The Hollywood Cinema Camera Behind Most OSCAR Winning Films - Arri Alexa
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- Опубліковано 14 жов 2024
- Learn about the Hollywood movie camera behind most OSCAR winning films - the Arri Alexa. We talk with director of photography Scott Clark about just that. I grew up in the videography business using Prosumer DSLR and Mirrorless cameras like the canon 7d and the sony a7iii, in this video we discuss why cinema
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You're a really humble guy. So many people here picking apart your video, and yet you take their (sometimes bogus) comments in stride. Much respect. Keep going, you'll go far. Also I really enjoyed your video.
Thanks for the kind words Andy! I woke up to find UA-cam pushing out this video to a lot of people, and I can’t control what people will see first of mine. I can only get better through experience. And obviously I have learned from this one. I recorded this interview about a year ago and just got around to editing it together. Crazy how the algorithm works. And I think being an editor by trade I have to take feedback all the time :)
Great content - wonderful interview, but it would have been nice if the A camera was in focus - I was straining to see the details on the ARRI
@@JavierMercedes, if you noticed, people who criticized didn't provide and example of how they did it better. The information conveyed was very interesting and insightful. You're an attentive unobtrusive interviewer.
@@JavierMercedes salona fish picture Hollywood
Everybody complaining about the sound. O my god. It was good. It's a youtube interview and you can understand everything. No noise, no peaking sound or unclear speach. Horrible the people here.
You keep going javier. Great interview.
Stephane Gregory Dan Thanks Stephane! Made my weekend! Glad you liked it!
@@JavierMercedes Just finished watching the other video about the red camera. Everybody is so finicky latey. You are learning as I am and everyone else. I do not see the big dieal. And I am glad to have made your weekend. I still have to find for the commentary to make mine. lol. My new dream is to shoot once on an Arri Alexa. I just got into phtography myself. Like, a few months ago. lol
Stephane Gregory Dan awesome man! Thanks for watching the other video too and hope you start creating soon!
Glad you said it Stephanie, it's perfectly clear to understand so why spread negative vibes on a you tube video... says more about the people commenting I think :)
@@brendontyree you are absolutely right. When i criticize then actually its mostly a constructive critique.have a good day.
Does it have a flippy screen for vlogging
Hahahahaha I think it would fit on a JOBY no problem!
Javier Mercedes Love to see someone vlog with thison a skateboard while vlogging
Honestly I don’t think these cameras are big enough
Well, I'm sure people use these cameras on wheels all the time, probably not in a position where they are point it towards themselves, But I have seen a lot of camera operators behind the scenes on Instgram using rollar skates to film certain scenes
i would love to see that,a flip touch screen and someone to handhold the camera..and to think some weaklings complain about a DSLR...
The comment about feeling that the image is great without necessarily knowing why was really insightful. Its so true, I work in design, and sometimes people can be like "what's the point, the customer will never know" and they are right, but its those little things that subconsciously effect our reactions, our perception of things, and ultimately how much we enjoy it.
I agree Oliver, Like when Scott turned on the camera and I saw the image for the first time I was like "things don't look as good as this straight of camera on the equipment I use." I just hadn't seen an image like that before, and I know cameras now can get it right with correct exposure, but with the image quality so good on the Alexa it just seemed like it released the friction of worrying about the technical stuff and just let the user focus on getting the shot they want.
That is absolutely true.
I have been a videographer for many years now shooting video on DSLR's and mirrorless cameras. Last year I took a full time job as an editor for a post production company that does a lot of national broadcast TV commercials where much of the footage that gets shipped to me for editing was shot on Alexa's. He said it perfectly when he said you can't always put it into words but you can just tell it's better. There is just a LOOK that it has that you know it when you see it.
Awesome to hear it is true!
And thanks for watching!
It does have it's own look and there's just something about it - just like glorious three-strip Technicolor from days long gone by. The thing is, you *don't* want a cinema camera to be entirely accurate, because that's takes away the magic. Movies work because they are a dream-like experience. Grounded in reality, yes, but still slightly offbeat - in a pleasant way. Arri really nailed the look, pushing digital away from sterility and blandness more towards Kodachrome - but keeping the image rocksteady and free of noise. It's quite simply the best camera ever made, as analog IMAX isn't feasible everywhere. But an Arri Alexa is.
Huge thanks to Director of Photography Scott Clark (@undeadbatteries) for showing us his Arri Alexa and giving us a brief overview of what Cinema cameras do for all those professionals in Hollywood. Really cool to learn some things about a very expensive camera. Would you guys drop $30K - $40K on a video camera?
Thanks very much for this Javier - Big jump from my GH4 - One day. . .
@@visitingearthmedia1949 Hey it will happen before you know it, but don't discount the GH4, great camera!
Of course, if the workload and client base demanded it.
Arri have the best highlight rolloff I know, followed close by Sony F55/65. I honestly think Red is more about more pixels. I'm not in love by that image that much.
