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I want to ask about this rumor as it sounds plausible given the 24v exclusivity of both of those cameras and if so, can anyone attest to it taking the same accessories like the audio back from the 35 and whether it's capable of recording prores(which is why I'm hesitant on the upcoming ursa cine 17k besides form factor which i believe arris camera could force them to deliver a mini version sooner)?

I was reading the asc article on Godzilla king of the monsters where it mentions that Lawrence Sher and the team shot on panavision c series anamorphics on the Alexa 65, using spherical lenses when needed for more challenging effects shots but what would the practical point of using c series (mind you it doesn't say whether they were expanded) on an Alexa 65 for a typical release? I thought it could help for vfx but they used spherical lenses for when they needed more resolution, so was it purely aesthetic? Why go for it with the anamorphic lenses instead of the xt studio they were also considering? https://theasc.com/articles/royal-rumble-godzilla-king-of-the-monsters

IT'S HERE, at last, the first teaser trailer for Todd Phillips' Joker, starring Joaquin Phoenix as Arthur Fleck, who becomes The Joker, yes, it is a DC film, a sort of Elseworlds tale, meaning it's separate, supposedly, from the continuity of the DCEU and is a what if kinda film, similar to The Killing Joke, those sorts of one off comics runs. $55 million budget, Robert De Niro, Zazie Beetz, Frances Conroy, Shea Whigham, Marc Maron and more join Phoenix. Martin Scorsese was attached as exec producer at some point, Emma Tillinger Koskoff, one of his usual producers, is on board though. The film will be a character study, a tragedy of sorts. Gregory Irwin worked on the film and gave me some technical details on the film, I don't know if I can share yet but I can at least say (as the info is on the official Alexa 65 website) that the film was shot on the Alexa 65 by Lawrence Sher, a Todd Phillips regular who shot The Hangover Trilogy, War Dogs and recently, Godzilla: King Of Monsters, another Alexa 65 show, which looks gorgeous too. Anyway, the film looks really special and gorgeous. https://trailers.apple.com/trailers/wb/joker/ I'm not including the YT link, it's just too compressed, doesn't do it justice.

Very surprised that there's no thread about the film so far. It's available today on Netflix and is also showing in 600 locations across the world (the film was released two weeks earlier in theaters exclusively), they're actually pushing this very hard in Mexico (there are even mobile cinemas ! that go around to show the film in certain locations), domestically as well, it's already been sweeping many awards, many for best picture, best director and best cinematography. Chivo was supposed to shoot the film, they prepped and he had to drop out. Cuaron then took over and shot the film himself (Galo Olivares rumored to be the co-DP at some point, has a credit as cinematography collaborator (never saw that before) and camera operator). Here's the second trailer: I'd advise of course to watch this on Netflix to get a better quality. Chivo & Cuaron discussed the film at a panel: https://variety.com/2018/artisans/in-contention/alfonso-cuaron-details-roma-cinematography-with-gravity-dp-emmanuel-lubezki-1203085424/ The film has insanely great reviews and it's all deserved honestly. I couldn't get into it at first, it felt like I feel watching Children Of Men or Gravity which is to say, I admire and respect those films more than I like them. I LOVE A Little Princess and Harry Potter & The Prisoner Of Azkaban though, Great Expectations is quite good too and Y Tu Mama Tambien is strong. But then something clicked about halfway through the film and I was in completely. The film is completely immersive, there is no score but the sound design is very strong, I felt like I was witnessing this slice of life in person. Cuaron takes his style one step further by adopting a very minimalistic approach. The camera often pans across the scene, left to right, right to left, observing. At times, it's simply static and lingers. Other times, there are hypnotizing tracking shots (one just following characters walking across a dirt road, with a gorgeous vista and the mountains in the background, the camera is higher up on a hill. Another one on the beach, so simple and yet so powerful). The B&W is also gorgeous, absolutely gorgeous, so pure. Cuaron explained why he shot this on the Alexa 65 and not on film and he wanted it, those memories of his, to be pristine. Anyway, Cuaron has apparently pushed for theaters in the US to show the film either on 70mm or Dolby Atmos, but considering it's playing in many places that have none of those things, I guess he loosened up. Do try to watch it on the BIG screen with quality sound, it is worth it, I didn't think so at first but it is. A funny tidbit: the ending credits state the film was shot entirely on 65mm which is obviously not true as it's not film, but for some reason, Netflix and Cuaron have been pushing that narrative a lot :D

