Texan living abroad in the Pacific Northwest.
It's funny people complain about the cost. I haven't used it or seen it yet, but an FF4 is like $5k with both studio/LWS and both sides. If it's anything of the build quality it seems like (and based on the great products of theirs I've used), and if it has no noticeable backlash as advertised, this may be the low cost option to the industry standard.
Measuring t-stops are not why cinema lenses are more expensive. I mean, sure, they have to calibrate them (you know, measure the light going in and compare it to the light coming out the other side), but that's really no different than making sure your 25mm lens isn't really 24.9mm or your 114mm front diameter (or 104mm, 95mm, 80mm...etc...) isn't mismeasured. It's just how they are marked for cinema.
As far as why still lenses use f/stops...who cares? This is a film blog. It sounds crazy to me to use a light meter, but *know* that if you set it to that f/stop, that you aren't feeding the sensor or film enough light because there is no compensation for the light loss...especially since there aren't markings on the side of the lenses to help you compensate for the light loss the way filters will tell you the filter factor. If you're using slide film with has so much smaller a latitude that it could really affect your exposure. I guess more still shooters are measuring through the lens more often, but still...plenty of people use light meters in the stills world. Using t-stops just means you don't have to worry about it or think about it at all. You don't have to know that one lens takes more light than another or spend any time calculating and compensating for the light loss.
Internal Codex drives are in all alexas except the Classic, I think.
Is there a way to just bypass their proprietary batteries and use v-mount or A/B's? Everything else is v-mount or A/B...bigger batteries really help fully built cameras run longer, especially when you have follow focus and wireless transmitters...I don't like powering RED's or Alexa minis with tiny little batteries, even if the draw is enough...overexerting batteries kills them much faster.
That's also ignoring that charging batteries is a major PITA as it is...at least they can be the same battery type as everything else and not having yet another type of battery to charge.
So....you buy 2 or 3 of them or just stop production for 3 hours to recharge? Just use V-mounts or A/B's. Many newer ones have p-taps built right in, so a battery plate may not even be necessary anymore. Just tape it on.
One thing I have yet to see of any of these directors pushing HFR is for them to talk about the fact that one of the real reasons for the push for higher frame rates is because most 3D systems alternate eyes each frame (sort of like alternating fields with old school interlaced TV...so when a film is shot/projected at 48FPS, you're still only getting 24fps *per eye*. I have yet to see Ang Lee's new film, of course, but I think it's finally reaching that threshold where it will work. I was fortunate enough to see Trumball's Scowscan format at Showbiz Pizza back in 6th grade in the 80's...it was 70mm (65mm camera negative) shot and projected at 60fps. I had no idea what I was watching, but even though it was 2D, it looked like I was watching a hologram...
I personally think 48fps is not enough...the motion blur of an 180° shutter at 24fps has some motion blur that really helps the it work without it not being fast enough to reach almost everyone's flicker fusion threshold...watching The Hobbit in HFR was exhausting because to me...it looked like watching a whole movie that loooked like the action scenes of Private Ryan or Gladiator...45° shutters...it looks kinetic, but it's also exhausting...my eyes were tired.
Another thing I find completely ironic of all these HFR directors...is they keep talking about how these higher frame rates are more realistic and immersive b/c it's closer to how your eyes see...but at the same time, they're making 3D movies which are the opposite of how your eyes see!