You lost me at the beginning with the blasphemy.
This is my new vlogging camera
Seems about right 🤔
@@JavierMercedes on a Freakin Selfie Stick too
Is that a challenge?
@@JavierMercedes i say "Yes indeed"
haha
Best image of any camera hands down. Best look at an Alexa I've found on youtube. Thanks guys!
Wow, thanks a lot for the kind words James. glad you liked!
I'm glad it was clarified that it's the camera behind most OSCAR-winning films 'after digital cameras were massively introduced in Hollywood'... or in other words, since around 2010!
Thanks Primius! very good to know.
Nothing beats ARRI skin tones and dynamic range.
i agree
also the blacks contrast and color are awesome too
I mean, nothing except the elephant in the room 😂
I really enjoyed this. Thanks for producing it. Scott seems like a really informative and very modest DP. Job well done.
Thanks a lot Distant light! Glad you liked it. I learned A Lot from this short convo. Scott really knows his stuff.
This is a pretty fun interview. One can nitpick, but overall, really enjoyable. In terms of anamorphic and letterboxing, it was basically created to preserve the original aspect ratio. That's all. Otherwise, all content either be cropped to 1.33/4:3 (pre HD) or 1.78/16:9 (HD), and would need the assistance of things like pan-and-scan (which many filmmakers hated). And when you use anamorphic lenses, it's "squeezing" the image into a more square frame and, when projected, it uses another anamorphic lens to "de-squeeze." In the digital age, if you shoot anamorphic, you can use an editor like Premiere to manually de-squeeze the footage. You weren't saying it incorrectly but it was a bit of a complicated explanation.
Thanks For the explanation Hyper! I didn’t know that you needed specific anamorphic projectors back in the day just to project the signal back out to the world. Seems so labor intensive and expensive on not only the production crew but the movie facilities themselves. So cool. Glad you liked the video!
@@JavierMercedes Many projectors came equipped with spherical and anamorphic lenses that would rotate based on the format of the film - it's referred to as "flat" and "scope" Flat usually referred to movies that were presented in 1.85:1 and scope was 2.35:1 or, nowadays, 2:40:1. So, you program a projector for each format. Really interesting stuff. Thanks again for the great video.
The most important detail about the anamorphic ratio is that if you have only 16:9 video you can't use the 2x anamorphic on the full video readout. This would result in 32:9 which is far to wide. That's why there is an option to get a sensor that takes a larger 4:3 video-frame that results to an 8:3 video after de-squeezing. The 4:3 video can also be used to capture open gated videos which allows to crop in later.
The only hybrid camera that is able to do this today is the GH5. It has an option to take 4:3 videos with up to 30fps and 18MP. You even get the de-squeezing on the display. The disadvantage is, that it only works with 8bit 4:2:0 so you loose the better image quality and DR compared to normal 4k. Because of this, filmmakers tend to use the smaller 16:9 area and crop this to 4:3, especially if a log profile is used. Just like with the Arri, in some situations, the better pixels beat the higher resolution.
Wow Ulrich coming in hot 🔥 with the knowledge. Thank you so much for the explanation. I Much appreciate the time you took to write this out!
Thankyou so much for providing this wonderful informative crystal clear content !! This is so much needed
Dude, this video is amazing. I learned so much. Thank you so much for bringing the video to us. Liked and was already subscribed.
Your Comment made my day Devin, thanks man
few years ago I learned that if your lighting, scene, decoration, acting, framing, sound sucks not even Panavision or IMAX will save your movie. on the other hand if everything is cool, C200 is more than enough to make a high quality feature film.
Agree
The rule is people can tolerate (and/or excuse) a low quality picture, but if the sound is bad they will almost immediately tune out.
@@krane15 I watch Japanese comedian Shimura Ken from 90's in 360p and 480p, cuz he's hilarious, I don't watch most of 4K vloggers, cuz their content is mostly (don't wanna be mean, but struggle to find another word) garbage.)) sound and content is always priority. unless you're going big with feature film, then you got to do a good job at everything.
In the first 5 minutes of this video Scott admits that the quality of cheaper cameras is getting closer to high end cameras. He states that they all shoot within 90% of each other's quality. But if you're looking for that extra 10% you're not going to get it in a C200. I've noticed that the only people defending cheaper cameras are the people who are forced to shoot on them. If you're given a choice between shooting on an Alexa or a C200 or Red, I'll guarantee you'll take the Alexa.
@@digitalcanvas4444 All excellent points. Also, what some people fail to realize is that the professional camera such as Alexa (and yes, the RED too) is not just a camera, but an integral piece of valuable hardware. It is the nexus of all the video components. Your 4K camera at home can acquire pictures same as the Alexa, and its not that you can't make acceptable productions with it. But the Alexa does these things in heavy duty style.
Its myriad connection points, readout, modularity, outputs, operational reliability and superior structural integrity all combine to make it the single most important piece of equipment in a production.
