ALEXA 35 was the latest product officially launched by ARRI. This newest Super 35 digital cinema camera comes with 17 stops of dynamic range and numerous new features that can help you in providing the best possible image quality.
The ARRI ALEXA 35 is the first-ever ARRI camera that comes with a sensor that is not similar to ALEV-III. Ultimately, since 2010 ALEV-III has been utilized in different forms in almost all types of ALEXA cameras. It seems that the ALEXA 35 is the next big thing for ARRI and the latest development of the ALEXA family.
If you are searching for the next big thing in sensor performance, then there is no doubt that this is exactly what ARRI has achieved. When it comes to dynamic range and image quality, this is probably the best that you’ve ever seen.
The Sequel Is Much Better Than the Original
ARRI wants to make sure that the sequel is much better than the original one. Creating a sensor that was much better than the ALEV-III was not an easy task. In fact, the development of ALEXA 35 took some time. Additionally, it was refined just to make sure that it was good enough. ARRI is not the kind of company that rushes things so that they can release the product.
When ARRI was developing ALEXA 35, they wanted to make sure that it includes the following features:
- Excellent image quality
- Native 4K
- Additional creative control
- A fully loaded new accessory range
- Quick and easy operation
- An extensive workflow tools
- Sturdy and reliable
Excellent Image Quality
Image quality has always been the major priority of ARRI. After all, image quality is the one that matters the most. ARRI worked hard to create the best image quality without any compromises. If people already love it, then you should not change it. Instead, you just need to improve it. One of the things that ARRI is good at is listening to the concerns of end-users.
The feedback from people all over the world has helped ARRI in coming up with an impressive camera. Undoubtedly, there will never be a camera that is going to be what every person wants. This is the reason why there are a lot of options in the market right now. It is a fact that there will never be such a thing as the perfect camera and there will never be one.
Obviously, one of the reasons for the development of ALEXA LF, ALEXA 35, and Mini LF is the specific streaming service requirements. Since there are certain productions wherein AMIRA or ALEXA Mini cannot be used, ARRI wanted to create a Super 35 camera that could satisfy streaming mandates.
A High-End Digital Cinema Camera
The ALEXA 35 is one of the most advanced digital cinema cameras, ideal for any big Hollywood theatrical release or TV program with numerous episodes. You’ll undoubtedly want to see how this camera performs when used by a small crew or a single shooter. Obviously, you’re familiar with how other cameras function in extremely controlled environments.
The ALEXA 35 is not the sort of camera that most consumers or operators would want to buy. The Mini LF is preferred by many clients over the original ALEXA Mini around the world. This appears to be a camera that should be rented rather than purchased. If you’re thinking about purchasing or renting an ALEXA 35, here are some insights that can help you figure out how to use it and what its strengths and limitations are.
Features of ALEXA 35
- Better dynamic range with 17 stops, making it capable of handling different situations on set and is perfect for HDR.
- Excellent image quality at 120 fps and 4K.
- Better contrast with elegant stray-light suppression to precisely capture the complete contrast range and character of every lens.
- More precise colors for brilliant color reproduction, sharper edges, and quicker grading.
- Additional creative control.
- Better sensitivity with less noise, enhanced sensitivity mode, and EI 6400.
- ARRI textures are the latest method of defining contrast and grain in-camera, providing the cinematographer with more control.
- This camera is compatible with all S35 and LF lenses while satisfying all 4K mandates.
- Quick and easy operation.
- Comes with the latest look handling including in-camera LogC4 Look Library, set Look Intensity, and viewing SDR and HDR with a similar look on set.
- Comes with a left-side display.
- A fully featured ALEXA with the smallest size.
- Great for all requirements with 19 recording formats.
- Well-known menu structure, MVF-2 viewfinder, and compact drives 1TB & 2TB.
- Streaming metadata, which is ideal for virtual studios.
- With Advanced Color Match (ACM).
- A sturdy and reliable camera that gives you a safe return on investment, an extended product cycle, and is dependable when working on set.
- With extensive workflow tools such as stand-alone apps, ARRI online tools, and 3rd party tools.
The Best Sensor
ARRI was pressured to come up with a completely new sensor that was much better than the ALEV-III. The fact is the ALEV-III surpassed ARRI’s greatest expectations. Every ARRI camera that was introduced during the last 12 years used different versions of the original ALEV-III sensor, which proves just how good it is.
In this age of rapid technological development, the fact that the ALEV-III sensor is still respected in the industry only proves that ARRI made the correct decision in bringing it back in 2010. This is due to the fact that this sensor was so fantastic, which is why ARRI continues to utilize it for a long time.
You can’t just pluck a sensor out of thin air and expect it to perform better than the ALEV-III. ARRI tested several sensors until they found one that worked well. The new sensor is not made by the same company that created the ALEV-III. The design of the new ALEV-IV sensor was done by a third party, according to ARRI.
It all began in 2016 when the camera was first conceived. During this period, ARRI discovered the basis of what is now regarded as the new sensor, which is called the ALEV-IV. There was a lengthy procedure from there. Finally, in 2019, they got to work on developing the ALEXA 35.
The new sensor known as ALEV-IV, which was used in ALEXA 35, was built particularly for the Super 35 format. Additionally, it uses a technology that places analog to digital converters on the sensor board. Back then, ARRI contained two boards: a board intended for the analog to digital converters and a sensor board.
Because the analog-to-digital converters are mounted on the sensor board, the high-frequency analog lines may be shortened, resulting in a cleaner picture with less fixed pattern noise and line noise. Because ARRI can’t simply build a larger sensor like they did previously with cameras such as ALEXA LF, ALEXA 65, and Mini LF, this new sensor isn’t designed to do so.
At Enhanced View Services, Inc. you can find different types of cameras, recorders, and other video equipment. We sell brand new and used video gear. For more details, you can call us at 305-971-2916 or send us an email at [email protected]