As a lot as we are able to come out and say that the majority filmmaking just isn’t in regards to the gear, now we have to additionally admit {that a} tiny little bit of it’s positively in regards to the gear. There’s a cause that gear just like the ARRI ALEXA are chosen for high-end productions. That isn’t to say that inexpensive gear can’t produce photos which might be on par with gear a number of occasions its value – it completely can.
It’s nonetheless good to see a few of these choices put face to face. Right now now we have one such comparability from filmmaker Blaine Westropp. He took an ARRI ALEXA Mini LF and did assessments towards a Sony FX3. There’s a worth distinction of tens of hundreds of {dollars} between them.
Each cameras are set to ISO 640, 5600K, and with no tint. The lens was a DZOFilm Vespid 35mm T2.1 used vast open with an ARRI .3 ND and a 1/125 second shutter pace. Additionally the identical between the 2 cameras is a UHD 4K (3840 x 2160) decision. The place they differ is within the codec and gamma. ARRI makes use of ProRes 4444 in Log-C whereas the FX3 is inner XAVC S-I with S-Log3.
This was all with the lighting of the scene, which options massive home windows within the background successfully backlighting the topic. It is a powerful scene to deal with effectively as soon as graded, and Westropp aimed to start out clipping the highlights barely to see how they’re dealt with. In Rec.709 there was slight clipping however in log the data was retained.
Anyway, it does appear once more {that a} sub-$4,000 digital camera is competing with one which breaks the $20,000 mark.
Pictures by ARRI
The FX3 delivers by way of pure picture high quality. Loads of dynamic vary and first rate coloration dealing with all through the entire scene – each ungraded and graded.
The ARRI ALEXA has some refined variations and seems to have a barely extra impartial coloration, however that’s an enormous soar in worth for a minor acquire. Don’t get me fallacious, these variations matter, simply to not your on a regular basis shooter.
What’s curious is that Blaine factors out that it’s troublesome to match the 2 cameras. So, whereas the FX3 is an incredible digital camera, it may not be the most effective in case you are aiming so as to add a B digital camera to your ARRI equipment.
What are your ideas after watching the footage?
[source: Blaine Westropp]
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