@@davidhrzenjak If I had the money I could buy a F1 race car but that don't make me a F1 race driver. it would be like me trying to find the on button on one of these bad boys.
I do that with my eos m running magic lantern. With a crappy 18-55 kit lens. You don't need to spend thousands to make art. Take whatever you have and start. The rest will come later
Its not wizardry. Marketing makes people stupid. Bit depth and color sampling is the main contributor to resolution and detail, not frame size or pixel count. Thats why drone imagery looks over sharpened. Most drones have shit codecs but marketed meaninglessly as “6k sensor” or whatever. This is why broadcast TV is US is still 720p. No one notices pixels over bit depth and color sampling.
@@marcusthompson666 That's why I will never understand the 4k mandate from Netflix. Alexa Mini footage looks better than most Netflix approved cameras, besides the LF ofcourse.
Love these little history lesson videos! Would be cool to see a comparison video between the Mini, Mini LF, and the new Alexa 35. Has Arri ever made a full frame camera?
@elijahsakiya no, "LF" is perfectly accurate by ARRI. As in the context of filmmaking, which is of course the only relevant context here, then the Mini LF is indeed large format. (as S35 is the normal format usually used)
As possibly the only still photographer to comment so far may I ask a question. I see many adverts for used cine-cameras which state "hours used". I get the fact that this has a possible impact on how an item may look, wear, tear and scratches etc, but is there a live to these systems.(hours used) My old Nikon D4s had a live 400k shutter actuations, which I did hit but that's a mechanical thing. How does hours in use affect cine-cameras. If the answer is that it doesn't, then there has to be some truly brilliant cameras out in the wild at fantastic prices. As a second question, is there an amount of snobbery against all in one systems of the camcorders systems. I know it is horse for courses but are people closed off to these cameras because they may be seen as less worthy. I'll keep asking the what some might think "dum questions" as I don't know the answers Fantastic video as always. Be lucky stay safe.
Arri Rental Camera Technician here. The thing with with the hours is in my opinion not the main factor to measure an older camera on. With the digital you don’t have the the almost no mechanical components anymore,except for the internal ND filters, but they are most times no really used any ways by the productions because Tiffen and Schneider Filters look different to the Arri ones so the avoid to mix them. So with almost to none mechanical comments that get worn down, in contrast to your camera with the moving mirror and mechanical shutter, the hardware does not break. The only component you have to worry about in my opinion is the sensor. The older the sensor, the more likely is it that a pixel goes bad. You can fix it with a pixel mapping to tell the camera which pixel is gone bad and the camera will correct the picture with the pixels around the broken pixel,but you can only can do it so many times before you must decide when is enough and the camera has to go to Arri Service, where they decide if the sensor can be recalibrated or if there is nothing you can do any more. The thing is that a lot of hours does not have to mean “run down” sensor. I have seen camera with 9000 hours with almost perfect sensors and I have send in camera with 2000 hours for calibration. So in con conclusion if I would like to buy an old camera, I would like to to see the a sensor grab with closed mount cover, log c, hi iso and tuned of pixel map. With a picture like that you can tell a lot about the health of a sensor. The answer to the second question. The workflow with these cinema camera was shaped for a lot of years. In the really old days with analog cameras I think it was not possible record sound and picture on the same reel, so sound was recorded separately. When it was theoretically possible every body was used to the system. Today the fact is that modern cinema camera still only have to channel recording and the sound mixer on a film set records a lot more channels simultaneously what still makes it not convenient to record sound in camera. For a documentary purposes is an other story. Arri has the Arri Amira in their line up, with the Alexa Mini Sensor, tbh the sensor was in the Amira first, real microphone preamps with XLR connectors. So this is basically an “camcorder” style camera.
Maybe in the future camera manufacturers are going to make customizations available, where we'll be able to decide what do we want in the body, almost like buying a computer these days.
