ARRI Launches ALEXA Mini LF

Yeah, I feel sorry for the guys that had to buy cables to work with the original mini, since it was such a flash-in-the-pan camera... ; )

But yes. I totally get it. Remember when you pretty much needed only two types of cables to work in this business? Full sized XLR's for audio and BNC covered most other things- video, TC, sync...

Am I showing my age?
 
Run&Gun said:
Yeah, I feel sorry for the guys that had to buy cables to work with the original mini, since it was such a flash-in-the-pan camera... ; )

But yes. I totally get it. Remember when you pretty much needed only two types of cables to work in this business? Full sized XLR's for audio and BNC covered most other things- video, TC, sync...

Am I showing my age?
Click to expand...

I already have four different cables for my Tentacle Sync Es to interface with BNC, XLR, 3.5mm and Sound Devices Hirose. Thta's just life these days, it seems like common standard "Détente" is over for the camera and sound companies. Everyone just does what they want.
 
The movie, 1917 (directed by Sam Mendes) will be Roger Deakins first movie with the ARRI ALEXA Mini LF. Interestingly as can be seen in the article below and the behind the scenes video, the movie will play as one continuous shot. I'm not really a fan of war movies, I only went to see Dunkirk because it was Christopher Nolan, but I may interested in seeing 1917.

https://www.arri.com/en/company/arr...ships-and-inspires-cinematographers-worldwide

https://www.vanityfair.com/hollywood/2019/09/1917-one-shot-sam-mendes-interview

1917 Trailer:
https://www.youtube.com/watch?v=UcmZN0Mbl04

1917 Behind the Scenes Featurette:
https://www.youtube.com/watch?v=3hSjs2hBa94
 
Teddy_Dem said:
The movie, 1917 (directed by Sam Mendes) will be Roger Deakins first movie with the ARRI ALEXA Mini LF. Interestingly as can be seen in the article below and the behind the scenes video, the movie will play as one continuous shot. I'm not really a fan of war movies, I only went to see Dunkirk because it was Christopher Nolan, but I may interested in seeing 1917.
Click to expand...

You had me at one continuous shot.
48823056172_5186294ee0_n.jpg
 
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Being a WWII history buff, I love good war movies. I can even tolerate bad war movies, if they have some redeeming features. "Dunkirk" really didn't have any.

This looks great visually. (it's Deakins, duh) Of course, the trailer is edited.

PS. When someone says, "We may lose 1,600 men", it's a bad historical MacGuffin. Total British losses on the Western Front were over a million, French over a million and a half. The Germans close to two. A couple of battalions worth were a daily attrition rate (on the opening day of the Battle of Somme, the British lost over 16,000 dead) and of no great importance.

PPS. The "Saving Private Ryan" plot was also a bad MacGuffin.
 
48823395138_ed788630e5_z.jpg

Anyone else digging this Deakins on a one handed gimbal viewfinder?

It’s probably that kit that Travis posted. Just being beta tested by academy award winning cinematographers on big feature films. ;)
 
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I wouldn't call that a gimbal--more likely a DSLR camera in cage with onboard monitor and I would guess a battery at the bottom for stability. We've had versions of this for years...Cameron had his Vidstick on Titanic, visible in BTS footage from that movie. I designed the one below nearly 20 years ago (the difference was it was lighter due to use of a CCD surveillance type camera, the type used on videotaps of the day). Never had it built. DSLR's are a nice way to go now as the image size is comparable to the actual camera. I helped a friend assembly one recently.

Vidstick.jpg
 
Looking up several of his previous movies, Deakins used the Zeiss Master Prime Lenses, but on 1917, he's using the new Arri Signature primes.
 
Eric Coughlin said:
Looking up several of his previous movies, Deakins used the Zeiss Master Prime Lenses, but on 1917, he's using the new Arri Signature primes.
Click to expand...

Imagine the switch is largely because the Master Primes won’t cover the LF’s sensor, but their are other benefits, such as the Signature Primes being telecentric.

Anyone know which company is building the Signature Primes for Arri? It’s not Zeiss.
 
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I heard the Signatures are made in a factory next to the same one that makes the Tokina Vistas, so they are pretty much the same thing, so might as well get the Vistas.

...a sales guy actually tried to sell me on Tokinas like that.

Tokinas are good though. Just thought it was one of the most awful sales pitches.
 