Its like your car compared to a truck: Sure you could pull a load of lumber from Home Depot with your car to do some home improvements. But if you need to haul 60,000 lbs of lumber and equipment up a mountain to build a house you're going to need something a whole lot more power. You're going to need a semi. That's the equivalent of the prosumer cameras to your Alexas. It's built with heavy duty operations in mind.
These camera are there for when production calls for the heavy lifting, and what filmmakers rely on when they have multi-million dollar budgets and where lesser cameras will fail. To a secondary degree, they also have their own unique color science that makes them even more special. At least, until popular taste changes.
Great video :) really enjoyed watching it Thank you :)
Awesome glad you liked it! And thanks for commenting!
Do you know what monitor he had on top of the Alexa? It looks like an Atmos something, but not sure which model. Whatever it is, it is pretty nice.
It is an Atomos, I’m not sure if it is the shogun or not.
@@JavierMercedes Thanks buddy, great video, keep it up!
Thank you for sharing your knowledge with us. I dislike when people that have never put skin in the game are always the first to comment or criticize.
Thanks for watching Man Theory! I think that for the most part this video is reviewing a top tier cinema camera so that would attract people who are really keen on video production. And as a UA-camr when I recorded this a year ago I only had around 500 subs. I’m still wrapping my head around shooting something like this by myself and nailing everything. Everyone’s feedback is appreciated, I’m just glad people are commenting on a video and YT is pushing it out to everyone.
had no idea that so many people in your audience are sound engineers. Interview & content were awesome, great channel & enjoyed the video
Was curious, what mic stands are you using for your Shure mics?
Also, suggestion maybe invite Paul Massey on the show to give all the audio fans a treat.
listening on headphones, everything sounds fine
Massey would be an amazing interview. Thanks for the comment! I have a whole video talking about the mic stands I use for my podcast here: ua-cam.com/video/YQdZVfYhOMU/v-deo.html
The thing is I am not using those mics on the stands, I just left them there as a set design after Scott and I recorded our podcast, the audio you are hearing in this video is from a boom mic out of shot. The podcast sounded great, this video on the other hand had a bunch of room in the audio because the boom was far away, things I would change in the future. If you are curious about the podcast we did here is the video: ua-cam.com/video/4ip4Tp-egLA/v-deo.html
Are you able to intentionally “clip” the highlights on the Alexa to get a soft yet brightly exposed image?
What a camera! So hugeee!
Nice video man. Thanks for sharing. As a new UA-camr I’m nowhere near needing to buy or shoot with either cameras, but I’m just trying to see how others hustle .... subscribed.
Thanks Enforcer! Great profile pic. For UA-cam videos I don’t think anyone needs any ARRi like this, just a good story or value, (and audio, which I have learned from making this vid 😂. ) most will be forgiving of the quality of the image of you nail those other parts.
Haha... so true... it’s funny you say that ... literally my most recent video is a video about mice and audio quality.... very elementary though
Lapel or Shotgun? Review & Comparison of two affordable microphones
ua-cam.com/video/6sjArnPdtqg/v-deo.html
super cool man! love hearing about these cameras, especially pricewise because its kind of a hidden number. I guess if you want the best, price isn't an issue. Anyways, keep it up. love it
Thanks Joss! Glad you liked it!
Awesome video, I loved the conversation. I learned a lot from this.
Thanks Eddienom, glad it helped in some way
Not that you asked but you can download MLoudnessAnalyzer to get your audio levels matched. Set it to -23LUFS and aim for regular dialog to hit around 0LU short term. Emphatic speech, screams, and loud music can go +6LU. You can also set up a loop back with an interface or possibly use something like VoiceMeeter Banana to real-time analyze audio from video to see how the levels move. Just trying to be helpful.
Thanks Hexspa
hey man, noticed people are commenting on the audio - the mics are good, but just need to be closer, as these are not as sensitive - using a boom arm off of amazon will do the trick. loved the content, can't wait for more episodes!
Thanks Sol! I’m actually not using the SM7Bs at all. I recorded a podcast with Scott prior to this video and left them on the table for set, what you are hearing is from the boom arm, and I imagine it is near Scott because his audio comes in clearer, as a one man band filming this there was no way for me to check my level when placing the mic. Thanks for commenting! As you can imagine the audio for my podcast ep is much better with the mics in front of us.
Here is the podcast ep for reference: ua-cam.com/video/4ip4Tp-egLA/v-deo.html
@@JavierMercedes hell yea that sounds great!! better luck next time with the audio
I have a few questions... I read that the Arriflex 35MM cinema camera was the state on the art as of 1940 and through out the '40s at least. Can someone tell me, roughly, how much that camera weighed in the case and out of the case? Also was the tripod stored in a separate case and if so how much did that weigh? Also, what was the power source? Was it electric? If so did they use a generator or batteries when shooting outdoors? If so, how big was a generator in those days and what did it weigh? Thank you very much, Don
Ayyyy ..... Thank you as always Javier
Thanks for watching RedSabin! great username btw!