Simply for not having true 4K resolution which is demanded now by platforms such as Netflix - the original Alexa, Amira and the Mini used the AlevIII sensor that is only 3.4K actual, 2.8K used photosites. This was the reason for the introduction of the Alexa LF and Alexa Mini LF, rather than a demand for a larger format. They use 2 AlevIII sensors stitched together to produce 4.5K photosites. The Alexa 35 is again the smaller Super35 format, but has a new sensor of 4.6K.
Is the ALEXA Mini LF Netflix approved? Yes, as you can see on the Netflix Partner Help Center. Please note that this includes approval for the anamorphic recording options detailed in the ALEXA LF & Anamorphic Lenses white paper and for the LF Open Gate 4.5K, LF 16:9 UHD and LF 2.39:1 4.5K recording resolutions.
The Alexa Mini is NOT Netflix approved for Netflix produced original shows, as it doesn’t shoot native 4K. However, films and television shows shot on the Alexa Mini, that are shopped around for distribution, can be purchased and distributed by Netflix. The only Mini camera that is Netflix approved is the Alexa Mini LF.
Why is that ridiculous? This sensor was designed and released before Netflix started making their own content, let alone decided that there would be a 4k mandate...
@@constantinosschinas4503 it is not ridiclous. Consider output nowaday reach 4k. Netflix is futureproofing their investment. Even films made in 2000 need some sort of remastering. Imagine not mandating 4k and pouring millions in investment in film?
@@dutchmilk The ridiculous aspect is that resolution does not equal quality. A 2K film with excellent production and camera colour (not mentioning script and acting) is vastly better than a 4K burb. You can upscale, but not fix colours in you have no colour to start from.
It might have 16Bit RAW HDMI Output, but you do realize that it’s currently impossible to utilize that 16Bit data, right? It caps out at 12Bit via an Atomos Ninja recorder. Like the other person commented, I too own both, amongst many others, and the Alexa imagine is in a different and more prestigious league of its own.
@@turbotaquitogoogle8095 He chose the wrong word with flat. But we all have to agree that everyone has forgotten depth and backgrounds with the LF and almost all the shots have too little of a depth of field which isn't always a great choice in storytelling.
Who cares. Are you personally shooting Netflix original series? I love how people write off a camera that isn’t Netflix approved, as if it’s worthless, when most of them themselves aren’t even in the industry (e.g. working with Netflix) where it would personally affect them.
Seriously ??... I purchased one and sadly realised in little that an hour, that is was a very basic Prores camera, shooting RAW with it was painfully slow with no great advantage. Then stupidly got bought a LF and... aagin. My kids black magic camera had more tech in it. The images were only HD in a 4k world, and lacked a Raw workflow. Obvuisly I stayed with RED. Even though the ARRI logo is more prestigious and alot of DOPS dont do there own post, so dont understnad the true benefits of 8K 16bit RAW... sadly. But when I get them into our office and get them to bring there best ARRI shot in, and then we show them a true 8k image DR on a 8k screen... they mouths drop. And instantly converted... Same as I was.
What kind of stuff do you shoot? I'm curious. It's not just brand name, people genuinely love the Alexa look. Especially for narrative work. Most people don't shoot raw on that camera, because they don't really need to. The tech is not the highlight of the Alexa, obviously, it's an old ass sensor. That's why it's not on the Netflix approved list. Also, you say basic Prores, but Prores is an amazing codec, particularly on Alexa footage, so I don't know what you're talking about... Obviously if you want high resolution raw, there are much better options out there.
In case people are wondering, the OP is Mark Toia (R.I.P.). He was an amazing cinematographer (look up his work via a Google search). I won’t bash the guy, as he’s no longer with us to defend his initial statement; but he was a known RED loyalist (and very close friends with the former RED CEO, Jarred Land), and only ever shot on RED, as well as was obsessed with a high resolution, RAW workflow. ARRI cameras aren’t meant for cinematographers who only want that, as well as the latest hardware specs (since new RED cameras seemed to come out every year unlike ARRI). ARRI cameras, and their true beautiful nature, weren’t meant for Mark Toia.
The moment you start shooting on Alexa is the moment you stop thinking about camera specs and excuses for why your film looks bad run out :)
Well duh... cant make excuses if your using the most expensive cameras.
