Alexa did great, because they tried to emulate analog film and created something, that spoke to the tastes of many film directors.. effortles sort of analog look in other words.. if you see the evolution of the Arri digital cameras you can see that with every new cam until Alexa, the "mojo" of the picture (color, contrast range, etc) was getting better and better. It's like yesterday I remember how the D21 had some funky red colors going on around incandescent - F35 was much better back then. But with Alexa, everything was tuned properly.. it's insane to think that the camera performs amazing in every light condition you throw at it.. it has literally no weakspot. I wonder if they are planning something new.. some new looks (before we had different brand filmstocks to chose from) or I guess they will stay with what works, with what brings in the Oscars.
Nope.. not liking it.. the filmstock doesn't suit the scenes.. something out of early 90's late 80's would be ideal
Not impressed by the standard color profiles of this cam.. to me they still look like proper home video. Let's see what can be done when playing around with the color matrix.
"We really wanted to develop a camera that can deliver amazing quality without spending 10 000 USD on an expensive camera" ...
well this sentence made my head hurt and eyes bloody. Engineers can be so disconnected from the reality sometimes. Does it even do 10bit at Full HD? No? Well then seriously this is exactly like GoPro (GoAmateur) but just with a larger chip.. the codec sucks, the color science sucks.. just an amateurish looking picture for a whopping 699 (with quality nowhere close to anything costing 10 000). Great to use as a crash camera.. nothing else.. it's just not for professional application.