I've clicked ans d subscribe because I understand how much work it takes to coordinate such a shoot and produce content like this. Javier I Mercedes AWESOME content. THANK YOU. I just started elevating my game to do more documentary type things instead of social media content for my clients. I want to leave a legacy and instead of waiting for that distant day I'm pitching clients who need a documentary about themselves because they arrived in their career to such a level. I purchased a Mark II 1 D X because it gives me a lot of flexibility. But when you blow all your work on large screens ALL discussions end and nothing competes with Arri... I am crying inside lol. But hell of a video. Rentals !!
Haha Rentals indeed, thanks so much for watching and commenting! 1 DX is a beast of a camera, so many possibilities, it just feels solid and nice in your hand when shooting. Really cool what you are up too!
I love that you're making this kinds of videos, I wish you would have covered other cameras Sony, Panavision DXL2, Canon,Red, Panasonic, etc. This felt like two fan boys gushing over Arri. Also, I'm positive that you couldn't tell the difference between most cinema cameras when viewing footage that was exposed correctly. I know you get that "you just know" feeling like you just saw Jesus when viewing Arri footage, however I "just know" you and myself included can't tell the difference. Wait until 8K is standard you won't be using 3.2K Arri to blow up that image to 8K. LOL
Hey Greg, Scott and I covered his RED camera in two videos before:
RED Part 1: ua-cam.com/video/FxBpMnNANIk/v-deo.html
RED Part 2: ua-cam.com/video/jUVu_8mmhOg/v-deo.html
As for looking at footage, I think the correct exposure comment is true, I have minimal experience with ARRI when it comes to cinema cameras, I've edited more RED footage than any of those other cameras you brought up. I think if you are paying for a camera that costs that much I would hope they would get the job done for what you needed, It probably depends on the gig for what camera is used.
WOW!! Those are monster Cameras, interesting, again love your channel so many can learn so much from you and all the amazing people you interview
Thanks Raven! And thanks for watching! They are pretty cool pieces of gear and I’m glad Scott could deconstruct it for us.
Great video man! I love love love the cinema gear, for me it's like seeing a Ferrari for a petrol-head :D If I could have one point of criticism it would be - set the wide camera a bit further, right now the distortion is soo much and it's really distracting. Normally I love the wide-angle look but this time, the over-the-head shot is so much better :)
I agree that the wide is too close, but now I know! Learn from experience:) Thanks for watching and commenting!
Dude on your voice over you need to throw on a high pass filter to cut out the mudiness on your voice. Or you can talk further from the mic to eliminate the proximity effect (strong bump in the low end). Also the SM7Bs can be used at that distance but you need a great high gain preamp otherwise it sounds weak like in your video.
Love this! Nothing pretentious, just honest curiosity. Thanks for this video!
Given the speed with which cameras are evolving, how long do you guys think it'll take until a used but in perfect working conditions Alexa like this (or a RED MONSTRO) is available on eBay for less than $1000? 10 years? More? Less?
Maybe 10 years but I think Scott said this camera came out in 2014 and it still is more than relevant. I think a shift in how we view video will need to happen, like more people going to VR or something like that. Or they come out with the same quality camera for a much lesser price that fits in your pocket. Who knows? Maybe a company like Apple or Samsung already have deals with ARRI to develop tech for cell phone cameras, what a time to be alive.
Just bought an Alexa Classic (about 9 years old) for about $11,000 for the body. That's the current market price for the first generation and it can still pair up with current Alexa Mini and SXTs with little problems. Of course, I still spend tens of thousands more for Anton Bauer Gold Mount batteries, O'Connor 1030Ds, Wooden Camera Universal matte box, and RHOdium ND filters
@@JoeGunawanfotosiamo man, again thanks for all the responses Joe, love your comments.
Hi, thanks for the video. Top information and well presented. Was wondering how easy it is for a single person to operate an Arri Alexa like let's say a FS7? Or does it ideally require a crew of people?
I’m not the best to answer this question since I have zero experience on the ARRI, but I do have a fare amount of experience on the Fs7, but from what it looked like this camera was very much designed to be used with a crew and have the camera operator solely focused on composition of the shot. But I’m sure others could chime in more than I.
It really needs a crew of people. If you're operating handheld you're going to need someone to take the camera between shots, if you're on sticks it's going to be way too heavy to lift camera and sticks together.
It's not designed to be used by a single operator, and there are better options for that kind of shooter.
Christy Kail thanks for the reply Christy!
Thank you so much. @@JavierMercedes
Thanks for your response.
Terrible audio levels discussing this.
Thanks for the feedback
Sorry? What? I couldn't hear what you said.
@@sushimamba4281 thanks Sushi, Duly noted and will definitely address in further videos.
@@JavierMercedes No probs, I was kind of joking... cheers
The main problem is that they're using an SM7-B which sounds great for voice; but you really need to talk into it. The mics are just positioned too far. They'd need to talk straight into it, or use other types of mics...
