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The ALEXA 35 is the shiny new cinema digicam from ARRI and so it’s (rightfully) getting all the eye as of late. We shouldn’t neglect about their current cameras, particularly the ALEXA Mini it’s virtually changing.
I say “virtually” changing as a result of it’s nonetheless an unimaginable digicam that even being a last-gen product maintains a bonus over the newest and best: coloration.
Let’s reduce to the core of the matter although and see simply how the pictures examine between the ALEXA 35 and ALEXA Mini. For a great take a look at each these cameras we are able to flip to filmmaker Joel Famularo.
The fascinating half is why this comparability even exists within the first place. Joel took the leap and picked up his very personal ALEXA 35.
Over time he seen that he wasn’t fairly in love with it and the explanation for this was the colour. Every little thing else was an enormous enchancment over the Mini. Decision, texture, and sensitivity all are objectively improved. That coloration although…
One thought he has for why this has occurred is that ARRI initially was centered on delivering a extra “filmic” picture and over time have develop into extra centered on delivering an correct picture. Is smart, nevertheless it could possibly be a little bit of a change for these already accustomed to ARRI’s seems to be.
Picture Credit score: ARRI
Time to take a look at the side-by-side footage in addition to his resolution for getting one of the best of each worlds with the ALEXA 35.
With matching glass and settings he put the ALEXA 35 up in opposition to the ALEXA Mini to create an enormous library of footage with all completely different colours and settings.
Making a mixed-lighting scene he pits the cameras in opposition to one another. Watching all the colours within the scene you’ll be able to see how the completely different colours are handled. This turns into extra obvious as you modify publicity because the ALEXA Mini doesn’t have a linear coloration shift and completely different colours will react in another way to issues like underexposure.
He made positive to get a great number of objects. He very a lot likes to make use of youngsters’ toys since they’ve such vibrant, daring colours.
There’s additionally actual greenery and grass within the scenes to create a greater reference than only a chart. With all that achieved he was capable of create an ALEXA Mini Emulation LUT for the ALEXA 35.
Picture Credit score: ARRI
Evaluating the footage straight you’ll be able to choose up some variations rapidly:
The worldwide saturation is a bit decrease on the ALEXA 35
Pores and skin tones and hotter tones really feel richer on the ALEXA Mini
The ALEXA Mini would “improve” the scene with complexity within the coloration rendering
These are all very private opinions on how the footage feels to him (moreover the saturation level), although you’ll be able to undoubtedly see what he’s getting at while you take a look at the clips.
Getting deeper into the shadows you’ll be able to see the ALEXA Mini footage has a gentler falloff. Saturation tends to vanish within the shadows and within the blacks. Dropping that heat within the pores and skin tones is probably going extra correct however much less fascinating.
Creating a picture with extra colours generally comes throughout as extra true-to-life because it feels higher.
When underexposing the ALEXA Mini he was much more comfy because it maintained these wealthy colours within the scenes whereas the ALEXA 35 appears to lose a few of that richness.
Picture Credit score: ARRI
In tungsten lighting you’ll be able to simply see how there’s further purple within the pores and skin tones on the ALEXA Mini emulation. This makes the ALEXA 35 footage really feel prefer it has a a lot narrower array of colours to work with and makes it really feel flat.
Heading open air we’re seeing comparable results. The pores and skin tones are trying extra saturated and richer. Trying on the shadows you might be getting a extra blueish-green there which has a extra film-like look.
Daylight scenes shot indoors present some points with the pores and skin tones on the ALEXA 35 whereas the ALEXA Mini appears to deal with any pores and skin nicely regardless of the lighting.
It does appear to be the ALEXA 35 shifted too removed from their distinct coloration rendering to a extra “correct” one which feels a bit flat in comparison with what we’re used to with ARRI cameras.
Fortunately, with some coloration work and a LUT you’ll be able to reclaim a few of that classic ARRI really feel.
What do you concentrate on this comparability? Are you for the newer look of the ALEXA 35 or do you like the classic really feel of the ALEXA Mini.
[source: Joel Famularo]
Order Hyperlinks:
ARRI ALEXA 35 Cinema Digital camera (B&H)
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