ARRI ALEXA CLASSIC IN 2021: Why we bought one & why it may or may not be the right choice for you.
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- Опубліковано 22 лип 2024
- We purchased a used Arri Alexa Classic in 2021 instead of buying a new 4k cinema camera like the c300 mkiii, Sony FX9 or FX6 or the Ursa Mini Pro 12k. In this video we'll discuss the reasons behind our decision to buy a 2k cinema camera and why the Arri Alexa Classic may or may not be a good choice for you. Timestamps below...
Why did we buy a ten year old camera that can only record 2k internally in 2021? No IBIS (in body image stabilisation), No Autofocus, pretty much no usable onboard audio recording, nothing to write home about in low light… Well there’s a lot of Arri Alexa Classics on the used market now and they are becoming ever more affordable. In this video I’m going to talk about why I believe this camera - The Arri Alexa Classic, is an awesome purchase for us, but may not be for you.
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00:00 Opening
00:32 Introduction & context setting
01:30 Camera history and thoughts on image quality
01:58 Red Scarlet cinema cameras and talking resolution
03:56 Benefits of 4k + resolution
04:41 Resolution a lower priority for narrative work
05:30 An Amira?
05:46 Found kit for 5k USD
05:59 Con's and additional expenses to consider before you buy
10:07 Pro's REASONS TO BUY!
10:57 Time will tell if we've made the right choice
11:28 Why we bought it - not branded content (hint filmmaking)
11:58 Why it may or may not be right for you
13:03 Closing thoughts and questions for you
In this video I discuss the pros and cons of this camera, and what I think you need to weigh up before potentially pulling the trigger on one. I discuss my perspective on high quality motion picture capture and why my views have evolved over time from being someone who would NEVER even consider buying a sub 4k camera. Not even back in 2015.
The Arri Alexa Classic kit we bought online was 5k USD with 8 memory cards (x4 64gb and x4 32gb) with high speed license, EF & PL mount, Pelican case, all necessary cables, less than 850 hours use...
It is a period of camera war! TV and Smart phone manufacturers have won their first victory convincing the masses that 4k = good image quality. During the battle two ex-RED owner operators managed to steal (read on every camera blog site) the (not) secret plans to BMD’s ultimate weapon - The URSA MINI PRO 12k, a camera with enough resolution to resolve an entire planet.
Pursued by sinister third-party manufacturer online ads (screw those things), the ex-RED now Ursa G2 shooters raced home aboard their… car. Custodians of the knowledge of the ALEV III sensors beautiful color rendition and useable, dynamic range they purchased a used 2k camera in 2021…
www.alucinorproductions.com - Фільми й анімація
Thank you very much. This video has put so many things into perspective for me. I am now more than convinced that getting one of the older Alexa’s is a deal as a second camera and then thank you very much for that clincher: narrative projects. Awesome!
You're very welcome!!! Thanks for commenting
I had no idea on their limitations before starting to watch this video. Thanks, that's a big help.
You're welcome
Great video. Thanks for going beyond the hype and really getting into the whys and why nots for your decision. Great to hear the thought processes involved. The Classic stil has imagery that blows away many of these high pixel count cameras and I'm glad you noted that it's designed for a crew and not a solo shooter.
Thanks mate. Really appreciate you taking the time to leave the positive feedback. Having just shot our first short with it... Yep! Definitively designed for a crew :-) But yeah I agree the image quality is wonderful. Even the noise is so much nicer than other cameras (more like film grain).
Great film! I'm in a similar position, i had to send our G2 back for repair a second time so have been eyeing up a used Amira to take us up a level. Really enjoyed your mentally for buying it
Thanks Tom! Let us know what you end up doing (if you go for an Amira). Are you considering any other options?
Thanks for the review. This helped me to decide to go with a simpler, modern system for now, and once I build up better clients and need that Arri look, this or a newer used model will be within my budget and needs. Thanks!
You're welcome mate. Thanks for taking the time to comment. Yes we'd like to get an Alexa Mini or Amira in the hopefully not too distant future and then just use our classic as a B-cam when needed for narrative shoots. As much as we'd love the new Alexa 35 it makes zero sense for us financially. A used Mini or Amira in another year would be another story though
Great video mate!!
Been wanting an older alexa for ages.
Have been stepping up my filter kit, tripod and head to get ready for when the right one comes up with a 4:3 sensor.
Thanks buddy! Hope you got something out of it... Good to hear I'm not the only one (waiting for the right used alexa to come along)... Best of luck getting a great deal on your future 4:3 Alexa soon :-)
Thanks for honesty. Great and helpful video!
You're very welcome!
I love my Alexa Classic as well. To me it’s a no brainer once you configure it for your needs. I plan on making a video about my setup soon. Cheers!
Please share here when you do! Would love to check it out. Thanks!