You forgot to mention the bragging rights of saying “I got an ARRI.” Heritage factor, history and experience. Someday...
Good point John!
Great InFo on the differences. iPhone and arri, Its not close though... project both on to a theater screen and the difference become more than astronomical. Comparing how two cameras look by watching a UA-cam (compressed to hell) is like comparing Orange juices after brushing your teeth,
Would just like to add: my Amazon Echo really hated this video.
So many Alexa’s said in this video 😁
Still cameras actually have AA/moire filters...? except things like the A7Riii. And the sharpness can be compensated for in how the something like the a7Riii processes the video (most people dial down the detail in the picture profile). As for ergonomics, Sony lets you customize button mapping for when it is in video capture.
I got an Alexa Classic for $7500 on Ebay. LOVE IT.
Sounds like a deal
@@JavierMercedes I haven't seen one cheaper yet, so I feel lucky. Wanna hear something crazy? I had a client the other day insist I shoot on a Panasonic GH5 because it's 4K when I said I would throw in the Alexa at the same price. "No thanks, we'd rather have the 4K" they said. Hoo boy.
@@BrianMillsMFA Crazy. When knowing that most of people don't even have 4K screens.
@@Leprutz I did the shoot on the GH5: it was for the web, but they insisted on that 4K
Finally, at last someone on youtube talks about REAL video cameras and not cheap photo cameras that can take video
theUKtoday thanks! I like talking about photo/video cameras too but getting to learn about these cameras was really cool. Glad you like it!
Very nice informative video! Thanks!
Thanks for watching and commenting Mücahit, glad it was worth your time!
super informative!
appreciate your work!
Glad it helped!
Love that you're making these videos. Not a ton of these out there.
Thanks Burke! Love your new profile pic! Use one for your next music video :) ?
@@JavierMercedes HAHA! I would love to, but Arri Alexas are definitely one of the most, if not the most expensive cameras to rent. Maybe one day! ;)
" Oh, the Alexa is so heavy for shoulder work. " In the meantime, Hoyte van Hoytema does it with the IMAX. :D
Another great interview - fun to see those "real" cameras! If only I had a spare $40,000... come on, couch change! 🚀
Chump change indeed Brian, thanks for watching!
Javier first thing in cinematography is audio quality is equal as video quality
Thanks WhiteFrequencyNoise, will take into account.
When a wide screen video has the “black bars” that delivery format is called Letterbox.
Love it! I’ll take four...I’m a multi cam kinda guy. Thanks.
Hahahahaha! Maybe I should have dropped an affiliate link in the description.
10 times, the amount of times my Amazon device activated during this video lol
Sry bout that 🤷♂️ thanks for watching!
scott explains 11 minutes the benefits of the arri including the fact that a even an upsampled 3.2k picture is better then all the 8k-cameras out there. AND THEN javier has to ask: ONLY 3.2k? what haven't you understand? and why do you all think the number of pixels make you picture great?
Sorry you got that out of my response, I would for sure take dynamic range at 1080p to 4K-8k res. The picture that I saw coming out of camera right even when he turned it on looked beautiful, it just looked “right” and that you could just focus on the lighting and composition you wanted. Thanks for you comment Jeff! For sure a big debate right now. I heard Sharp has an 8k camera coming out and I would much rather companies spend that R&D to develop a cheaper camera with amazing dynamic range than resolution.
I'm Ahmad from Iraq. I hope to become a photographer for Lazur Hollywood and I will be filming the latest films but in reality I am a student
Interesting video of how the "establishment" works.
Totally not needed though. There's an amazing amount of outstanding cinematic cameras available now at a fraction of the cost, all good enough to capture stories.
Cameras don't make films, the people behind them do with good ideas.
The game has changed. As good as ARRI and RED think they are, the competition has caught up. The industry is slow and too snobby to realise this. I work in TV advertising so get to see this first hand.
Very good point, I think in most applications people can use an abundant amount of camera sources and get amazing results, I think camera companies like ARRI and RED make products that give productions the most available options to make the process efficient and professional. Meaning when you have the technical skills down and set out to film something, you don’t have to work as hard to achieve good dynamic range and resolution. You can focus on the story, When dealing with the footage in post you have the most options......and the most hard drives. Because those files take up so much space!
I don't know the level of advertising you work in, but about 80-90% commercials (and shorts, feature films, and music videos ) I work on as a DP, camera op, or 1st AC are done on the Alexa, particularly the Alexa Mini. Most cameras out there still can't quite get the skintone, dynamic range, and latitude that the Alexa family has. Some of the competition has started to catch up, but none in the smaller, mirrorless cameras without a lot of post work. And glass makes a huge difference, too. Can't stand still glass when it comes to mechanics, workflow, durability, and most importantly, look.
The industry is not slow and snobby. A lot of the DPs I know and work with, we test the hell out of cameras in both looks, pairing with glass, lighting situations, and workflow on set. When you gotta build small cameras up to work on set, that takes time. They can be used for specialized situations but hardly any DPs would want to work with non-cinema-built cameras.
