Arri Amira goes 4K?

William_Robinette said:
Real class acts here guys.
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Just telling the truth. Somebody has to, or marketing takes over and we will have another 4 years of being forced to shoot with cameras designed by sunglass tycoons.

Thank god those horrible devices are on their way out of my world - I feel sorry for anybody who still has to shoot on a Red. I'm sick to death of hearing the fanboys gush and I will not hold my tongue - I don't suffer fools gladly. "electricjib" is trolling, to be quite honest.

I don't care if it's 3.2k, 4k, or 10k - I'll choose the camera that makes the best images. In this discussion, and in most cinematography discussions, that camera is an Arri.
 
it all boils down to personal tastes.. I've produced films on film... Red... Sony... SI2K... and the last one on 2 Alexa's... being an old timer lol who learned on 35 film... I love the Arri look... to me it reminds me of film the most... but in the end... all that matters is that you turned out a freaking awesome movie and I don't care if you shot it on an iphone... they're just tools...

Yes all the 4k hype is out there... but when it comes time to sell a film.. most buyers ask me who's in it... rather than what it was shot on....

Also received an email from Abel Cine... seems the Alexa XT is also going with the open gate mode...
 
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IndyFilmPhreak2013 said:
Just telling the truth. Somebody has to, or marketing takes over and we will have another 4 years of being forced to shoot with cameras designed by sunglass tycoons.

Thank god those horrible devices are on their way out of my world - I feel sorry for anybody who still has to shoot on a Red. I'm sick to death of hearing the fanboys gush and I will not hold my tongue - I don't suffer fools gladly. "electricjib" is trolling, to be quite honest.

I don't care if it's 3.2k, 4k, or 10k - I'll choose the camera that makes the best images. In this discussion, and in most cinematography discussions, that camera is an Arri.
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You and the "fanboys" are two sides of the same coin. Someday hopefully you'll see that. Possibly the most insufferable and childish couple of posts I've ever seen on DVXuser, and that's saying a lot.
 
VinceinLA said:
It's amateur-hour... "keep up"? Are you are joking or just another 22yo wannabe? Arri is the last film related company that has anything to worry about, unlike just about every other one. Seen any big movies or major TV shows lately kid? Arri completely rules high-end capture in film and digital. It's not even close. Red will shut down one day because the thrill is gone and even their boss is bored with his baby. Canon will take their market, if they haven't already.

WHO GIVES A SH** WHAT RESOLUTION A CAMERA SHOOTS AT ANYMORE??? Grow the F up everyone. You are going on ten years of this uselss disussion.
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I'm just a 22 YO wannabe for sure :)

With that said I own multiple cameras form several companies including Sony, RED and Canon, all shoot 4K. And I have experience shooting Alexa's as well. I never dogged the quality of Arri's cameras, or knocked on what they accomplish in the rental market.

They've done amazing things with both. What i'm saying is they're releasing something that is half-assed and incomplete. Personally do I think they practice business professionally after what they did to RED? No. Do I think they're taking advantage of the consumer? Yes. Do I think they make a great camera? Yes. Does resolution matter? To me, Yes, to some No.

Talk about mis-information. The owner of RED Stepped aside to take a break. He isn't exactly young. It's not like he got bored and wanted nothing to do with it...

Canon will take RED's market? Yeah ok. Can't wait tip they actually implement a useful codec....

IMO between here and NoFilmschool there are just as many Arri Fanboys who have never used, and probably never will use one. Not saying you're one, but there are easily as many if not more.

My post was simply pointing out this is a half assed attempt by Arri to release something that you have to pay for, that isn't even really 4K. That is all.

BTW ever heard of House of Cards? Wonder what that is shot on? And yes i'm aware the Arri is used on many more thousands of things. Why do people get so wound up whenever someone has an opinion about Arri?

Ok fanboy. You should get back to reduser, I'm sure they miss you - misinformation like this is easier to spread there.

Way to telegraph your bias so I know I can safely disregard anything you say - thank you.

(The Red era is over, btw - nobody who doesn't own one shoots with a Red anymore, they are dead in the rental market yet Alexas still go out every day.)
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Thanks for telling me the Era is over. I'll disregard the tons of work i've gotten with all the cameras I own. Including a Red.

Wow this place has gone down hill with hate. Read my post again, never did I say no one should shoot an Arri or it isn't the right tool. If you take my post as threatening then you're obviously concerned for some reason. I'm merely sharing an opinion.
 
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IndyFilmPhreak2013 said:
Just telling the truth. Somebody has to, or marketing takes over and we will have another 4 years of being forced to shoot with cameras designed by sunglass tycoons.

Thank god those horrible devices are on their way out of my world - I feel sorry for anybody who still has to shoot on a Red. I'm sick to death of hearing the fanboys gush and I will not hold my tongue - I don't suffer fools gladly. "electricjib" is trolling, to be quite honest.

I don't care if it's 3.2k, 4k, or 10k - I'll choose the camera that makes the best images. In this discussion, and in most cinematography discussions, that camera is an Arri.
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Have you shot with either of them actually?
 
harddrive said:
I took electricjib's comments as little to do with what the images may look like in their totality - everything to do with what is increasingly being requested by clients at the top end. And that's 4k - at least for acquisition. I'm not saying it's right or wrong - but it's what is happening.

OK, still relatively early days, but the likelihood is that the trend will accelerate. Increasingly, if a camera isn't 4K, it won't get hired for top end work - that's what I understand electricjib to mean by "keeping up". And it's wrong to look at this as an "Arri v Red" battle. Pretty well all the other major camera manufacturers are selling a lot of 4k gear.