@@davidhrzenjak If I had the money I could buy a F1 race car but that don't make me a F1 race driver. it would be like me trying to find the on button on one of these bad boys.
I do that with my eos m running magic lantern.
With a crappy 18-55 kit lens.
You don't need to spend thousands to make art. Take whatever you have and start. The rest will come later
if you dont know how to shoot, camera brand name cant help you😂
name a single person this applies to. if someone's films look like shit, how would they ever get their hands on an alexa.
Consistently my fav channel on UA-cam, thanks for the awesome vids!
Those videos are always awesome. 👍
And the internal 4K UHD ProRes upscale on the Alexa Mini is pure wizardry !
Its not wizardry. Marketing makes people stupid. Bit depth and color sampling is the main contributor to resolution and detail, not frame size or pixel count. Thats why drone imagery looks over sharpened. Most drones have shit codecs but marketed meaninglessly as “6k sensor” or whatever. This is why broadcast TV is US is still 720p. No one notices pixels over bit depth and color sampling.
@@marcusthompson666 That's why I will never understand the 4k mandate from Netflix. Alexa Mini footage looks better than most Netflix approved cameras, besides the LF ofcourse.
Love these little history lesson videos! Would be cool to see a comparison video between the Mini, Mini LF, and the new Alexa 35. Has Arri ever made a full frame camera?
The Mini LF is full frame
LF = Large Format
Check out Blaine Westropp comparison on UA-cam!
@elijahsakiya no, "LF" is perfectly accurate by ARRI. As in the context of filmmaking, which is of course the only relevant context here, then the Mini LF is indeed large format. (as S35 is the normal format usually used)
Keep rocking you guys, one of the best YT resources for the working professionals.
About to use one to shoot my 3rd year grad film with vintage Kowa anamorphics! Such a cool camera!
GL with the shoot!! Jake
Definitely should get one for vlogging!
😂 just got one and maybe I will do a vlog with it for fun 😅
A very complete briefing - as always! Thank you!
That ALC M42 in the thumbnail 🥹
first youtube content i view at 2023.
Happy New Year
Happy new year to you too! Jake
As possibly the only still photographer to comment so far may I ask a question.
I see many adverts for used cine-cameras which state "hours used".
I get the fact that this has a possible impact on how an item may look, wear, tear and scratches etc, but is there a live to these systems.(hours used)
My old Nikon D4s had a live 400k shutter actuations, which I did hit but that's a mechanical thing.
How does hours in use affect cine-cameras.
If the answer is that it doesn't, then there has to be some truly brilliant cameras out in the wild at fantastic prices.
As a second question, is there an amount of snobbery against all in one systems of the camcorders systems. I know it is horse for courses but are people closed off to these cameras because they may be seen as less worthy.
I'll keep asking the what some might think "dum questions" as I don't know the answers
Fantastic video as always.
Be lucky stay safe.
Arri Rental Camera Technician here. The thing with with the hours is in my opinion not the main factor to measure an older camera on. With the digital you don’t have the the almost no mechanical components anymore,except for the internal ND filters, but they are most times no really used any ways by the productions because Tiffen and Schneider Filters look different to the Arri ones so the avoid to mix them. So with almost to none mechanical comments that get worn down, in contrast to your camera with the moving mirror and mechanical shutter, the hardware does not break. The only component you have to worry about in my opinion is the sensor. The older the sensor, the more likely is it that a pixel goes bad. You can fix it with a pixel mapping to tell the camera which pixel is gone bad and the camera will correct the picture with the pixels around the broken pixel,but you can only can do it so many times before you must decide when is enough and the camera has to go to Arri Service, where they decide if the sensor can be recalibrated or if there is nothing you can do any more.
The thing is that a lot of hours does not have to mean “run down” sensor. I have seen camera with 9000 hours with almost perfect sensors and I have send in camera with 2000 hours for calibration. So in con conclusion if I would like to buy an old camera, I would like to to see the a sensor grab with closed mount cover, log c, hi iso and tuned of pixel map. With a picture like that you can tell a lot about the health of a sensor.
