This is a top tier high-end digital cinema camera that will be used on major Hollywood theatrical releases and episodic television. I can’t show any of that footage because it hasn’t been released yet. I used the camera on a couple of TVCs and I was extremely impressed with the results I got. This was not a shipping version of the camera and it was still using quite early firmware, so I wasn’t able to test some of the features because they weren’t available.
I only got a relatively small amount of time to use the ALEXA 35 and it would be a disservice to the camera to call this a review. With DPs not able to use the ALEXA Mini or AMIRA for certain productions, ARRI did need to bring out a Super 35 camera that could meet streaming mandates, to compliment the ALEXA LF and Mini LF. There is absolutely no doubt that certain streaming service mandates were one of the reasons behind the development of the ALEXA 35, ALEXA LF, and Mini LF. There is no such thing as the perfect camera and there probably never will be. No camera is ever going to be exactly what every user wants, and that is why we have so many options available in the market. By getting feedback from DPs around the world ARRI was able to come up with a camera that becomes yet another arrow in its impressive quiver. If there is one thing ARRI does well, it is listening to the end-user. You don’t mess with something people already like, you just improve on it. At the end of the day, it’s the image quality that matters the most, and ARRI’s philosophy has always been to create the best image quality with no compromises.
When ARRI set out to develop the ALEXA 35 it had to meet the following requirements:ĪRRI has always prioritized image quality over resolution. Setting a new standard for Super 35 Image copyright Newsshooter
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