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I OWN ARRI'S FLAGSHIP CAMERA -THE ALEXA 35- AND A WHOLE BUNCH OF ADDITIONAL GEAR THAT MAKES MY KIT READY TO SHOOT FOR ANY PROJECT. YOU CAN LEARN MORE ABOUT THE CAMERA'S UNIQUE CAPABILITIES BELOW.
FULL EQUIPMENT LIST
ARRI ALEXA 35 • CINE LICENSE • LPL + PL MOUNT
SIGMA CINE 18-35 + 50-100 T2.0 LENSES
BEBOB B-MOUNT BATTERY SET WITH HOTSWAP UNIT
SMALLHD 502 BRIGHT ON-CAMERA MONITOR
VOCAS MB-436 SWING-AWAY MATTEBOX
3X 1TB CODEX CARDS
SACHTLER FLOWTECH V18 S2 TRIPOD
TERADEK BOLT 500 XT VIDEO TRANSMITTER SET
SMALLHD CINE7 BOLT RX 7" WIRELESS MONITOR
FLANDERS SCIENTIFIC DM240 24" MONITOR
HOLLYLAND SOLIDCOM C1 INTERCOM HEADSETS
ADICAM EQUIPMENT CART
THE ARRI ALEXA 35
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!
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!
Image by ARRI
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.
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!
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