What PL lens are you planning on running? I’m also getting a Arri soon. I’m thinking maybe the Red pro Zoom 18-85. I’ve seen them for around 3k
Yep that's enticing. We aren't looking for anything right now. Happy to shoot on our modded Zeiss ZFs for most work and hire PL glass when the budget allows or the project would really benefit...
@@stuffa01 We picked up Sony CineAlta Mk II's
Did you make that set up video?
great vid bro! this is a topic i don't hear enough people talk about - the right camera for the right job. 4K, 6K for corporate work - Arri Alexa Classic for cinematic narrative work, with some crossover, of course.
it seems so many people focus on the one 'ultimate camera'. "cheaper than a C70" is the line that got me! good luck with your new Arri boys.
Thanks mate!!! 100% it's all about using the right tool
Agree 100% - I definitely want one but can't at this point because of everything you mention. ARRI is by far my favorite image but we can't justify it... yet.
Understood man. It's definitely a better purchase for production companies or freelancers that are already working with heavy cinema cameras, have externals nds etc
As a fellow Classic owner I agree with all of this. We bought ours end of 2017, right when they first plummeted in price. The upfront cost was easy to stomach, but like you mention there's quite a bit of other gear you'll need for its needs. Had to upgrade my tripod, buy bunch more batteries and chargers, IRND, SDI monitors, etc. Absolutely love the camera and the output (ProRes 4444 4 life), but yes this is a crew camera and having a second run n gun option is hugely beneficial. We picked up a Pocket 6K with a PL mount and it has been an ideal pairing with our Classic.
Thanks for the input William... didn't think about the PL 6k option! Currently we're running with the leitax EF mount and duclos modded Zeiss ZF's (except when we hire lenses) so not using our PL mount at present. Has shee been good to you since 2017?
@@AlucinorProductions definitely. Perfect for our work! PL was another tough pill to swallow but ultimately was right choice as we rent lenses pretty often.
Awesome video due, I considered this camera last summer and i ended up getting the c300mkiii for the same reasons you got the G2. built in ND's and a good audio solution are what most of my productions need. great video bro!
Thanks Brenton! How good are built in NDs :-) Hows the c300mkiii been for you?
@@AlucinorProductions its been fantastic, the built in ND's are killer, I can even double them up for 8 and 10 stops, and the camera hasn't given me any trouble so far :)
Great to hear mate. Canon cameras are workhorses. That double up feature would be great. I dont need 10 often but having 8 internal would be a big benefit for shooting wide open at standard frame rates outdoors. (Ursa G2 has 6 stops and I'm often shooting a little stopped down when zid rather go wide open)
Love your video, touching on this topic from a business & emotional side of imaging. I completely share your opinion! “Make-money-through-image-acquisition” camera: A7S / FS7 with some automated focus lens on a gimbal or SteadXP. I have no emotions for that thing, it’s a tool that performs functions at specified requirements. “Love-for-filmmaking” camera: Alexa with Hawks or SLR magic Anamorphics. Almost like a living organism those things have needs but in a sense actively helps you achieve your controlled, narrative goals. It’s like writing with a fountain pen or driving a classic car: Inspiring, motivating (& sometimes hilariously inefficient) and that’s what I love about the chunky Alexa. Enjoy your wonderful beast 💪
Thanks mate. Yes I totally agree with your perspective. If I was to have only one or two cameras it would be an Arri (that's speaking as a video production company writer, director, editor, shooter, colorist not as a dedicated DP only). Have cameras for bread and butter work (we recently invested in the c70 and r5c, similar to the fs7 a7s3 combo) that can be usable in small teams even one person shooting... then having the camera that yes would be a pain in the ass on your own but in a team it sings!!! We've got a big short shoot ahead of us in October and I'm very interested in which camera of ours will match best with the Alexa and potentially beco.e the gimbal camera... r5c, a7s, urs g2, 6kpro... we'll see
Thank you for this particular content. I shoot for documentary, and corporate films. My A-cam is the original bmpcc. I did try the 4, and 6k variants. truthfully, I do not believe these newer varriants are pleasing to at last my eye. If however I needed higher frame rates I will rent an Alexa Mini.
Mate if your loving the original bmpcc keep using it for sure! We've recently picked up a couple new cameras. Sold our 6k... keeping 6k pro. Will make a video about it shortly.
Great video. I have an A7s III and see no comments here about that camera relating to this, I'm sitting at the edge of my seat!
It's a great camera
@@AlucinorProductions how far off do you think it is in terms of color science/ dynamic range to the arri alexa classic?
