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I OWN THE BRAND NEW ARRI ALEXA 35, AND I'D LOVE TO TELL YOU HOW IT COULD BENEFIT OUR NEXT PROJECT. HAVE A LOOK AT THE AMAZING CAPABILITIES BELOW OR CHECK MY ADDITIONAL GEAR AND RATES.
A BRANDNEW 4.6K SUPER35 SENSOR
For the first time in 12 years, ARRI introduces a new type of sensor, the ALEV4; a technical masterpiece. Super35 is a format that has been used for decades, and that never grows old. This means that the number of lenses (modern, vintage and anamorphic) that are suitable for this camera is enormous. Long live creative freedom!
Image by ARRI
17 STOPS OF DYNAMIC RANGE
Simply put: that is a ridiculous amount. And that's 2.5 stops more than other previous ARRI camera generations. I've noticed that clipping and underexposing is now a thing of the past, because with 17 stops you can capture almost everything that the human eye can also perceive. That gives room to make more daring choices in lighting in a responsible manner. And it makes the grading process much easier!
THE NEW "REVEAL" COLOR SCIENCE
This records a considerably wider color spectrum than other cameras do (see red frame on the left. The grey frame are the colors that are invisible to the human eye; the Rec2020 and Rec709 are standard gamuts used by most other cameras). As a result, skin tones and other delicate colors look much more natural. But saturated colors (such as LEDs, neon lighting, blacklights, flashing lights of emergency vehicles) are also registered very realistically without clipping or unwanted artifacts.
Image by ARRI
TEXTURES & LOOK FILES
With a variety of built-in Textures & Look Files I can create a unique look with stylistic cinematic textures (and even colors) for each production, which is complementary to the type of production and which resonates with the nature of the narrative. This way I can make distinctive images every time again - with 1 single camera. Check out the tests I ran, here on the left (make sure to toggle full screen and 4K on!)
SHOOT IN THE DARK!
Thanks to the Enhanced Sensitivity Mode, you can still shoot at night with only street lighting, candlelight or even moonlight, without seeing a lot of unnatural digital noise patterns. This way we can work more flexibly and (if realllly necessary) save on the lighting budget. Check out the sample video on the left.
PERFECT FOR MULTI-FORMAT DELIVERABLES
Furthermore, this camera is ideal for multi-format deliverables, where the 16:9 image (or any other aspect ratio for that matter) is captured simultaneously with the 9:16 (and/or 1:1 and 4:5) frame, by shooting both formats on the more "square" 3:2 sensor. That saves an extra set-up or shitty camera rig!
FULL EQUIPMENT LIST
ARRI ALEXA 35 • CINE LICENSE
SIGMA CINE 18-35 + 50-100 T2.0 LENSES
BEBOB BATTERY SET WITH HOTSWAP UNIT
SACHTLER FLOWTECH V18 S2 TRIPOD
SMALLHD 502 BRIGHT ON-CAMERA MONITOR
TERADEK BOLT 500 XT VIDEO TRANSMITTER SET
SMALLHD CINE7 BOLT RX 7" WIRELESS MONITOR
FLANDERS SCIENTIFIC 24" 10-BIT MONITOR
ADICAM EQUIPMENT CART
IN ANY CASE, YOU CAN TAKE ROUGHLY 40% DISCOUNT INTO ACCOUNT COMPARED TO REGULAR RENTAL LIST PRICES. I'D BE HAPPY TO MAKE A QUOTE FITTED FOR YOUR PRODUCTION AND NEEDS. GET IN TOUCH AND WE'LL DISCUSS FURTHER DETAILS :-)
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