Why Most Movies Are Shot On Arri Cameras
In the realm of cinematography, the notion that a camera is merely a tool resounds consistently. Cinematographers have an assortment of tools at their disposal, akin to a comprehensive toolbox. However, if we delve into the empirical evidence, one brand of digital cinema camera consistently rises above the rest.
Analyzing the nominations for the 2022 Best Cinematography Oscar, it becomes apparent that four out of five productions opted for Arri digital cameras. The pattern extends to the Best Picture nominees, with six out of ten relying on Arri. Some may argue this is a coincidence, necessitating a broader data set. However, delving into the 2021 Best Cinematography nominations reveals a similar trend—four out of five selected Arri. The 2021 Best Picture nominees continued this pattern with five out of eight.
This recurring pattern underscores a compelling narrative: Arri digital cameras have become the go-to choice for contemporary filmmakers. Drawing upon my own industry experience, I will elucidate the four primary factors responsible for cinematographers' inclination toward the Arri Alexa.
"The Alexa is my digital camera of choice, a preference held since its inception."
While one might contend that Arri cameras are favored solely due to their ability to yield visually superior results, the allure runs deeper.
To truly comprehend the popularity of Arri's digital cameras, it's imperative to delve into the historical backdrop of the film industry—a time when celluloid reigned supreme.
Owing to the exorbitant costs associated with film equipment and cameras, these essential tools were often rented by production companies on a daily or weekly basis. Two prominent manufacturers, Panavision and Arri, emerged to cater to this specialized demand. A crucial distinction lay in Arri's practice of selling their equipment to third-party rental houses or individuals, while Panavision exclusively rented the gear they produced.
Both companies developed their unique camera systems, featuring subtle differences. For instance, Panavision cameras utilized a PV lens mount, whereas Arri cameras adopted a PL mount. Nevertheless, these cameras adhered to a standardized modus operandi, facilitating the integration of third-party gear accessories. This meant that crews with varying equipment could seamlessly transition between Panavision and Arri systems across different projects, without the need for separate kits.
The Transition to Digital Cinema Cameras
As the film era gave way to digital dominance, both Panavision and Arri faced the formidable task of devising digital alternatives to their film counterparts—solutions that would seamlessly accommodate existing lenses and gear accessories. Over the years, many working cinematographers have forged strong relationships with these manufacturers, establishing a track record of exclusive equipment usage. Consequently, when the film industry made the inevitable shift to digital, these cinematographers gravitated naturally toward what Panavision and Arri had to offer.
Panavision introduced the Genesis, incorporating elements of Sony's digital imaging technology with a 35mm-sized sensor. Despite early operational issues, the Genesis garnered some initial usage. However, it was swiftly overshadowed by Arri's competing camera, the Alexa.
The Alexa distinguished itself with its exceptional image quality, user-friendliness, basic ProRes direct-to-edit workflow, and global accessibility for individuals and companies. These factors propelled the Alexa to the forefront, leaving the Genesis in its wake.
"It was somewhat daunting for me because, until then, all my cinematic endeavors had been rooted in celluloid. Nevertheless, when the transition to digital was inevitable, I harbored no doubt—my choice was Alexa. I believed it would preserve the essence of the cinematic artistry I had honed with film."
As the transition from film to digital cameras unfolded, Arri embarked on a mission to ensure a seamless leap. The Alexa was meticulously designed to be compatible with existing lenses and film equipment. Crucially, the user experience was tailored to mirror the conventions of film. The camera featured a recommended native EI, akin to film stock, and a user-friendly menu screen. This interface drew inspiration from the limited settings available on film cameras, such as shutter angle.
In contrast, the menu systems of competitors like the Red One were more convoluted, often necessitating procedures like 'black shading' to recalibrate the camera's black balance. The Red's menu system leaned toward technical complexity, akin to a computer, which didn't resonate as well with experienced cinematographers accustomed to the simplicity of film cameras. Arri's menu, in contrast, facilitated a smoother transition.