Everybody needs to be aware of it - and as I tried to say before, it's as much a matter of marketing as anything else. Like it or not, "4k" is being promoted in the public eye as "best quality!" and if you're any doubt of that, just go into any large TV retailer. That induces the likes of Netflix and Amazon to make sure that all their prime are 4k. Not because of any factors that you or I may hold most dear - purely so they can emblazon "4K!!!" on their advertising.

And no matter how good (in ways other than resolution) Arri images may be, what is being talked about here is simply not 4k.
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Precisely! Well said. Glad someone around here can read a post without popping a vessel.
 
VinceinLA said:
Seen any big movies or major TV shows lately kid? Arri completely rules high-end capture in film and digital. It's not even close.
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Hm, I dunno... let's take a look and see which cameras(s) were used on any Oscar nominated films in 2014:

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Best-Picture-616x549.jpg


:grin:
 
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William_Robinette said:
Possibly the most insufferable and childish couple of posts I've ever seen on DVXuser, and that's saying a lot.
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You really haven't been paying attention then, and you have a really thin skin for the movie business (if you actually make a living at this, that is - as I doubt you do).

edit: 30 seconds with google reveals you as a Red owner, and as such you can be completely ignored/disregarded on this subject, as can the fellow Red owner you are defending. So laughable is the utter ignorance that you Red fanboys show regarding the depth of your bias.
 
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mcgeedigital said:
Yeah, okay:

http://www.red.com/shot-on-red

View attachment 90728View attachment 90729View attachment 90730View attachment 90728
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WOW! Is that list misleading?

Lucy is F65. Only couple of background VFX plates with red for car driving shots.

Captain america winter solider is alexa. Red again just for few shots.

Same with avengers age of ultron and many others in the list.

LOL and star trek into darkness is film!

Does red really need the boost from misleading info like this? I think they have enough movies shot mainly on red and not need this. Anybody look that list and don't go digging will think all movies were shot on red mainly. Strangely self serving for red. So misleading and just wrong IMO.
 
IndyFilmPhreak2013 said:
You really haven't been paying attention then, and you have a really thin skin for the movie business (if you actually make a living at this, that is - as I doubt you do).

edit: 30 seconds with google reveals you as a Red owner, and as such you can be completely ignored/disregarded on this subject, as can the fellow Red owner you are defending. So laughable is the utter ignorance that you Red fanboys show regarding the depth of your bias.
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What's with the personal attacks?

Some are trying to share opinions without personally insulting other users. Might be worthwhile? It's like some people have some sort of complex against those who don't always see the Alexa as the best option.

Either way while i'm still doubtful about how they're achieving 4K in camera and how it's something that looks like you'll have to pay for. With that said i'm curious to see how it ends up looking. Can't wait til their is more news on their 6K 65mm camera that has been rumored. Now thats something game changing!
 
So getting back on the ARRI topic, anyone know if the ALEXA XT models will get the UHD codec too? All XT's does have open gate. It's a great move for ARRI to release this to such a new camera in their product line, but what about their current line up getting this? I been thinking of a ALEXA purchase, now I'm thinking AMIRA might be the new standard for indie features, tv, commercial world while the ALEXA gets pushed to jobs needing ARRI RAW or 2k prores jobs.
 
Piszkos Fred said:
I find it pretty interesting saying that Thor2, Avengers2, Winter Soldier, Shadow Recruit, RoboCop were shot on Red. It's like saying Raiders of the Lost Ark was shot on VistaVision, or Temple on Nikon still camera.
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Lucy was also 97% F65 with a few plates and possibly a few shots that made it in the film shot on RED and Alexa.
 
This debate should not be about Arri v Red, and I've no axe to grind for or against either. The real point is how important or not being able to truly say "I can give you real 4K" is nowadays, and in the near future. Much less to do with who makes the camera.

In that respect, lists of cameras used on films is not really very helpful. They can only tell you what *WERE* the cameras of choice a few years ago - not the present situation, and not (most importantly) what cameras are now being chosen for films in the planning stage.

Whatever equipment was used for some of the films mentioned, who's to say the same choice would be made if those films were now in the planning stage? Technology moves on. To those making cameras, it's what cameras WILL be used in six months or a years time that are the important figures - not what WAS used a year ago. And as said before, "4k" is increasingly becoming one of the boxes that must be ticked, and also as said before, that can be for marketing reasons as much as for any technical. Accept that (as some in the industry are now being forced to) and it's why even Arri - who tried to hold out - are now being forced to see the 4K writing on the wall.

It may have been Red who first made a lot of 4k, but it's arguably Sony who then really set the pace - not just for cameras, but displays as well. Add to that Canon with the C500, to say nothing of all the cheap cameras (even GoPros with 4k , for heavens sake!) and the manufacturers who had made the strategic decision NOT to go with 4k started to feel the heat. I think the final nail must have been Panasonic belatedly announcing it was fast tracking a 4K Varicam, at which point Arri were left somewhat out in the cold.

What they are doing I still maintain is not bad - but in another way it serves to underline what I believe was a serious strategic flaw, a serious failure to start development of a true 4k Arri much earlier. This can only be seen as a stop-gap bit of first aid. It gives improved resolution - but not true 4k, it takes away out of frame viewfinding, and means not all lenses may be suitable because of the larger area. I don't doubt they will rise to the challenge, that a true 4k Arri will come about, and they may regain their crown as camera of choice at the top end. But they really should have seen this coming much earlier.
 
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