I own an Alexa Classic, and put against majority of cameras out there, ESPECIALLY mirrorless, my 8 year old camera still looks far more cinematic.
I'd say currently, the ones that play in this level are current RED cameras (Gemini's quite nice), Sony Venice & F55, FS7s with vintage glass, Panasonic Varicam, and Canon C-series (hate their ergonomic & bad modularity, though).
@@JoeGunawanfotosiamo thanks for dropping such an insightful comment Joe. love reading about your experience.
@@JoeGunawanfotosiamo
It depends who I'm working with, Joe.
i.e. with a crew through a media agent (lifestyle ads) or on my own (with an assistant) doing freelance.
Onset, ARRI and RED dominate, though it does depend on the client.
Cameras are often hired, but we all have our own kit. F55, FS7's and recently the new Venice which was purchased by the agency. I haven't used it though.
I much prefer working freelance.
I just think the days for ARRI and RED dominating with their high end cameras will come to an end. 99.9 of people watching a finished product don't ask "I wonder what camera this was filmed on" ... There's many superb cameras capable of telling stories with the right person/people behind the lens.
I've just started playing with the
Kinefinity MAVO 6K Cinema Camera High Speed S35 6K CMOS Image Sensor - No Mounting Adapter. With 6k recording up to 66fps, 4K up to 100fps and 2K up to 192fps You can also add a full frame sensor, but that's a little bit to costly for me at present.
It has a gorgeous cinematic image with up to 6k resolution.
The S35 version costs pretty much the same as an FS7 II
Its modular much like the RED system, but I think the image is better and incredible value.
The visual industry is changing in the same way as the audio industry.
@@ProjectOverseer sure 99.9 of audience watching the finished product may not know exactly what camera, but clients, agencies directors, and DPs do have their preferences & biases. Alexa, Red, and Sony have been proven workhorses on set in regards to image quality, workflow, reliability, and accessibility with rental houses. Blackmagic is very much in the realm of smaller owner ops, and as much as I like Kinefinity, they are very much untested in regards to reliability and have zero support network in the states, especially Los Angeles. If a body malfunction, you can't just get another body within an hour or two unlike Arri, RED, and Sony
At 2:50 you pointed out that Red cameras have only been nominated for best cinematography but have never won. That's a very interesting point that you make. It's a distinction that I've never heard other cinematographers make but you definitely make sure it's known. And you are definitely implying that your camera has that little extra something to not only get nominated but to win. I hope you're never just nominated and only win Oscars.
Thanks Waldo, Scott owns both that RED camera and the ARRI, we have a whole video explaining all the things he loves about the RED camera he owns published earlier on this channel. I think he uses whatever camera the client calls for the project.
Very cool - can't wait to learn more about some of these cameras I've never owned.
I’ve got a couple of episodes on the red on my channel already if you are interested, thanks for watching!
@@JavierMercedes thanks for the heads up I'll check em' out!
Nice video and some good info here!
Thanks Adventure Biker glad you liked it and thanks for commenting!
@@JavierMercedes Still gonna have to stick with my smartphone cam though - there's no way I could carry an Arri on my mountain bike to shoot stuff! LOL
" I grew up in the videography business using Prosumer DSLR and Mirrorless cameras like the canon 7d and the sony a7iii." This is a funny statement, given how relatively new these cameras are on an evolutionary time scale.
Dj Toman I guess so, the original Canon 7d was released back in 2009, 10 years isn’t too long but in tech it’s crazy how fast that goes.
TY for sharing.
Thanks for watching!
Very informative. Thank you for sharing this!
Thanks Boris! Glad you got something out of the conversation.
Even an Alexa Mini is worth more than my life.
I just saw Potato Jets video talking about them and when he decked it out it was like $110,000 or something crazy like that.
Bro don't sell yourself short. With the value of your organs on the black market You could likely get a few Arri cameras. Sounds to me like you don't really want it
I'm only 0:33 in but I too am noticing the audio. The narrative voice is distorted and this could be "fixed in post" with Izotope RX tools. Hey, at least the video part is top quality. :)
Still I listened all the way through. Content is king and this was well worth it.
Thanks for offering a solution! I haven’t used the Izotope tool yet. Now I know! And thanks for the feedback and watching through!
I find it funny to listen to the jealous fan boys claiming their camera is just as good. It's the difference between a Formula One race car and your Hyundai.
yeah,yeah,their camera is the same,and then they woke up from their stupid dream//
It is more like the difference between an F1 car and the latest Lamborghini or nascar.
Modern day phone cameras are superior (in most regards) than cinema cameras were just 12-15 years ago. They really aren't that far ahead now days.
I love my Hyundai
@@thedave7760 cinema cameras 12-15 years ago were traditional film cameras, no way on earth is a phone as good as them
@@sebfleebee Have you ever shot with a Red One?
