Jibs And Track’s Indispensable Role In The Modern Film Industry

In the realm of cinematic artistry, the marriage between technology and creativity is constantly evolving to elevate storytelling. Among the many tools at the disposal of directors and DOPs, tracks and jibs stand out as indispensable instruments. The not only infuse depth and dynamism into your shots but also add visual flair to the final product. These unassuming pieces of equipment play a pivotal role in shaping the visual narrative and have become essential for the modern film industry.

Dollies

Dolly and Tracks really are the unsung heroes behind the seamless and fluid camera movements that captivate audiences. They provide a controlled pathway for the camera to glide effortlessly through scenes, adding a layer of sophistication and elegance that you cannot replicate with static shots alone. Tracks allow film makers to execute intricate movements like tracking shots, push-ins, and pull-outs, enabling them to follow characters or objects, or establish mood, convey emotions and emphasize crucial moments by shifting the focus of attention. Whether the camera glides gracefully alongside a character in a contemplative moment or rushes forward in a high-stakes chase, tracks breathe life into the film’s visual language, amplifying the narrative’s impact. In the event-world tracks have long provided a more interested shot across a stage or back or audience. For corporate films and commercials they have allowed film makers to create interesting shots to maintain viewers interest.

The core ones

Dollies come in a range of sizes, and depending on the situation and setup bigger isn’t always better.. Yes, not much can rival the Chapman PeeWee Dolly… there’s a reason it’s been the go-to for many DOPs for many years, but sometimes you are looking for something a bit smaller and compact to work in smaller areas… sometimes you may be looking for a simple move where the hydraulic bazooka is just overkill… and sometimes you just need to keep your production manager happier with the budget spend.
For those reasons we’ve found many productions moving towards smaller sit-on dollies such as the Egripment Matador, Egripment Focus Dolly or Keywest Magic Dolly. All 3 of these can run on the standard track (either Scissor Track or the bigger Moy track). Further, the Matador and Magic Dolly can also run on their pneumatic wheels. This lets you get reasonably smooth movements without needing to lay any track out at all. If you are operating in a smaller space then the Libec TR-30 gives a small, compact and lightweight dolly system. Smooth for medium format cameras and DSLRs and folding down for easy transportation. It is not a sit-on dolly, meaning the camera runs along the track in the same way a tripod would, but gives that same bit of horizontal movement and allows the cameraman to have full control over the camera movement as he walks with it.

The niche ones

We also have more unusual dolly systems such as the Raptor Rickshaw. The Rickshaw allows the camera operator to sit and film whilst being pulled by another crew member. This is particularly popular for faster moving tracking shots where it’s too much to ask the camera operator to pace the tracking speed whilst also concentrating on camera operation.

Jibs

Jibs also possess the ability to transform the way you capture your scenes by extending the camera’s range of motion vertically. Mini Jibs give that slight extra movement which just gives a little something extra to scenes, even though the range of movement is not as extreme as full sized ‘jimmy jibs’ which are being increasingly phased out in favour of drones. Our Mini jibs include the Libec JB-30, Libec Swift 50 and Prosup E-Jib.

The Keywest Pallada Jib provides the best of both worlds, with integration into nearly all dolly systems using the standard Euroboss connection, meaning it will work with all the sit-on dollies mentioned above, and more.

Sliders are another amazing tool for achieving these sorts of effects, taking up less space and being easier to transport but only allowing shorter movements. Much like Dollies they come in a variety of sizes depending on the camera setup and desired effect. From the Ronford Baker 4ft Slider for Moy Heads (and having a maximum payload that can easily handle a full cinema camera setup such as the Mini LF) to the Prosup Tango for smaller cinema setups and TV cameras, to lightweight 1m sliders for DSLRs such as the iFootage Shark.

The Edelkrone JibONE brings motion control to the table. Whilst limited to smaller cameras, the JibONE excels in it’s ability to deliver fluid and seamless camera movements. Whether it’s sweeping shots that capture the grandeur of landscapes, delicate tracking shots that immerse audiences, the jib’s precision-controlled motion guarantees smooth transitions and reliable movements, or push-ins and pull-outs to reveal more of the scene or product, it allows movements which can be done over and over again with incredible accuracy. It’s modular design enables quick assembly and disassembly, and it’s lightweight construction makes it easily transportable.

