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As a lot as we are able to come out and say that almost all filmmaking shouldn’t be concerning the gear, now we have to additionally admit {that a} tiny little bit of it’s undoubtedly concerning 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 photos which are 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. At this time now we have one such comparability from filmmaker Blaine Westropp. He took an ARRI ALEXA Mini LF and did exams in opposition to a Sony FX3. There’s a worth distinction of tens of 1000’s 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 pace. 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 inner XAVC S-I with S-Log3.
This was all with the lighting of the scene, which options giant home windows within the background successfully backlighting the topic. It is a robust scene to deal with effectively 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 digital camera is competing with one which breaks the $20,000 mark.
Pictures by ARRI
The FX3 delivers by way of pure picture high quality. Loads of dynamic vary and respectable shade 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 shade, however that’s an enormous bounce in worth for a minor achieve. Don’t get me improper, 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 digital camera, it may not be the very best if you’re aiming so as to add a B digital camera to your ARRI package.
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)
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