At what point would you say that digital cameras were superior?
What are your Top5 digital cameras for shooting 4k in terms of price and image quality?
To be honest I love the Fs7 because of three things, 1. XLR Inputs. 2. Internal ND filters. 3. Continuous record. (3 and 1/2. timecode input)
- one of those only has to do with the image quality. I think when paying for higher end cameras you are paying for connectivity to other things in terms of I/O and the image quality comes with it too. Timecode you have to pay more for as an add on with the Fs7, but this is theoretical. That being said, this all comes down to the kind of gig you need the camera for. An Fs7 is going to do you absolutely no good if you are filming inside without any good lighting, then you would need something like an a7s. I'm a Sony boy, but I like the other cameras too, I'm just the most familiar with their products.
I don't have enough experience with any of the other current photo/video cameras on the market right now. If you have a good lens and good lighting then my original canon 7d from 2009 at 1080p would look fine for internet videos. I hope that kind of answers your question. Thanks for watching Juerhe1!
Thank you for this!
Glad you liked it, I thought it was really cool to talk with someone about this topic that knew what they were doing. Love camera gear.
very cool, thanks
Came here from reddit. Stayed and subbed
Wow! Thanks a lot Gautam, glad you like my stuff!
Dude! I love this video. Got a sub from me! REALLY love these videos, man.
Thank you so much ChunkyJo, glad you liked it!
Your channel really motivated me, man. If you're ever in Vegas, HMU. I'd love to get a beer w/ you. And I can show you some excellent spots to shoot.
Great information!
Thanks for watching and commenting! Glad it was informative.
That camera is sick!!
I think so as well thanks for watching Kush!
+subbed
this video should of been recorded by one of those cameras :D
Ha! That would have been a hefty two have one on camera and another recording
Thank you, Scott Clark
He really knows his stuff
I’m loving this content as I watch it, and I find these movie production cameras absolutely fascinating. The insight is really interesting too and it makes you think about the conception of it all, so in that regard, it’s a really good interview and analysis.
However, would you mind if I made a couple of comments for future videos to really be on a par with the subject matter and for them to stand out? And I’m hoping it’s constructive criticism.
The speedy quick cuts just so dialogue doesn’t get dragged out are really unnecessary and even distracting. I would get it if it were an audio podcast, but it’s video, so there’s more leniency and you have three cameras to choose from should you want to cut.
Also, the final audio mix, as someone pointed out, is really low on the interview segment, and I’m constantly afraid that a cut to a piece will pop up and completely blow up my speakers (being dramatic here) and probably anger my neighbors too! Lol
And on the audio issue, you have two great Shure mics just standing there, but with the analysis of the cameras, you’re really off-mic all the time. Have you considered lavaliers if even overhead mics?
And obviously, even if I realize your wide lens was the only one you had for the main wide shot, again, it really doesn’t flatter yourself or the interviewee and it’s a star contrast to the other beautiful two shots you have (love the lighting).
So again, I hope you interpret this as constructive criticism. I definitely liked your video and subscribed to your channel, so you’ve got a new viewer to keep up with the content :)
Cheers!
I really appreciate you taking the time to write this out Alexandre. And thanks for the constructive criticism.
I wasn't expecting this video to take off like it has. I recorded this interview almost a year ago and just got around to editing and releasing it a year later. I've had +50 interviews for my Passion In Progress series since this one and have been working on those technical concepts since what you see here. But I understand that most will only see this one video for which I'm grateful. If interested check out my other more recent interviews, If you are into production Cinematographer Andrew Barrera is a good one, and Make-up artist Amber Griffin is another great interview. If you want the full list here they are: ua-cam.com/play/PLY2jhpEHBfXRB_EqJlfo8JfkX2sNatiQL.html
Whats up with the audio levelling throughout the video??
I mixed this while I was on an airplane. And uploaded. Little did I know that this was the video that UA-cam would push out to everyone, hope you liked the video regardless Lachlan.
@@JavierMercedes Love the video as always. Just curious as a audio nerd :)
Im no expert in any way, but if its ok, I want to give some constructive criticism.
You could have tweaked the framing of the shot. There is some space behind your Partner but you are cut Off.
Also i think, the picture looks a bit faded
Yup I agree with all of that! It was my first time shooting something like this and now I know what to do for the next time, thanks for watching and commenting!
How did you get this
Yeah, Yeah, Yeah. Arri's are the best for winning an Oscar in cinematography. But if the story sucks... "Searching For Sugarman", won the BAFTA Award for Best Documentary at the 66th British Academy Film Awards in London and two weeks later it won the Academy Award for Best Documentary Feature at the 85th Academy Awards in Hollywood. Shot in super 8 and an I phone. Story comes first.
Story is king
Is anybody saying otherwise?