I haven't tested side by side but Arri is certainly superior in the color / DR front. Obviously A7s for the win on low light. Cined has a good dr breakdown on the a7s www.cined.com/sony-a7s-iii-lab-test-does-it-live-up-to-the-hype/
Great video mate. Agree with everything you've said. There is something about the Alexa image, that no other camera can replicate. I made the plunge last year. Not used mine yet though - like yourself I'm slowly purchasing all the extras. Can't wait to see your short film...and the behind the scenes too :)
Thanks mate. Just wrapped early Monday morn. It's 90% shot at night. It'll be a little while... works been busy but content will start up more consistently in about a week
You need to use it!!! Just shoot something. You need to learn how to use it.
A Shadow in the Darkness is on at NYCHFF tomorrow (virtual) amongst the international Horror block. That's our first released Alexa short.
Two words: image quality. For my second short "Amy's Baby" I hired a DP out of San Francisco who had the Alexa Mini. When I saw the footage, I almost cried it was so beautiful.
That's so awesome mate! Great decision
you guys have a really good channel here!
Thanks for the support Brad. We've got more coming real soon.
You reasons are quite sound. It's the quality of the pixels, not the quantity that matters. It's all about how much you LOVE the final look of your shots. I hope you do something amazing with this camera.
These are same reasons as to why I bought an old 2013 BMPCC 1080p a couple of months ago. The price was decent and I absolutely love the way the shots look.
Thanks man! That's probably the best and simplest sum up of why to pick a camera I've heard. I never used the original bmpcc but have heard great things. All the best with the new old camera!!
I love my Arri Alexa classic!
Me too! Love your profile pic BTW... got a couple shorts shot on the Alexa coming very soon
Everybody should watch Steve Yedlin’s Resolution Demo. Part two is super important for everyone who things shooting 4K makes a difference.
That rings a bell. Will check it out again. Thanks for the tip!
I recommend Yedlin's vid to everyone. The advantage to the higher sensors is the ability in post to work with the image.
Great video. Not sure if someone mentioned this, the audio is line level. I use the wooden camera abox and feed a preamp with XLR line outs into the abox. I have been very pleased with the sound.
Good to know.. we're recording most in 32bit now to a mix pre3... just sending a scratch track to the alexa
@@AlucinorProductions You need a dedicated sound guy for feature work. I have a Sound Devices Mix pre 6, and we will get you excellent sound quality.
This is an incredible video!!
Thanks buddy :-)
Very good video. I agree with your thougts about the question if an Arri Alexa is the right choice. I had an Arri Alexa Studio XR for two years and I sold it last December. Why? It was not the right camera for my style of work. You're right, it is a camera for narrative work and it is designed for a crew. I had a few project were the Alexa performed very well. But it is very heavy and you have to choose wisely how to use it in your project. The image is phantastic. No doubts about that! At the end, the most time it was lying around. I sold it and switched to an used Sony PMW-F55. This is a very, very nice camera too. And it fits much more in my kind of work. Maybe I have the possibility to get my hands on an used Alexa Mini (for a good price). The Alexa look is unique.
Thanks for sharing mate. No doube the F55 is a powerful camera. How did you find the change in color science? And yeah I think you're right there's going to be plenty the Alexa won't be right for but when I weigh up the price we got it for (complete with memory cards, EF and PL mount etc) I'm pretty happy. I quite like having the incentive to make a heap of narrative work with it now (as we've made the investment). Sort of psychological motivation.
@@AlucinorProductions Sorry for my late answer.
The color science of the F55 is surprisingly good. Far more better than the color science of it's sister, the Sony F5 (a very good camera too). Especially the 16 bit RAW is mindblowing. But: Arri's color science is still on top. It's a bit better than the F55. The F55 is a really powerful camera. The form factor is more ergonomic than of my earlier owned Arri Alexa Studio XR. It is not as heavy and it is more versatile in different shooting situations. The F55 can be easily operated by one person. You can use the F55 for documentaries and narrative work. One big benefit are the two built in NDs (0.9 and 1.8). My workhorse will still be my Ursa Mini Pro G2 (like yours). The F55 is used in Music Videos and narrative work. The F55 simply works better for my style of work. I think this is the most important question if you think about purchasing a camera.
An arri Alexa will never get old no matter which one it is it’s great to make a tv show or movie with
It has an incredible image no doubt about it. Love it! Thanks for chiming in buddy :-)
@@AlucinorProductions your welcome love this channel definitely subscribed
Thanks buddy. We've been swamped with work (good problem I guess). Also just shot our first Alexa short... But we have a heap of content coming regularly from mid May. Thanks for the sub it is very appreciated!!!
Awesome video guys! Gotta know though, what lenses you shot the b-roll with?!
Thanks buddy. The Alexa broll was mostly shot on the Zeiss ZF.2 1.4 (duclos mod)... might have been a few 35mm 1.4 shots in there too but 90+ % the 50
Thanks for sharing!!! Cheers!
You are very welcome. Thanks for commenting here:-)
Great video. Thanks for sharing. Do you know if you can record prores raw onto an Atomos Shogun Inferno via SDI from the Alexa classic? I already have the Atomos and I’m interested in picking up a classic. Thanks.