Initially, the Red also grappled with a more intricate RAW workflow compared to Arri's straightforward ProRes workflow. Over time, Arri expanded its lineup of Alexa cameras, offering various body sizes and formats—all anchored around the Alev sensor. This strategic move enabled cinematographers to choose from mini cameras, large format cameras, studio cameras, or even 65mm cameras, all while retaining the distinctive Alexa look and compatibility.
Arri's accessories, including their wireless follow focus, are seamlessly integrated with their cameras. This made it easier for camera assistants to work with both an Arri camera and Arri accessories, akin to the synergy between a MacBook and an iPhone from Apple.
While employing Arri accessories on a Red camera was feasible, it entailed certain limitations, such as restricted settings adjustments and remote playback from the focus handset. It also necessitated additional elements like an R/S cable to operate the camera.
Arri's Unwavering Appeal
In the grand tapestry of cinematography, Arri's simplicity and compatibility emerged as the reigning victors, beckoning cinematographers to embrace the digital era, leaving the film past behind.
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"I believe the Alexa, at this moment, reigns as the paramount camera in existence. Its image quality, in terms of resolution and the subtle nuances in pixel movement, imparts a touch of vitality. Straying too far results in lifelessness, and it's this touch of texture that I appreciate."
The Enigmatic Allure of the Alexa Look
The Alexa's acclaim among cinematographers predominantly springs from its ability to yield impeccable results, especially in rendering skin tones with finesse, imbuing colors with a cinematic essence, and balancing high resolution with organic textures.
This remarkable performance stems from two pivotal factors: the camera's sensor and its image processing capabilities.
The Alev CMOS Bayer sensor residing within the Alexa boasts a multitude of photosites, deftly balancing image sharpness with a broad dynamic range and minimal noise. The sensor incorporates a low-pass filter to combat artifacts and includes IR and UV filters that preserve the integrity of the red spectrum, crucial for rendering pleasing skin tones.
Alexa's image processing, a brainchild of Arri's color scientists, draws upon their expertise in developing ARRISCAN and ARRILASER film scanning technology. The result is a color rendition that emulates nature's subtleties.
While other companies pursued higher resolutions, Arri, in a judicious move, devoted considerable attention to color science—an aspect deemed paramount by many cinematographers, given that most projects still culminate in a 2K resolution.
"I also procured the very first Alexa Classic when it made its debut. I thought, 'If it remains functional for three years, I'll be content.' It turned out to be an enduring tool, and I continue to utilize it. The longevity of these products is truly astonishing."
Unwavering Reliability of the Alexa
The Alexa's reputation for durability and reliability echoes resoundingly throughout the industry. Cinema cameras are engineered to endure frequent use, often over many years, and to withstand the harsh outdoor conditions of film shoots—a factor of paramount importance.
While most high-end cinema cameras have bolstered their reliability in recent times, the early days of digital cinema cameras bore witness to tales of camera breakdowns. The Red One, in particular, earned notoriety for its temperamental nature and tendency to overheat. In contrast, the Alexa emerged as a stalwart workhorse, known for its unwavering reliability.
During this nascent stage of digital cinema cameras, these reliability issues associated with competing cameras sowed apprehension among filmmakers. Time on a film set is a precious commodity, and the prospect of waiting for a camera to cool down before rebooting proved far from appealing.
I've worked with Alexas who have weathered the test of time, enduring the rigors of beaches, deserts, and extreme temperatures without faltering. Arri's track record for robustness, reliability, and camera longevity endures to this day.
Arri Alexa—The Cinematographer's Default Choice
In summation, four pivotal factors have conspired to establish Arri as the default choice for most cinematographers: Arri's rich legacy in the film industry, the seamless compatibility and user-friendliness of their products, the distinctive visual allure, and their unwavering reputation for reliability.
To such an extent that, for a camera assistant, working with any camera other than an Alexa is considered an exception to the norm. I foresee no immediate shift in this trend, especially with the impending release of the much-anticipated Super 35 4K camera from Arri.
I extend my gratitude to everyone for their viewership and engagement with this video, along with special appreciation to our Patreon supporters and those who have shown their support by purchasing channel merchandise.