The answer to the second question.
The workflow with these cinema camera was shaped for a lot of years. In the really old days with analog cameras I think it was not possible record sound and picture on the same reel, so sound was recorded separately. When it was theoretically possible every body was used to the system. Today the fact is that modern cinema camera still only have to channel recording and the sound mixer on a film set records a lot more channels simultaneously what still makes it not convenient to record sound in camera.
For a documentary purposes is an other story. Arri has the Arri Amira in their line up, with the Alexa Mini Sensor, tbh the sensor was in the Amira first, real microphone preamps with XLR connectors. So this is basically an “camcorder” style camera.
@@pumbaandtimon Cheers, have a great weekend.
🔥🔥🔥
Great video, I didn’t realize that the camera is over 8:years old now.
Arri is legendary no doubt but man The Sony FS7, can please explain FS7 some day? 🙏
I'm surprised to see the FS7 still being one of the most used cameras in 2022, on that list at the end of the video. It's a great camera.
Hi, why sikn tones on alexa mini is different from other alexas?
Your footage on 7:49 is so damn good dude🔥
This mini camera still relevant
Maybe in the future camera manufacturers are going to make customizations available, where we'll be able to decide what do we want in the body, almost like buying a computer these days.
Everything Everywhere All At Once, the movie of the year, was shot on it. I'm glad people are still using this camera.
great job!
is there a way to export a 3840x2160 footage with alexa mini? or it's limited to 34xx?
With the right license installed, you can have files that 3840x2160 out of camera.
Is that top ten rental list on your site?
Want the mini lf review 😋
informative 8.5mins thanks CVP.
not my camera, but... love to see what is possible!!
Waiting for CVP to re upload their Red V-Raptor XL video 🤣
why was the reason they discontinued the ARRI ALEXA Mini?
The Alexa 35 is almost like a Mini and the sensor is the same size but newer so that's my guess
@@familygonzcartwright oic.. makes sense
@@emanueldavid7977 why do car manufacturer discontinue their models ? The newer ones are way better and you get the Parts more easily
Simply for not having true 4K resolution which is demanded now by platforms such as Netflix - the original Alexa, Amira and the Mini used the AlevIII sensor that is only 3.4K actual, 2.8K used photosites. This was the reason for the introduction of the Alexa LF and Alexa Mini LF, rather than a demand for a larger format. They use 2 AlevIII sensors stitched together to produce 4.5K photosites. The Alexa 35 is again the smaller Super35 format, but has a new sensor of 4.6K.
@@CUTproductionsLtd Would love to own one..out of my price range for now. thx for the answer..appreciate :)
ARRI ALEXA Mini is approved to shoot Netflix 4K Originals my friend
Is the ALEXA Mini LF Netflix approved? Yes, as you can see on the Netflix Partner Help Center. Please note that this includes approval for the anamorphic recording options detailed in the ALEXA LF & Anamorphic Lenses white paper and for the LF Open Gate 4.5K, LF 16:9 UHD and LF 2.39:1 4.5K recording resolutions.
The Alexa Mini is NOT Netflix approved for Netflix produced original shows, as it doesn’t shoot native 4K. However, films and television shows shot on the Alexa Mini, that are shopped around for distribution, can be purchased and distributed by Netflix.
The only Mini camera that is Netflix approved is the Alexa Mini LF.
Cameras are a changin
Film are a stayin the same.
You know what I don't like about it? I can't afford it
I am excited for the V-Raptor XL 8k and Sony Venice 2 8.6k footage!
Ridiculous that they did not make it 3.8k to pass Netflix specs. Just ridiculous.
Why is that ridiculous? This sensor was designed and released before Netflix started making their own content, let alone decided that there would be a 4k mandate...
@@oscarstegland Yes, saw it later. The Mandate is ridiculous for sure.
@@constantinosschinas4503 it is not ridiclous. Consider output nowaday reach 4k. Netflix is futureproofing their investment. Even films made in 2000 need some sort of remastering. Imagine not mandating 4k and pouring millions in investment in film?