Thanks mate. Not to my knowledge
No desqueeze in the eyepiece could be a dealbreaker but I'd run an Alexa Classic with 1.3x Anamorphics and RAW recording. Keeps it competitive.
Great call. One of the reasons I’m eyeing off the viltrox epic anamorphics… however we reckon we’ll get an Alexa Mini in the next 1-2 years so having open gate gives some pause on investing in a 1.3 set… although it makes for great approx 16.9 in opengate
Had a similar background, owned a Scarlet W for 4 years, but Komodo came out with a much user friendly body and it just made my camera worth 1/3 of the price. So I got an Amira andnow life is happy again, awesome colors, internal ND's... :)
Awesome man. Good ending. I reckon had we not had g2 we may have reached for an Amira... for now, we wait
@@AlucinorProductions whats better about the Amira other than the weight ? What has better image quality : the arri classic, the arri plus or the Arri Amira ? I want it for music videos and some commercial work here in Las Vegas . Also would I be fine using angenieux ez lens for a few years on this ?
The amira does upscaled UHD (from 3.2k on the sensor) prores internally. It also has internal nd filters and doesn't chew through batteries so fast. Of you like shooting off the shoulder it's great for that. If you want a camera to use in a mix of ways including a gimbal then the mini is the better option (but normallyore expensive)
www.newsshooter.com/2017/04/04/angenieux-ez-2-review/ I expect the EZs should be fine
@@AlucinorProductions I was asking about the Amira ,the classic or the plus ? not the mini cause the mini is still too much money right now.
Lovey colours from that beast! °¬)
Hey, slightly off the topic of your great little video here, how do you find the Zacuto EVF on your UMP? Just curious as to why you went for it over the native BMD one?
Agreed!
Great video guys! I am curious to know more about the look you are achieving with the Zeiss ZF's on the Alexa Classic (also for a short drama I am planning). Does the image get too soft? Do the Zeiss primes hold infinity focus with the various adapters involved? Cheers from Melbourne!
Hey Matt, Thanks. We are shooting our first narrative short with the Alexa in the coming weeks. So haven't fully put it through its paces. We just did a test shoot though and it looks really great. A lot of high dynamic range scenes that the Alexa shines in... We shot Evenfall which will release online late this year or early next (pending a few final possible festivals) 97% on the ZF's with a handful of Sigma 18-35's mixed in. No issues with infinity focus and our AC was using the arri wireless follow focus the whole time. Ours were modded by duclos (before we bought them, we previously had 3 ZE's). Except we reasonably recently bought the 35mm 1.4 and haven't had that duclos modded yet (just a clip on EF adaptor). If you go to our website (it's old and needs updating lol... underway) send us an email (to Dean) I can share some 4k narrative screenshots with you (they were all on Scarlet-w and Scarlet-mx though). FYI new vid coming within the month about the ZFs
@@AlucinorProductions Thanks so much for your detailed reply. All very useful info. I'm looking forward to your video on the ZF's too.
Thanks mate. Just getting through a busy patch.. lots of content planned
I shoot on a URSA G2 already and I love it. I’m considering adding another camera to my lineup, and I don’t mind it to be something else than a BMD camera. Wondered if the Alexa classic could Be an option but man I don’t feel like taking all that hassle, the strongest being the high(er) risk of expensive repair and super heavy weight.
Another topic : I wonder is if now that you’ve came across all that, you still think that it was the best choice ?
Cheers !
For us it's been sensational. We've used on 2 shorts (coming soon)... shooting another 2 next month on it. For corporate work we've just used on sticks for interviews and the color science just shines next to our ursa g2 and bmpcc 6k. Don't regret it at all, but we have a specific use for it... it'll make a great bcam to an Amira or Mini down the track...
We're likely going to pick up a 6k pro just so we have a second camera option that has int nds, 2 mic inputs etc.
G2 and 6k I really love. Especially with cinematch or Juan Maleras powergrades/ luts to match with Alexa.
I almost bought a classic a few years ago going for 7 grand. I'm glad i didnt cause the black magic pocket and ursa g2 came out shortly after. And then all the great sony stuff. Alexa color is great, but not worth all the hassle of the recording media, battery life and WEIGHT. Its really a camera made for a full crew, which is what i was moving away from. A DP i used to AC for regularly owned a classic and it was by far the heaviest camera i've ever used. I'd also take up a lot of space in storage which is limited in my life currently.
Good reasons not to buy! You're right it's for a full crew. And in that context it's excellent
I had the pleasure of shooting on this camera. However, my main setup is the original pocket cam and the Ursa mini 4k. The pocket cam I use for all my corporate headshots, and the 4k is relegated to b roll.
Sounds like a good use of those cameras!
My dream is to own an Arri camera, since I'm poor I will wait 10 years more to try to buy this beauty
All the best mate 👍 should be a lot less expensive then!!
