ARRI Alexa / RED One MX … first sensations

Comme promis, I will give my first impressions after the life test.

To start, know that as I got into the habit, this is not a scientific test as it would be possible to do, but only my appreciation of the subject. It is subjective, it is only my opinion and I do not claim absolute truth.

This test was carried out during the filming of a fake commercial for Etretat First Taking the production company Armel Nkuindji

I want to thank first and foremost :

  • Magali Rider in TRANSPACAM for Alexa
  • Cinélum for light.
  • Roman Prover which secured the shooting RED One while Matthew was afféré on Alexa.
  • The 2 super-Saunier assistants Prune Dardant & Aurélie Temmerman.
  • Benjamin Fatras et son steadycam
  • Both appliances Cédric Lemonnier & Victor Chwalczynski
  • Dorothy Roffat la makup artist
  • Natty Notre nicer template
  • Kevin O'Brian for fashion
  • Olivier Héraud we will lay a short film “Behind the scene” as he has the secret
  • Matthieu Misiraca DOP
  • Armel Nkuindji pour the prod, the real, but especially good idea and initiative of this test

Thank you all for your talent, your energy and time spent on this project.

The RED One is output 2007 and it is 2010 the ARRI response rears its nose with ALEXA. The Alexa is born a camera, on which much has been written. From my side I followed the story from the beginning with great interest. Who else could claim ARRI propose a tool like Alexa ? For me, Alexa is a camera which has an interesting position, its roots in serious image of the big house ARRI, it will reassure operators that may have been somewhat baffled by the arrival of the RED, because the company had no anticipation and even less in this area or you like to apply the old adage : “it is in the old pots …”

The Alexa therefore reassuring because it's ARRI and ARRI is the Low Cost as some might think, Indeed D21 costing over € 200k is a bit what everyone thought about the output of this “small” positioned to € 45k camera. On this view ARRI has common sense, indeed, Part evolved, RED One and especially the flood DSLR are all elements that the cards are distributed. Creation tools become more accessible but the rental prices are not calculated as before. Fads and rarity make this Alexa, despite an almost affordable price is however very expensive to rent (approximately 1000 € / j)

I've already written, what I like about this camera is how it has to gather purists and geeks that we are about a tool that is a real link between tradition and modernity.

In its design so it should be noted that with his record Quicktime Apple ProRes 4:4:4 this is undoubtedly the camera “tapeless”which offers the most immediate postprod Service. On prend la carte, you plug in an ExpressCard slot and can be mounted directly into Avid Media Composer 5 / Final Cut Pro or Premiere Pro CS5. This is in my opinion a huge benefit to all that must end on TV. Pub, clip, telefilm etc. are the field dreamed for this camera. For fiction cinema is in my opinion a shame to have released a limited camera 2K 2010 and this is why the RED One will keep my preference. 2011 will be a year or Texas Instruments will release its offensive 4K digital cinema in the U.S. and the world. In the end even if the resolution is not everything, it is still important. So yes, Alexa certainly has an image and a texture “grain” sexier than the RED One but take HD / 2K at the time or it is option is in my opinion a small error.

By or against there ARRI will disappoint some it is all those who have been bitching after RED had not finished out a camera … Sorry guys, Alexa but it is the same or worse on certain points. Imagine our surprise when we discovered that we could not read the ProRes clips on the camera !

If yes, the Log C is a system which allows for exceptional flexibility and can stand up to a Raw file R3D calibration without any concern.

Example of processing a TIFF extracted and edited in lightroom as if it was a picture picture.

Fichier Jpeg exporté brut d'après le ProRes

Image développée dans lightroom d'après un fichier tiff extrait du ProRes

It has in fact all matter and all the momentum needed to create beautiful images.

Aside from the small teething problems and some aberrations as favorite reading, So this is a camera that makes you want to make beautiful pictures.

The following soon with further in theatrical presentation when we have had time to post-produce it all in engine-.

  1. Alain Pinatel
    Alain Pinatel says:

    Thank you for this detailed return.
    Completely agree with you, have a 4K sensor for outputting images in 2K, it leaves a little confused and a lot of misunderstanding… While Arri says that 4K is only useful for projects shot in movie…
    And the fact of not being able to read his rusches ProRes is just amazing!…
    You have not missed a trick hidden not by chance?…
    The cam that you had the opportunity to Register in ARRIRAW HDD or is not yet available?
    In any case your test has the advantage of light on the possibilities of this camera will certainly not regret a D22 everyone expected. 😉
    Thank you again pending further.

  2. Emmanuel Pampuri
    Emmanuel Pampuri says:

    Hello, Reading,
    no we did not “missed” it's just not activated yet, and it will be a future software update.
    On the ARRI-Raw is not yet officially activated but you can make a priori with the Codex recorder

  3. philip dumont
    philip dumont says:

    “For fiction cinema is in my opinion a shame to have released a limited camera 2K 2010 and this is why the RED One will keep my preference.”……… Writing this kind of thing is properly amazing! It was enough to see a screening of Alexa 2K last AFC Micro Salon One to store the radius accessories!!!! Where many take RdV emergency patient to an ophthalmologist!