@@dutchmilk The ridiculous aspect is that resolution does not equal quality. A 2K film with excellent production and camera colour (not mentioning script and acting) is vastly better than a 4K burb. You can upscale, but not fix colours in you have no colour to start from.
If we can watch a 2.8k Alexa movie in a large cinema and it looks amazing, it will look good on a living room TV too.
Only 30K used! :-)
The Sony Alpha 7 S 3 is an good Camera, with 16Bit RAW HDMI Output.
looks worse and much more plastic compared to alexa, i own both, pure numbers don´t tell how the picture looks. but for the price it´s good.
It might have 16Bit RAW HDMI Output, but you do realize that it’s currently impossible to utilize that 16Bit data, right? It caps out at 12Bit via an Atomos Ninja recorder.
Like the other person commented, I too own both, amongst many others, and the Alexa imagine is in a different and more prestigious league of its own.
Take a brief look at Arri prices, if you find this compelling. It'll ruin your day.
I wish shooting super35 was more common. I’m tired of the LF look. Never liked it. Feels too flat if that makes sense.
Please explain.
Naw that doesn’t make sense
Fully disagree. The main appeal of LF is an image that is less flat.
@@turbotaquitogoogle8095 He chose the wrong word with flat. But we all have to agree that everyone has forgotten depth and backgrounds with the LF and almost all the shots have too little of a depth of field which isn't always a great choice in storytelling.
but it's not netflix approved
but oscar approved
Who cares. Are you personally shooting Netflix original series? I love how people write off a camera that isn’t Netflix approved, as if it’s worthless, when most of them themselves aren’t even in the industry (e.g. working with Netflix) where it would personally affect them.
Seriously ??... I purchased one and sadly realised in little that an hour, that is was a very basic Prores camera, shooting RAW with it was painfully slow with no great advantage. Then stupidly got bought a LF and... aagin. My kids black magic camera had more tech in it. The images were only HD in a 4k world, and lacked a Raw workflow. Obvuisly I stayed with RED. Even though the ARRI logo is more prestigious and alot of DOPS dont do there own post, so dont understnad the true benefits of 8K 16bit RAW... sadly. But when I get them into our office and get them to bring there best ARRI shot in, and then we show them a true 8k image DR on a 8k screen... they mouths drop. And instantly converted... Same as I was.
What kind of stuff do you shoot? I'm curious. It's not just brand name, people genuinely love the Alexa look. Especially for narrative work. Most people don't shoot raw on that camera, because they don't really need to. The tech is not the highlight of the Alexa, obviously, it's an old ass sensor. That's why it's not on the Netflix approved list. Also, you say basic Prores, but Prores is an amazing codec, particularly on Alexa footage, so I don't know what you're talking about... Obviously if you want high resolution raw, there are much better options out there.
you have really no idea what you are talking about, get a samsung phone with 120mpx and be happy.
Arri is not allowed to record compressed raw due to Red having a patent lock on it.
Did you really buy an ARRI Alexa Mini without knowing the specs of this camera?? 😅
In case people are wondering, the OP is Mark Toia (R.I.P.). He was an amazing cinematographer (look up his work via a Google search). I won’t bash the guy, as he’s no longer with us to defend his initial statement; but he was a known RED loyalist (and very close friends with the former RED CEO, Jarred Land), and only ever shot on RED, as well as was obsessed with a high resolution, RAW workflow.
ARRI cameras aren’t meant for cinematographers who only want that, as well as the latest hardware specs (since new RED cameras seemed to come out every year unlike ARRI).
ARRI cameras, and their true beautiful nature, weren’t meant for Mark Toia.
What the ratio of Proress to ArriRaw for most DP's?
As a Local 600 1st AC, I’ve worked with the Mini with maybe 50 different DPs, and about 90% of the time we shoot ProRes.
Super outdated but a top 20 camera still!
when you want pleasing images with good highlight roll off there is no alternative, except from arri, maybe venice