CharlesPapert said:
I wouldn't call that a gimbal--more likely a DSLR camera in cage with onboard monitor and I would guess a battery at the bottom for stability. We've had versions of this for years...Cameron had his Vidstick on Titanic, visible in BTS footage from that movie. I designed the one below nearly 20 years ago (the difference was it was lighter due to use of a CCD surveillance type camera, the type used on videotaps of the day). Never had it built. DSLR's are a nice way to go now as the image size is comparable to the actual camera. I helped a friend assembly one recently.

View attachment 137105
Click to expand...

This is rad! I love the 10x zoom too!
 
Teddy_Dem said:
The movie, 1917 (directed by Sam Mendes) will be Roger Deakins first movie with the ARRI ALEXA Mini LF. Interestingly as can be seen in the article below and the behind the scenes video, the movie will play as one continuous shot. I'm not really a fan of war movies, I only went to see Dunkirk because it was Christopher Nolan, but I may interested in seeing 1917.

https://www.arri.com/en/company/arr...ships-and-inspires-cinematographers-worldwide

https://www.vanityfair.com/hollywood/2019/09/1917-one-shot-sam-mendes-interview

1917 Trailer:
https://www.youtube.com/watch?v=UcmZN0Mbl04

1917 Behind the Scenes Featurette:
https://www.youtube.com/watch?v=3hSjs2hBa94
Click to expand...

Cool. The thing they using for hand held with 2 guys holding is not gimbal is it? Looks like jib head mounted to some bars.
 
James0b57 said:
I heard the Signatures are made in a factory next to the same one that makes the Tokina Vistas, so they are pretty much the same thing, so might as well get the Vistas.

...a sales guy actually tried to sell me on Tokinas like that.

Tokinas are good though. Just thought it was one of the most awful sales pitches.
Click to expand...

My understanding is, it is a Japanese manufacturer, but no one has openly said which one.

Funny thing with the Tokina's, I've had my dealer steer me away from them multiple times(once when I inquired about the 105 from them and Sigma and then recently when they announced their 135 T1.5). They said they have had IQ and build quality issues with them. My dealer QC's/benches every lens they sell, except for the Tokina's, because they were having to put so much work into trying to get the lenses to spec out before sending them to customers(and then again when they came back, because they weren't happy). And a lot wouldn't spec out or they would just barely. So when they do sell them, they are 'as-is', meaning the only backing you have is from Tokina. The dealer won't touch them, they go back to Tokina.
 
Run&Gun said:
My understanding is, it is a Japanese manufacturer, but no one has openly said which one.

Funny thing with the Tokina's, I've had my dealer steer me away from them multiple times(once when I inquired about the 105 from them and Sigma and then recently when they announced their 135 T1.5). They said they have had IQ and build quality issues with them. My dealer QC's/benches every lens they sell, except for the Tokina's, because they were having to put so much work into trying to get the lenses to spec out before sending them to customers(and then again when they came back, because they weren't happy). And a lot wouldn't spec out or they would just barely. So when they do sell them, they are 'as-is', meaning the only backing you have is from Tokina. The dealer won't touch them, they go back to Tokina.
Click to expand...

Thanks for letting us know! I had no idea about their QC issues, but was beginning to consider them. Been wondering why they haven’t caught on, other than awkward pricing for a relative new comer in the cine market.
 
SJX said:
Cool. The thing they using for hand held with 2 guys holding is not gimbal is it? Looks like jib head mounted to some bars.
Click to expand...

I'm not sure what piece of equipment that is.

But that makes me curious - how are they going from what looks like the arri trinity to the rig on the bar? See first five seconds of BTS video then 0:06 - 0:09 for the next rig. It doesn't look like an easy transition??
 
rob norton said:
I'm not sure what piece of equipment that is.

But that makes me curious - how are they going from what looks like the arri trinity to the rig on the bar? See first five seconds of BTS video then 0:06 - 0:09 for the next rig. It doesn't look like an easy transition??
Click to expand...

This is why shooting BTS rocks. You get to see all this stuff in person.

As to transitioning from the one rig to the other, when you have multiple camera bodies and / or an army of Camera Dept folks it isn't that big of a deal. Many times on a film set I have been amazed at how quickly things are executed because of all the bodies they have on hand. A DP will decide he needs something done, you turn away for what seems like only 10 minutes and a small army of Grips have made it happen. Cameras go from being on dolly to mounted on a vehicle in under 10 minutes. Every camera has 4 crew members assigned to that camera and only to that camera. Operator, 1st AC, 2nd AC, and Camera Grip. Often with a Camera P.A. to lend a hand as well.
 
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