[ad_1]
As a lot as we are able to come out and say that almost all filmmaking shouldn’t be in regards to the gear, we’ve got to additionally admit {that a} tiny little bit of it’s undoubtedly in regards to the gear. There’s a cause that gear just like the ARRI ALEXA are chosen for high-end productions. That isn’t to say that reasonably priced gear can’t produce pictures which might be on par with gear a number of occasions its price – it completely can.
It’s nonetheless good to see a few of these choices put face to face. In the present day we’ve got one such comparability from filmmaker Blaine Westropp. He took an ARRI ALEXA Mini LF and did assessments in opposition to a Sony FX3. There’s a worth distinction of tens of hundreds of {dollars} between them.
Each cameras are set to ISO 640, 5600K, and with no tint. The lens was a DZOFilm Vespid 35mm T2.1 used huge open with an ARRI .3 ND and a 1/125 second shutter velocity. Additionally the identical between the 2 cameras is a UHD 4K (3840 x 2160) decision. The place they differ is within the codec and gamma. ARRI makes use of ProRes 4444 in Log-C whereas the FX3 is inside XAVC S-I with S-Log3.
This was all with the lighting of the scene, which options massive home windows within the background successfully backlighting the topic. It is a robust scene to deal with properly as soon as graded, and Westropp aimed to start out clipping the highlights barely to see how they’re dealt with. In Rec.709 there was slight clipping however in log the data was retained.
Anyway, it does appear once more {that a} sub-$4,000 digicam is competing with one which breaks the $20,000 mark.
Photographs by ARRI
The FX3 delivers when it comes to pure picture high quality. Loads of dynamic vary and respectable coloration dealing with all through the entire scene – each ungraded and graded.
The ARRI ALEXA has some refined variations and seems to have a barely extra impartial coloration, however that’s an enormous bounce in worth for a minor achieve. Don’t get me incorrect, these variations matter, simply to not your on a regular basis shooter.
What’s curious is that Blaine factors out that it’s tough to match the 2 cameras. So, whereas the FX3 is an incredible digicam, it won’t be one of the best if you’re aiming so as to add a B digicam to your ARRI equipment.
What are your ideas after watching the footage?
[source: Blaine Westropp]
Order Hyperlinks:
Sony a7S III Mirrorless Digital camera (B&H, Amazon)
Sony FX3 Cinema Digital camera (B&H, Amazon)
ARRI ALEXA Mini LF (B&H)
[ad_2]