The ARRI Alexa has become the industry gold standard for feature, commercial, drama, and high-end documentary and broadcast series. It has evolved into a mainstay and go-to camera for production companies and crews.
HISTORY OF ARRI CAMERAS
The origins of ARRI can be traced back to a tiny shop in Munich, founded by August Arnold and Robert Richter in 1917. The store sold everything from film cameras to other associated equipment.
ARRI’s first products were film production equipment such as printing machines and lights. The KINARRI 35 was the first camera Arnold and Richter constructed.
When Richter visited the United States in 1925, he noticed how Hollywood studios were already using larger and heavier equipment. This early observation influenced future ARRI camera designs.
In 1936, with the ARRIFLEX 35 prototype for a new lightweight camera, a breakthrough was achieved.
During World War II, German combat cameramen utilized ARRIFLEX cameras, and the first ones to fall into Allied hands were discovered by the military during the conflict.
The firm announced the ARRIFLEX 35 II camera in the aftermath of World War II when ARRI resumed production. The use of ARRIFLEX cameras became more widespread following a sharp increase in Hollywood movies shot on location from the late 1960s onwards.
ARRI released the ARRIFLEX 35 III in 1979, which was the newest version of their popular 35mm film camera. Meanwhile, it had also developed the 35BL, it’s first silent 35mm film camera.
From the end of the 1980s onwards, larger sizes and faster speeds became more common. In 1989, the ARRIFLEX 765 was released, introducing a method for employing a separate, electronically-synchronized camera movement motor to minimize noise.
The ARRIFLEX 535 was a major technological advance in 1994, with its adjustable viewfinder technology. The firm went on to improve this initial version to make it more compact. Meanwhile, the ARRIFLEX 435 took the place of the 35 III.
The firm adapted to the digital era swiftly, launching the ARRI D-20 in 2005 and D-21 in 2008. Then came ARRI’s first Alexa model in 2010, which featured the legendary ALEV III CMOS Bayer sensor. All models of ALEXA and Amira up to this day, including the ALEXA LF and ALE
THE MOVE TO DIGITAL: ARRI ALEXA
For ARRI, going digital was a success story. The ALEXA looked and felt similar enough to an ARRI camera that the company’s researchers had studied such issues as image processing and what images should look like when compared to film.
It had the ability to produce cinematic imagery, something we as an audience have taken on board since the start of the film. The original ALEXA became one of the most popular digital cine cameras of all time. It was used in 80% of major motion picture releases by 2017.
The ARRI name and kit were already familiar to the crews, including the lenses and peripherals that could still be used with the new digital cameras. But it was in the photographs themselves where the truth lay: they appeared more like film.
The ALEXA’s ease of use and operation have been two other major selling points. With digital came a plethora of options and more buttons, which ARRI’s minimalistic design for digitally converted film enthusiasts was based on.
EXCELLENT IMAGE QUALITY
The image quality of the ARRI ALEXA is one of its most significant features for filmmakers. Colour accuracy and grain texture are standout characteristics owing to the camera’s design, which emphasizes textured, softer images while still retaining resolution and clarity. You won’t get photos that are too sharp or overly digital with the ARRI ALEXA.
The use of colour science by Sony’s engineers has paid off, resulting in natural skin tones and a previously unseen highlight roll-off. The imaging system of the ALEXA is extremely sensitive, and it maintains its dynamic range at all sensitivity settings.
The ALEXA camera is capable of displaying an operator a surround-view to allow them to see the edge of the frame, booms and marks as they enter show or record Open Gate, allowing the whole area of the sensor to be recorded. Particularly useful for VFX, it’s an illustration of how the ALEXA effortlessly combines technical excellence with the simplicity of use.
THE SAME SENSOR
ALEXA cameras all have the same sensor, the ALEV III. They are showing a lot of faith in their original idea by using the same sensor for all ALEXA cameras. This also allows operators and Directors of Photography to know how to light and expose scenes without having to worry whether or not the camera is capable or not.
It means that the user can rent any ARRI ALEXA and be confident in the results. The images will be of the same high quality as those produced by ARRI before.
ARRIRAW FORMAT
ARRIRAW gives the most flexibility for post-production because it transmits all of the sensor data, including full dates and information. This format keeps the camera’s natural colour response and exposure as unprocessed and uncompressed sensor data.
A digital negative is what the camera processes to create a colour image for normal viewing. It maintains the purity of the raw recorded data, allowing you to fine-tune your findings in post-production.
A broadcast HD camera is ideal for live sports transmissions since it provides a high-definition (HD) picture without the need for complicated technical jargon. This makes post-production, visual and special effects work considerably easier. It also improves the entire film’s picture quality and overall image appearance.
ARRI ALEXA MINI
Documentarians and independent filmmakers have flocked to the ARRI ALEXA Mini, which has proven to be quite popular. It’s a lighter version of the full-size ALEXA model with a carbon fibre body that weighs in at 2.3 kg.
The D5 is the latest model in Sony’s line of professional Super 35mm cameras. The sensor features a resolution that allows you to capture amazing high-resolution video and stills from any angle or position. It enables filmmakers to shoot from anywhere, support anamorphic lenses, and mount the camera on anything with great image quality. It can also work with gimbals and drones.
The ALEXA lineup of cameras continues to set the industry standard for contemporary digital filmmaking. The Mini was updated in 2019 with a full-frame ALEV III sensor to provide true 4K video for 4K broadcasters, and the ALEXA Mini LF follows up on the original Mini’s success while we wait for the rumoured and delayed ALEXA Mini II. nThe ALEXA range of cameras has long been recognized as a leader in modern digital filmmaking. If you’re interested in loaning an Alexa camera or something similar, why not contact Pro Motion Hire today to get a quote.
