One of the things I always admired about Arri is them keeping the resolution at 2.8K and 3.4K (yes I know it can do standard HD as well). The reason why, is because after film is put through all the processing/projection, it image quality equates to around that resolution. That coupled with the sensors dynamic range and that sweet highlight roll off, and the camera had me sold.
I work in independent productions from time to time with the Union (film, television, etc). I’ve shot in LA, NY, Miami, Peru, London, Tokyo to name a few places. I’ve been around in the field for a bit (started in my early 20’s after my first stint in college an am now in my 40’s). Arri is the easiest to emulate film, no matter the location, over all other cameras.
I’ve used RED multiple times and shot 5K/6K, and as beautiful as the image looks, it starts losing that filmic quality and begins looking like hyper realistic video. I believe people will use this of course (it’s a new Arri camera so who wouldn’t). But I believe they will stick to the usual resolution everyone has been using for the past 5-10 years for features, and the high resolution for documentaries and Netflix films/series as 4K is the requirement.
I recently watched Skyfall, and it’s truly a gorgeously shot picture. Roger Deakins was working with the Arri at it’s early age of 1-1.5 years, and DP’s were still figuring things out - and it STILL looked beautiful. Then to see Drive and The Avengers who were productions both working with the cam around the same time as Skyfall, with the images equally as beautiful.
I remember Wally Pfister in the summer of 2012 criticizing Seamus McGarvey‘s work on The Avengers and I was really turned off by that. I think Arri threatened him and his work methods because it pretty much gave the same quality as celluloid.
I hope Arri doesn’t lose that. It’s the closest some of us will ever get to shooting on something with the look of celluloid.
I agree. LF and 65mm sensors should be used sparingly - specifically on EPIC films. It just doesn’t look right on a small intimate piece.
I LOVE “If Beale Street Could Talk”. But for the life of me, I can’t figure out why Barry Jenkins used the Alexa 65 over a standard Alexa, Alexa Mini, Amira, etc. It’s such an intimate film. The shallow focus distracted from the beautiful narrative. It’s the artist choice of course. But it just seems like he wanted to test it out rather than it being appropriate for the “art” of the story.