FEATURE | MAK I NG OF A LEGEND ARRI ALEXA THIS TIME ON MAKING OF A LEGEND WE LOOK BACK AT THE DADDY OF THEM ALL ; NOT THE FIRST DIGITAL CINEMATOGRAPHY CAMERA, BUT THE ONE THEY ALL LOOK UP TO
G etting on for 15 years ago, as the digital cinematography world product. The rental-only cameras D20 and D21 came along which turned out to be just teasers to the main event: the Arri Alexa with the Alev III sensor on-board. This Alexa sensor is the great survivor. As Arri has extended its range of Alexa cameras and software updates, the constant has been this remarkable sensor. Arri’s basic philosophy has given it this extraordinary longevity and, of course, has put pressure on what follows. But really, it’s basic science. The sensor has bigger pixel buckets that allow larger photosites, which in turn allows for more dynamic range against the cramming of photosites on a sensor to say it’s 4K or 6K or 8K or higher. You can get more resolution that way but it’s harder to get better dynamic range that way. approached, Arri film cameramen and women hung on for their digital
I know the Alexa sensor pretty well now. I can walk into a room and know how it’s going to react to the light that it can hold the highlights, so you can allow the frame to overexpose because you know that it will bloom and look lovely like it would have with a film camera. The older or different digital cameras don’t have that, they clip and they feel very digital as soon as you’ve got too much contrast. Philippe Rousselot DOP on Fantastic Beasts and Where to Find Them I had previously enjoyed a good experience with the Alexa XT on The Nice Guys – my first movie experience with that camera system. I knew it would perform well with the anamorphic glass, and would cope with the dynamics of the lighting.
Tony Miller DOP on Fleabag Series 1
Shooting for HDR was new for me and my DIT Alanna Miejluk. We did some tests in the beginning, I tested the Red and I tested the Alexa Mini. As we wanted quite a naturalistic look the Red just felt too harsh. It supposedly produces more definition, it’s a true 4K camera, but as we all know bandwidth pixels don’t always translate to pleasing images. So I decided to go with the Alexa Mini, which Amazon Studios approved for the very same reason as most of us (cinematographers) prefer it: for its look. I really wanted to shoot with the Amira from the get-go because I like the sensor and I like the look of it. Also I use Alexas as my camera of choice when I do commercials so I was keen to bring that look into the show. The thing I really loved about the Amira was that it gave us the little flip-out screen on the side and the access to the menus and user buttons – a very fast way of keeping up with the performance of the presenters. Ben Joiner DOP on The Grand Tour
Andrew Dunn DOP on Bridget Jones’s Baby
Because the Alexa is so ubiquitous now, because it’s such a good camera and everybody’s so comfortable using it, I suppose there is a way to try and make it a little bit different sometimes, as we did with our lens choice.
John Lee DOP on Victoria Series 1
The beautiful thing about the Arri range as opposed to other digital cameras is the way
ABOVE The Arri Alexa wireless camera is now part of the range
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