Thank You very much Sir and Your Guest for that video.. but.. it just got me motivated to buy more gear for my rig :F
GAS or Gear Acquisition Syndrome gets to me everyday 😂
Its soooo hard to resist for Us little cinematographers.. my gh5 rig will be soon more heavy than Alexa featured in this video 🎥 (small truth - overkill for us is more professional in our client eyes)
Adam Pluta yes, i use that argument every time I head over to the b and h website.
What a Pro!
I will subscribe just for this series
Thanks Flamenco961, Here are the videos we did on red if you are interested.
RED Part 1: ua-cam.com/video/FxBpMnNANIk/v-deo.html
RED Part 2: ua-cam.com/video/jUVu_8mmhOg/v-deo.html
great video, just subscribed!
Thanks Shawver! Glad you like my stuff!
The black bars were due to movies being filmed in widescreen and TV having a 4:3 ratio. Flat displays debuted in the (compromised standard 16:9) widescreen so the black bars were a lot less intrusive. Most people don't know that movies are shot in 2K so 4k is superfluous. Only neophyte stress over 4K resolution which is not the standard for anything.
This is a great video but nothing that the average videographer will need to know since these cameras as designed to be the centerpieces for a group of professionals. That connectivity is the heart of their value. These are not cameras an individual would buy. One last thing, please don't beat on the table.
Thank you so much for answering that one Krane! And the 2k to 4K explanation as well. Table smacking stops now 🤫
@@JavierMercedes Glad to see the spirit of my comment made it through. Sometimes my humor doesn't always transmit over the internet. Keep up the good work.
Fantastic video. Audio is a bit annoying but its all too easy to boost the sound. Great questions and answers, definitely everything I wanted to know!
Ps Potato Jet is a hidden gem
Glad you got some info out of it Thomas! Thanks for watching
Javier: YOU HAVE AN ELONGATED SKULL!! Get a program on the History Channel ASAP! IMHO (I know, it's just the camera angle, and position, ...and the fact it's not an Arri... imho)
If only I had some extra lenses and another arri just hanging around I would love to shoot on it.
Learned a lot from this. Thanks! and your heads kinda look weird on that super wide lens
Thanks Em! And yeah, I would definitely change. The framing next time I shoot something like this. My thought process was it would be tough to see details on the camera and us all in the same frame unless I was close to the subjects, since I didn’t have time to film inserts but having the wide shot like in the video is the result.
Thanks for this video, it was very informative🔥
Hey thanks for watching and letting me know, glad you got something out of it!
Great content! You sir just got one new sub...cheers from Costa Rica!
Ayyy thanks Karpe D.M glad you liked it!
Please don’t slap my camera
I will try not too next time.
Love the weird distortion of the wide angle lens...
well it's the only one I had to get that wide, it's the Rokinon 14mm
People saying "dynamic range in the highlights" is becoming a pet peeve of mine. There's no shadow and highlight dynamic range, just dynamic range. The grey point is mostly irrelevant and it can be easily changed in post.
Hey man, love the concept here.
I see a lot of Minnin's stuff too here, which is cool. And love the graphics work. Real quick, did you shoot for a particular color grade? And there's seems to be a real noticeable warping on the prime camera shot. Otherwise, very cool. Rock on, man.
Yup, the master shot was a little too close, but it is a Rokonin 14mm and I was worried about being able to see details on the camera if we talked about them, which kind of didn’t end up being the case. I was recording into a shogun and it burned in the lut which was a little too dark for my taste so I had to brighten in post. Which ended up with that “faded film” look in the darks. Color grading isn’t my strong suit but I thought it turned out ok.
@@JavierMercedes Dude, it's still better than a lot of my work. Several of my videos turned out to be graded on an improperly calibrated screen, so they look blown out and terrible. You'll get no shade from me. (Ba Dum Psh) Take a look at some of Mckinnon's stuff for color grading though, he seems to have the lessons I can follow the best. His studio partner Matti has some good stuff too.
@@Allcyon will do and thanks for watching!
Nice vid I’m subbing
The only camera I know of that compares to the Arri's weight is probably the original full size URSA when rigged.
I've handled an Ursa mini before but I haven't had my hands on the full size Ursa before. It was for sure a heavy camera.
Sony and Arri are the only cameras to get Oscar's for technology
I wish it were possible to post gifs on UA-cam because I would like to use the more you know one. Thanks Michael!
@@JavierMercedes Wait is that a good thing or bad lol?
Good, translation over internet text never goes well, but yeah thanks for the facts.
In which case is using the more you know gif a bad thing? If so I have been doing it wrong this whole time
Amazing content! But the audio is a little disappointing..its seriously noticeable! But thanks for the content,
If I could go back and get that good scrumtrelecent audio I would, but alas I cannot, thank you for watching and commenting. If anything I will be so much more paranoid about getting good audio for my UA-cam vids in the future.
Thank you.
My next selfie cams
😁 for sure!
Bahaha!
Only reason the Arri has won all the Oscars and Red hasn't is because top cinematographers used Arri film cameras for years and they trust the Arri name. It's more than likely a comfort thing. Red can produce pretty pictures, too.