Congrats on the Alexa. I’m also looking into getting on soon. I also own the Ursa mini pro. What lens are you planning on running w the Alexa? I’m might go for the Red 18-85 Pro Zoom. They were 10k new. I see them selling for around 3k now.
It would be a shame to use cheap glass on the Arri. I thought you would have mentioned the PL requirement on these bad boys….
I have the leitax ef mount with it too. The Zeiss ZFs are the same glass as the Zeiss CP2s. Modded by duclos they are very handy all metal lenses... not the same focus rotation but good and very light in comparison. Happy to hire PL lenses for now - anamorphic, master primes etc when commercial budgets allow
7:51 1,154 AUD = 842 USD. You had me gasping for a second at such a low price for 4x5.6 filters!
Fyi very happy with them!
@@AlucinorProductionsThanks, that helps. I don't see a much cheaper alternative, even in the used market.
If I wasn't such a small person I'd be tempted to eventually try and pick up an Alexa, but given that the FX9 got me tired with handheld and shoulder mounted work...the Alexa would break me. Love the image though. But the FX3 gets me where I need to go with the right glass and filters to make the image look a bit more ... "cinematic".
Sounds like you've made the right choice for you 👍
Can anyone tell me how to get the footage on to a Mac?? I’m using Sony SxS cards with the card reader but it does work! 😩 forums said no drivers
Sorry buddy. We are completely PC based. I have no idea
Hi,
Can you please tell me if you need the 'Arriraw' licence with the Odyssey 7q to record Arriraw on the Odysseg 7q?
I am wanting to record Arriraw (2.8k), on the Arri D-21. After watching your video, I realised you might know the answer.
Many thanks,
Dan
I'm not 100% sure (it may just be needed for slowmo. The unit I was given has it on it, ours is faulty though unfortunately.
I graded a commercial shot with an LF recently and the image out of the camera left me speechless. The LF is a bit more magenta than the Classic which seems to shift more green - despite them using the same sensor. Highlight rolloff and motion cadence - NEXT LEVEL.
Sounds fun! Interesting to hear on the color shift (I havent used an LF... just Amira, mini and classic)... agreed highlight roll-off and motion is just so damn excellent
No better color
What handle do you guys use to mount the monitor? Appreciate any guidance
It came with our camera when we bought it but pretty sure its this one www.bhphotovideo.com/c/product/1287675-REG/arri_k2_72007_0_cch_1_center_camera_handle.html
I looooved the Scarlet and Epic MX cameras. The only other camera besides an Alexa I would want to own. Seriously, I'm not much a fan of the DSMC2 Reds.
That's an interesting take Peter! I did love my Scarlet MX... but the additional framerates and IR protection on the Dragon made a big difference for us for sure... Happy with our mix of BM, Arri and Fuji now though
Thanks for this video. I hav been lusting after one of those for a while now. One thing I don't understand is ND filters for narrative work. Just shoot at night or golden hour sunset/sunrise ! I understand NDs for doc work or corporate videos but NDs, especially internal NDs change all aspects of the image just to shoot at a particular ISO.
Always worth paying for good nd with appropriate ir protection. Cheap NDs can do nasty things
Love your insight mate. I too, have been diligently searching for an affordable alexa and i just wish there were more resources out there. I don't trust craigslist and evilbay tax is crazy and the prices are still high. I could pull the trigger on an alexa plus, but I wonder if I will regret not getting the XT. It's quite a bit more and I am unsure if having the open gate feature is really worth the extra cash. Hmm...
Thanks David! Yeah I was fortunate to purchase ours directly from another production company complete with invoice etc. Do you think you'll want to shoot a bit of anamorphic content? Goodluck with your search/decision!
Thanks David! Yeah I was fortunate to purchase ours directly from another production company complete with invoice etc. Do you think you'll want to shoot a bit of anamorphic content? Goodluck with your search/decision!
@@AlucinorProductions That is fantastic! Always good to get it from a known source. I am much a novice when it comes to these cameras and I am just starting my research. I honestly don't know what amount of shooting would be anamorphic. It's kind of one of those things where if you don't get it and you need it down the road will I kick myself later. Still, that requires like another $6k and that is a chunk of change that can be used on more purposeful lenses. I did read an article posted on the web where someone said that the gain is so small is it really worth it. Not to mention the extra expense in lenses. So that is where I am at. Thanks man and have fun with that beauty!!
Thanks buddy. All the best
@@AlucinorProductions You too!
Hi, I come often to this video: Since the Odyssey 7q is discontinued, which recorder would you reccommend? I just need that in order to buy it :) Thanks
I'm not sure sorry. I got an Odyssey 7q+ used
Thanks for watching!