Hey there, I was wondering if anyone here has any idea as to how much the Alexa 65 (not just the body, a ready to shoot package) goes for on a weekly rental rate? Considering it's been around for a few years now, that there a lot more bodies, etc, I figure the numbers have gone down substantially. Saw numbers here and there between 5 & 10K a while back which I guess made sense at the time. Seeing as it's being used now on several TV series (lately The Haunting Of Hill House on Netflix), and on more indie minded films, I figure it must be somewhat affordable. What's confusing to me is those smaller productions being able to afford this when, from what I've seen, it'd be much cheaper to shoot on 35mm film for example. Hell, I'm guessing the post prod and data rate alone must be insane. I figured I'd ask the question directly to Arri Rental but they don't seem to have any email contact options, so I figured some folks would know here. Cheers

This film was supposed to premiere today at the Cannes Film Festival. Darius Khondji will be there, according to afcinema. Apparently, Netflix did not want this to be shot on film and demanded it be shot in 4K: The film got into a controversy between Netflix and the Festival because Netflix didn't want to show the film in French cinemas. The screening was stopped today because of heckling. Here is a fresh interview with Darius Khondji – in French. Check this link, too. Here's another one, in French again. Funny that he says he hopes he has no style. The film will be released on Netflix on 28 June 2017.

Ben Affleck's latest film, adapted from Dennis Lehane's Live By Night, taking place at first during the prohibition, and then over several decades if I'm correct. Shot by Robert Richardson mainly on the Alexa 65 (and Super Panavision 70 lenses) it seems, but I remember reading they used film & digital (some guy said that he saw them prepping film and digital cameras at Panavision), anyone close to the production knows anything about this? The first shot in the trailer definitely looks like film to me, and maybe a few other shots in the trailer. Looks beautiful. http://movietrailers.apple.com/movies/wb/live-by-night/live-by-night-trailer-1_h1080p.mov

Have to admit I'm interested in how this is coming along, even though I'm not a Star Wars fan. Greig Fraser is supposed to shoot this with the 1.25x Ultra Panavision 70 anamorphics rebuilt for The Hateful Eight. He's also shooting on film, and the Alexa 65. So are the lenses being used on 65mm, or on the Alexa 65? Will the ratio be 2.75:1? Is he shooting anything on 35 (like Episode 8 is)? Anybody heard more about it?

http://movietrailers.apple.com/movies/sony_pictures/passengers/passengers-trailer-1_h1080p.mov Trailer came out today, releases same day as Rogue One. Sci-fi pic about a man & a woman waking up 90 years too early on a spaceship, and everything that ensues. Morten Tyldum (The Imitation Game) is directing and the Black List script has been around since 2007, written by Jon Spaihts (early drafts of Prometheus, Doctor Strange), Keanu Reeves was attached for a while, so were Emily Blunt, Rachel McAdams, etc. Rodrigo Prieto shot this on Alexa 65 & Primo 70 (at least, that's what IMDB says, the Alexa 65 stuff is 100 % true though). This is definitely, along with Live By Night, some of the best Alexa 65 footage I've seen, Prieto is a great great DP, looks cool. On an unrelated subject, I was wondering. At about 10K a day for Alexa 65 + optics + Codex Vault 65 rental, how do these big productions (like Assassin's Creed, Live By Night, etc) justify shooting on Alexa 65? It'd be much cheaper to shoot on film, hell, maybe 65mm would be cheaper than Alexa 65, I don't really get it, not to mention the insane logistics that must be involved in processing the footage, and that kind of data. Maybe the 6K rez is great for the VFX people, but it's not like anamorphic 35mm is that far off.

I've seen that you can only rent the Alexa 65 through their Arri Rental network. Out of curiosity, does anyone know what the rental costs are? I'm thinking they must be ginormous right now, but i'm really wondering.