DEFINITION’S CAMERA LISTINGS
ARRI ALEXA LF BASED ON:
The decision to shoot in 4K with the Alexa LF was DOP Justin Brown’s, as he sensed the BBC was in a position where a 4K shoot would be needed for other broadcast platforms. “The Alexa LF had just been released, so we snapped up the opportunity to use it. We were the first TV project to use the Alexa LF but, because of how late His Dark Materials came out, we’re probably like the 5000th production to release something,” he laughs. “I’ve trusted the Alexa forever; the colour profile, the highlight range and the gain floor is the most cinematic of all the cameras.” Brown chose Zeiss Supremes and Master Primes, which covered the Super 35 frame he was shooting. The Master Primes, however, were switched out for something wider by the DOP in episode 4, who chose to work in full-frame mode. Consistency is in the capable hands of colourist Jean- Clément Soret, who Brown says, is “confident the series is consistent with the filmic look” established through a LUT developed by Technicolor in the first two episodes. His Dark Materials was shot on the Arri Alexa LF; a large format for a big production DRAMA
SPECIFICATION
SENSOR – FORMAT AND SIZE
Full-frame CMOS, 36.70x25.54mm – 4448x3096, ø 44.71mm
Arriraw: 0.75-150fps ProRes: 0.75-100fps
FRAME RATES
LPL, PL
LENS MOUNT
4448x3096 Arriraw and ProRes 4.5K open gate and 2.39:1, 3840x2160 Arriraw and ProRes 16:9
RECORDING OPTIONS
14+ stops from EI 160-3200
EXPOSURE LATITUDE
66 DEF I N I T ION | DECEMBER 20 1 9
Powered by FlippingBook