Conclusion

As technology continues to evolve, tracks and jibs will undoubtedly remain integral to the film maker’s arsenal, adding dynamism emotion, and immersion to scenes. Together, tracks and jibs elevate storytelling by guiding the audience’s gaze, establishing context, and adding depth to scenes, ultimately enriching the overall film narrative. No technological advancement can replace the feeling this movement gives the viewers.

Join Us for an Upcoming Open Day in Glasgow: Explore Exciting Tech

Are you curious about the latest technological innovations? Get ready for an Open Day at our office where you can dive into the world of cutting-edge technology. Whether you’re a tech enthusiast or just looking to explore what’s new, this event promises something for everyone.

Date: 11/10/2023
Time: 16:00 – 19:00
Location: Units 5 & 6, Century Business Park, 126 Cornwall Street South, Glasgow, G41 1AF

Here’s a glimpse of what you can expect:

  1. ARRI Alexa 35: Elevate Your Filmmaking
    • Experience the magic of cinematic excellence with the ARRI Alexa 35. Discover how this advanced video camera can help you capture breathtaking visuals.
  2. Cooke SP3 Lenses: Clarity for Your Visual Storytelling
    • If you’re into photography or videography, you’ll love exploring the clarity and sharpness offered by Cooke SP3 lenses. See how they can enhance your creative projects.
  3. DJI Ronin 4D: The Future of Stabilization
    • Filmmakers and content creators, don’t miss the chance to experience the DJI Ronin 4D. It’s a game-changer in camera stabilization, ensuring smooth and professional shots.
  4. Ambersphere’s New Fresnel Line: Illuminate Your Imagination
    • Lighting is key, and Ambersphere’s fresnel line is here to light up your creativity. Discover their innovative lighting solutions that can transform any space.

Our Open Day is a celebration of innovation and the limitless possibilities of technology. You can ask questions, and gain insights into these remarkable products.

Whether you’re a tech enthusiast, a professional seeking inspiration, or just curious about the future of tech, our Open Day is the place to be. Mark your calendar, invite your friends, and prepare for a day of exploration.

Stay tuned for more event details and surprises. Follow us on Instagram for updates. We look forward to welcoming you and embarking on this tech adventure together!

Why we have phased out the DJI Ronin-S

The DJI Ronin-S has been a solid workhorse for a fair while, adding a nice simple stabilisation option for smaller cameras.

However it was not without a few issues. And those issues have been addressed with the RS-2 and RS-3. Adding more features and more payload with more reliability.

Design and Payload

The Ronin RS 2 and Ronin-S both have a similar design with a three-axis stabilization system.
The Ronin RS 2 is constructed using carbon fibre, making it lighter and more portable than the Ronin-S.
The RS 2 has a maximum payload capacity of 4.5 kilograms (10 pounds), while the Ronin-S could handle payloads of up to 3.6 kilograms (8 pounds).

Motors and Stabilization

The RS 2 features upgraded motors and a more advanced stabilization algorithm, providing smoother and more precise camera movements.
The RS 2 also incorporates a SuperSmooth mode that enhances stabilization for even more stable footage.

Battery Life

The RS 2 has a longer battery life compared to the Ronin-S. It can operate for up to 12 hours on a single charge.
Both gimbals use the same battery system and charge directly via USB-C.

Mounting Options and Accessories

The RS 2 offers a modular design and includes a quick-release plate, allowing for easier camera mounting and balancing.
It features a detachable grip used as a separate underslung handle for low-angle shots or as a remote control.

The RS-2 works incredibly well with some third party accessories, such as the Tilta Hydra Alien and Tilta Advanced Ring Grip; adding a huge amount of rigging options.

Other Features

The RS 2 incorporates several intelligent features, such as Time Tunnel, Roll 360, and Force Mobile, which provide enhanced creative options and control over camera movements.

In short, the RS-2 does everything the Ronin-S does – and better. So from May 2023 we have put our Ronin-S out to pasture, with purchase of more Ronin RS-2 and RS-3.

