Jon O'Brien]

The same thing happens with lenses, too. Sigh.

Oh, this is a sharper lens! Fixated, intense look. Oh .... okay, you respond.

Um, sharper isn't always better.

Tell Rembrandt that higher def is always better? Er ....... yeah.

We've now reached the unique and unenviable position in the history of modern technology where we don't actually, come to think of it, want to see the little pores in the skin of the on-screen talent, and the dust particles, micro-crumbs, and wipe marks, on the table at which they sit  ... and all that.

Edited August 18, 2023 by Jon O'Brien

[Dan Finlayson]

Something that could give your producer peace of mind: If you can afford to shoot Arriraw, Arri has a desktop tool for upscaling to 4k from the raw data that squeezes out more resolution than a standard upscale from a source like ProRes