I know you asked us a question , but I cant really tell you if you made the right choice . But I have a question for you , if you only had the x-t3 , and you wanted a second camera for your production (documentary and corporate) , would you get a second fuji? or would you get an ursa g2 , do they cut well together for an A and B cam interview setup?? (color wise I mean )
The challenge is that there's a dynamic range difference between the xt3 and ursa g2. Indoors in controlled light they're easier to match up.. they are different (both good)... but I've matched them in client work and Cinematch has now made it easier.... but personally I ALWAYS want a camera with decent on-board audio and internal nd's. Xt4 would be great for the ibis addition to the xt4 and is A LOT cheaper than an Ursa G2... but personally I'd go the G2 or a BMPCC 6k pro (for the nds)... but the Ursa is just soo much better handheld due to the fast sensor readout
@@AlucinorProductions Thanks .
You're welcome
Sir I also brought an Arri Alexa classic camera 168 hrs for 8500 USD, it's on the way,I may get it this week delay due to covid 19 impact, but it's written as Alexa ,, not ev is written on it and in place where XT orsxt is printed in XT, or sxt camera on right side, here it is blank! Please reply regards Dr ashok
Congrats... do u mean you are not sure what model it is?
So you guys looking to add the P6k Pro also?
Short answer... maybe... probably (eventually). Not right now as with the Ursa G2 we don't have a pressing need for it
If you really want to go retro, how does a used SI2K with in-dwelling IR and NC8 filters sound? It plays nice with the ARRI LUT in Resolve but 10 realworld stops is about as good as it gets. Have been experimenting the an URSA 4.6K ( an unholy matrimony of two broken ones ) also with in-dwelling IRND and NC8 filters for daylight without heavy things hanging off the front. - Not so good as leaving it alone but the greens are true. An Alexa Classic for US$5,000? I don't think you will regret it at all. If I had the handy $5,000 myself, I probably would have gone there too.
Sounds retro!:-) Thanks mate... yeah considering the kit deal we got I. Pretty damn pleased... its also a side motivator to stick to our schedule and plans for multiple short form narrative projects
12:03 is that Chromatic Aberration ?
It is. On the zeiss wide open. Can check out side by sides between Zeiss ZF and sigma art zooms on a vid we did a couple months back. Prefer the look of the zeiss (ZF, not milvus where this is improved) but they are prone to CA wide open whereas the Sigmas are sharper and control CA much better
how are you able to change the aperture on your ef lenses? those are the ZE or ZF zeiss, i heard that the pl-ef conversion disallows the ability to control your aperture electronically.
We have the ZF's modded by Duclos to EF. Declicked Iris so it's all manual on the lens. Years ago we had 3 ZE's. We sold those and now have 7 ZF lenses
@@AlucinorProductions so if you were using the ZE , the electronic aperture wouldnt work with you Alexa Classic?
Correct
@@AlucinorProductions thats too bad, my entire set is ZE primes. wish there was an electronic mount
Sorry bud. Yeah it sucks. If there's one out there I havemt heard of it.
Do you ever have any commercial clients asking for 4K? What delivery format do the more higher paying clients usually ask for?
Trying to remember if we've ever had to deliver higher than 1080p. Commercials are all still 1080p where I am. Corporates are the same. We have divered 4k but only because we chose to, not as a requirement
@@AlucinorProductions Sweet, that means most clients would expect 1080p these days, so I wouldn't need a camera higher than 4K. I'm in Sydney
Yep. We tend to edit/master in 4k but the client deliverable is usually 1080p. TVCs it's all 1080p (at least in West Aus).
Did you happen to catch an Alexa "brain" offering on eBay. It might suit as a spares donor if it is half-good. There seems something fishy in the description about the camera body being a "brain" and missing a "lens mount". It look like a sensor module complete with mount may be missing as well as the viewfinder support. UA-cam would not let me paste the link in.
Haven't seen it sorry! I think if we have issues we'll just send to arri... but fingers 🤞 we dont
@@AlucinorProductions. The blessing of a reasonable high hours camera with no signs of injury. It is proven.
arri prores is so good that when the arri began to be used heavily alot of indie films shot prores and all american television shows that used the camera also shot prores on arri.
Such a good easy workflow. We shot some of our upcoming short in raw (odyssey 7q)... but there was an issue with the battery plate and it kept disconnecting but I'm thinking I'll see what if anything more I get from. The 2.8k raw files that are there. But prores has been a standard for so long for good reason I suppose. Thanks for sharing!
Do Amira and Alexa have the exact same image? Or do they differ a bit?
They have the same ALEV-III sensor but the Amira can shoot 3.2k or upscale it internally to 4k.... more info on the sensor here www.arri.com/en/learn-help/technology/alev-sensors
@@AlucinorProductions But if the LF and 64 look different from normal ALEV-III does this one as well? I mean I'm worried the image is worse because I feel like if it was the same everybody would be using the Amira instead of the SXT and Mini.
