Yeesh, thats debated, There are ac's that would argue they cover everything outside of the camera, and the DIT is responsible for the settings, but the DR comment is ridiculous. Do an over under test, it sound like it might blow your mind.

Yes classic any day of the week over raven, 800 iso will be a stop brighter on Alexa and you get a stop extra in the highlights, that’s like half the g and e not to mention the single rec709 lut that everyone has rather than 12 red ones which can trip up colorists. Now ur Ac needs to know the camera and your colorist. It’s pretty hard to make a bad image on Alexa, you literally have to try. Also other issues with Sony is that there is no 444 subsampling other than raw,and the axs recorder will kick its fan into high gear on long takes and trip up the actors.

This is the funny thing, all the best films that are not shot on film shoot on alexa, a used alexa body costs the same as a red raven, and they rent on sharegrid in LA for the same price as any low end camcorder. Don't be contrarian if you shoot indie. Finding a camera that no one is shooting on won't help your story or performances. Your film will be better and you'll have more time for performances, Alexa gives you that. Instead of waiting for a black shade calibration or for the ACs to figure out the bottomless menus, or for the grip department to ND windows, you will be filming more story beats and performances on Alexa. As long as the locations are decent Alexa with no lighting or crew will probably make a better indie movie than any other camera with a lighting and crew, if you are making a movie for less that $100,000.

Listened to the podcast, it all depends. If your locations are good enough already, Mini + Anamorphics might be better than a PD in the end, definitely if your shooting outside.

Its tough to tell without info on what kind of shoot is it. Day exterior? Steadicam? High Key? Low Key? Desaturated look? The aesthetic that your going for matters for the camera choice. With no info the answer always mini, the benefit of the mini is you don't need to be a genius to grade it, the issue with Red is that you need to know what your doing in post to get a good image out of it. You can shoot 3200 on Alexa outside and it will still look great, try that on red, it will look like crap. Red is an overly complicated camera even with the IPP2, but if the DP is already experienced with Red the can probably get Alexa results. Know that the prores 444 is more flexible than the R3ds in post. Don't shoot on a c500 it only has 12 stops of DR, you are way better off with a canon c200 with 14 if the two other cameras don't work.

Yea we agree to disagree, the only things that matter is the bit depth and the full well capacity, if those are similar you can create the same look from different sensors. The fs700 and c100 are pretty similar in those specs. Arri is much higher in those specs so thats why the industry chooses the Alexa. Its great you can tell the difference between two images where the filmmakers followed the camera manufacturers instructions to a T, but you don't need to do that. Thats why you have the log. The film analogy doesn't really work. This is digital, its all ones and zeros, even arri's rec709 lut is not magic its a list of coordinates of where to map color. You can map other cameras to those coordinates, at least close enough where you can't tell the difference. If your colorist sucks then you can't. Thats why I think we should stop talking about the sony look and the canon look and start talking color and how to manipulate it so we can take any sensor and map it to the same look. Thats what ACES has set out to do. But we're stuck in this BS thinking digital sensors are like film stocks and their not.