The Mini is the gimbal / steadicam arri. Amira for docs / handheld on the shoulder work. XT etc for filmmaking with a crew. Same sensor but yes there's likely some internal improvements that have been made to processing (I dont know would love someone who knows more to chime in). I know newer cameras introduced variable built in denoise setting etc. But the heart of each camera is the same sensor design.
@@AlucinorProductions A few days ago I compared the Arriraw of an old Alexa Plus with a Mini (2020 model). The Plus had a slight green cast that was easy to remove in Resolve. I would expect an Amira (with Arriraw option) can deliver exactly the same images as well. With a few changes, all Arri cameras with ALEV III sensors can be matched without a hitch. By the way, the Oscars 2021, best picture "Nomadland" (Alexa Mini / Amira), best int. feature film "Another Round" (Alexa Mini). So it cannot be said that these are old and outdated cameras.:)
Have you found any adapters for using non PL glass on the old Alexa ? 👀
Yeah we have the Leitax EF mount adaptor. leitax.com/conversion/Cine/Alexa/index.html When we bought our Alexa we had PL and EF with it
@@AlucinorProductions is that compatible with the Alexa Plus 4/3 ? 🤔
I would think so but not 100% sure... ours had it installed already. But I switched it to the PL mount when we got our CineAlta primes
Would love to get one as it ticks all the boxes for me. Its just too damn heavy tho
It's very heavy. The ergorig helps. The benwfot of the weigh is the virtual.elimination of microjitters in hanheld shooting... but yeah, we aren't shooting corporate run n gun work on it that's for sure
Nice video, but what is up with the music ???
Thanks man... sometimes you've just gotta swing for the fences
I really wish atomos would support arri raw. they already support sonys weird raw over SDI
I'd love a classic but for now I'm going to stay with my FS7000R+ Shogun7 that I bought last year.
it feels like the old Classics have kinda hit a floor around 5-7k but I hope they'll start creeping down to 4-5k USD while Plus and Plus 4:3 get into that 5-7k range
Mate the FS700 raw is a steal!!! Amazing combo with raw! I used it back in the day without raw for the slowmotion... awesome. I reckon plenty of people are holding out for the 4:3 models for the anamorphic mode which is fair enough
@@AlucinorProductions I bought the camera for 700$+ another 700$ for an atomos. I still need to get a speed booster and some better glass but I'm happy.
Awesome!
So if I get the body for $7K, around how much total will everything else cost to get this camera shooting actual footage?
It depends on what else you already have. If you need a set of sticks that can handle the weight, have compatible lenses, ND's, batteries etc... Most or many kits I see being sold are going with memory cards (as ours did). Some kits are selling with handles/arms (ours didn't). But you may be looking at between 8-11k depending on what you need and what you choose. Just clarifying our kit came with 8 SXSpro cards x4 64gb and x4 32gb. All the cables we needed, EF and PL mount.
But we opted to (didn't need to) upgrade our ND's for around 1100AUD approx $750 USD.
We chose to buy an Ergorig (didn't have too but it makes long days shooting easier).
We have a shedload of V-lock batteries so didn't need more batteries.
The parts we personally actually NEEDED were Rosette arms, dovetail plate to connect camera to tripod and a new heavier duty tripod... we bought:
A few smallrig parts $280 AUD approx (Rosette arms and dovetail plate)
Tripod (approx 2kusd used)
@@AlucinorProductions Thank you!
You're welcome
Nothing wrong in having an Arri Alexa (classic).
Agreed
Mate if you loaded Magic Lantern into the 5D mark ii it be beast mode.
Colors on the 5d are magic! It's just that rolling shutter that kills me. Would u like us to make a microshort with it?
@@AlucinorProductions load Magic Lantern raw let's see what that retro beast can do. If you don't want it send it my way 😂😂😂😂
Alright I think I have something in mind we could shoot on it... be a few months though
@@AlucinorProductions sold me a dream
Just got one week ago !
Awesome!!
Is it good to film interviews wiyh
It's glorious to shoot interviews with
Alexa Classic VS RED KOMODO ?
Maybe we'll have to look at that as a video. Very different tools that's for sure
Oh my god that intro totally tanked engagement in your channel lmao
You know... I think you've got a point
What are some good examples of movies shot on the Alexa, whose look is well-crafted and awesome?
I'm the only person I've met with this opinion on the Alexa. Every time I have watched a movie, and liked the look, I found out that it was shot on either Film or Red cameras. When I saw a movie and the look felt uncrafted, or too clean, like there was no life to the image, I found out later it was shot on the Alexa. It's a good camera, good sensor, technically speaking, but there's just something about its look just feels fake to me and I can't quite pinpoint it. 1917 is the exception, but until that movie came out, I hadn't yet seen a movie shot on that camera that really blew me away.
As a director and DP, I feel like I need to learn to love that camera because everyone else does, but I just don't yet. I can't love an image that feels fake to me. What are some good examples of Alexa footage that blew you away?
Three come to mind straight away that I'd recommend...
True Detective Season 2
Blade Runner 2049
Star Wars Rogue One (Alexa 65)
Thanks for taking the time to articulate your thoughts! Can't argue with what you think, it's all our opinions right :-)
Hopefully whatever you do next you get some say in the format!
(FYI: Film is still my favorite image... but both Alexa and Red can basically replicate (scanned) film digitally. Either projected or on a screen.
Must admit, I really miss analog projection... I remember the year it changed, things just didn't look/feel the same. I'm used to it now, but there was a warmth that was lost for sure... I think it made composited shots look better too (the Riami Spiderman films looked their best projected on film IMO)...
That said the day I went to see Return of the King... the film came off the projector after like 5 minutes and we sat waiting for 20 for them to get it working again.... don't miss that.
@@AlucinorProductions Thanks for the recommendations! I have 2049 on DVD, actually. Great look, the experimentation with color was great, and very successful, in my opinion. The world was creating enough texture that it didn't need to be terribly contrasty. The twist at the end saddened me a bit.
I'll be checking out Rogue One and True Detective Season 2 sometime soon.
I've only shot stills with film; not motion, yet. I will eventually haha. I honestly like digital projection, but film projection never bothered me. I saw H8teful Eight in the 70mm roadshow version. Wow, took me back to when I was a young kid in the late 90s, going to the movies, seeing the scratches on the print, the tobacco colored burn spot that would show up in the corner every couple of seconds haha. I never saw any print issues when I went, though, but I won't deny that it happens. Anything that can go wrong, will go wrong.
One thing is for sure: no matter what camera you use, projection on film or digitally, nothing beats seeing a movie in a theater.
@@Chandler_Goodrich "One thing is for sure: no matter what camera you use, projection on film or digitally, nothing beats seeing a movie in a theater." BOOM!!! Couldn't agree more
@@AlucinorProductions Okay, I’ve thought about it. And I can’t believe I never realized it, being a former red shooter myself. Lighting.
When shooting red, DP’s would craft the lighting lighting more, especially in low light. I remember from experience having to craft my lighting more haha.
The lighting I mostly see from Alexa looks more like they just threw a bunch of diffusion on the windows, threw a soft frontal light at the subject. To me that’s not crafted lighting. Nothing wrong with high key, but that’s not well-crafted high key either.
I did find one movie that used Alexa and I loved the look. Venom 2. Very well-crafted look, and lighting. Robert Richardson is one of the greats. Maybe I need to rent an Alexa mini so I can try to craft a look that I like haha.
fringe season 4 and 5 on arri alexa in arriraw looks stunning on blu ray lot of other tv shows as well it might depend on the dp or colorist doing those movies you have seen with the alexa most that i have seen arri alexa shot on blu ray on my plasma tv plus on my lg oled 4k it looks incredible its a stunning camera skin tones ect
i was so against getting an alexa and was just red and black magic but then i said screw it and got a mini and there just is something about the footage that makes it feel so special that other cameras just cant grab, really any arri for that matter.
I remember the first time renting a mini. I was producing and editing and someone else was shooting. When I got into the edit bay I was blown away at the latitude and color science in very high contrast situations out in the north of Australia. Wonderful sensor. Im just starting to scratch the surface of the Alexa Classic but I love it.
Arri color. Sony cyan in skin tones drive me batshit crazy
Very happy with Canon color (we predominantly shoot corporate work on c70’s)… but then the Alexa is just even better. Arri color is awesome
You need to be a millionaire to buy one of thos man
Ours was 5k usd. But I get your point. With the accessories it's still not cheap
Color science doesn’t matter as much with ACES workflow, it still matters but much less.
I'm going to dig into ACES workflow this Christmas... but behind on that one.
@@AlucinorProductions yeah it takes a bit getting used to, but so rewarding once mastered!
Tooo large, power hungry, inefficient camera. Used it a couple of year back on a film, never want to again. Much much better alteratives available for that price..and all the accessories. Image...there is a shit load of cameras with excellent images. Nah!
Fair enough mate :-)
These are pretty stupid to buy
I would say stupid to buy as an all rounder camera. Plenty of far better options. But if it's purely for narrative work with a crew then they're excellent in that environment
ARRI Alexa, Sony F35&F65, they are all in the same league
I think everyone's phone now can shoot 4K, well, you don't see everyone with their phone shooting film level content do you
the sensor chip needs to be good, the codec needs to be good, it is the compression of codec, the distortion of sensor circuit, that are making the final image bad looking
just go watch The Dark Knight in UHD HDR10, the Joker bank heist scene, see what the top level film stock can do and see what the digital camera was trying to be
4K resolution standard is so insignificant
Well said (or written)