Sony Rumours – 3 new Cameras coming in 2023

Back in September the rumours started circulating that 3 new Sony cameras were on the horizon, with 3 new patents submitted by Sony in Japan. At the time it was unsure whether it was going to be for the professional market or the ‘prosumer’ market (such as the new version of the PXW-X70 or cameras aimed more at YouTube Content Creators), however it would now seem it will be at least 2 new entries to the Professional Market, with the third heavily rumoured to be a Vlogging camera.

Nothing has been officially announced as of yet. However, there’s increasing conversation that we will see: a PXW-FX6 Mark 2, and an upgraded PXW-FX9 or New PMW-F5.

FX6 Mk II

With the FX6 only being 18 months old, it’s unlikely we will see wholesale changes with this camera. There’s a few design flaws in the Mk1 that need more than a firmware update, which I personally think they will address in this Mk II. I’d like to see a focus on improvements in ergonomics and build quality, more than recording outputs or codecs.
The ongoing issue of audio running through a small pin connection under the top handle has meant sound issues when the handle is loose. It also means you cannot record audio with the camera stripped down for Gimbal work. We could see a secondary, or improved audio connection, allowing some form of input without the handle setup, and hopefully a more robust connection when audio is running through the handle.

FX9 Mk II / F5 Mk II

This is the more interesting potential release in my opinion. The FX9 is a few years old now after it’s release in 2019 and is due a bit of a refresh, however it is still incredibly popular especially as it follows the design of the popular FS7 – with focus on TV Production and Shoulder-mount shooting. It has full 4K in both FF and S35 whilst borrowing the colour science from the Venice, so it suits many production’s needs.

However there has been this chasm in the range for Sony. The FX9 was released at approx £10,000 and the next Sony Camera in the professional range jumps up to the Venice, at £80,000-£100,000 depending on how it’s kitted out.

Classically, Sony have always had a camera at the higher-end TV Production; from the DSR-450, to the PMW500 and then to the PMW-F5. For the market looking for more options than the CompactHD, but not budgeting for Film Cameras such as a RED or Arri Mini (or Sony Venice). These usually sat at the £22,000 – £25,000 price point and offered more features than the smaller options.

I think we will see this space in the range filled this year. Perhaps a full 6K sensor, with 4K Oversampled FF and RAW Output to external recorders (or the return of their AXS-R5 Back Recorders). I personally don’t see we will see an 8K sensor at this price point, due to not wanting to make the Venice redundant, but an upgrade on the current options in the PXW range. I would not be surprised to see Sony stick with their E-Mount connection, to build on the popularity of G Master Lenses, whilst keeping the option to easily adapt for PL Lenses.

Gimbals: The rise of affordable stabilisation (and how DJI captured a market no-one knew existed)

It wasn’t too long ago, before the introduction of cheaper gimbals, that the phrase ‘we need a steadycam shot’ was a sentence that sent a chill through the spine of production managers looking to keep on top of production budgets. Cameras were big and bulky, and the equipment to keep them reliably stabilised was expensive, very difficult to use and physically demanding, resulting in the need for specialist steadycam operators who did not come cheaply.

As technology has developed and cameras have become smaller and lighter, manufacturers realised that the weight was suddenly within the limits of their manufacturing capabilities. Sure, there’s still a market for the full steadycam operator, particularly in live sports and events.. but for the majority of productions now, there are gimbal options that simply don’t break the bank. They’ve come along so quickly, and despite many early flaws, they’ve become a staple of many productions.

A DJI Ronin 4D Gimbal In Use

DJI Ronin and Ronin-M Gimbals

The DJI Ronin was one of the first to really make an impact, back in 2014. It could safely hold the cameras of the time, such as the Canon C300, fairly comfortably. However it was prone to random and sudden misbehaviour, as the motors would suddenly decide to cut out or spin off in another direction mid-shot. It was far from reliable, but for £200 a day to hire it was a small price to pay in comparison to the full steadycam vests.

Then in April 2013, DJI brought out the Ronin-M. Smaller and more lightweight than the original Ronin, there was a lot of talk at the time of it not being substantial enough to hold the modern cameras. However we saw an interesting shift. Instead of the Gimbal not being big enough, many people looked at it as the camera not being small enough. The market at the time was evolving with the introduction of the lightweight DSLRs, such as the Canon 5D Mk III and Panasonic GH4.

On their own, the DSLRs would not be considered good enough for most productions, but combined with gimbals? We found people started shooting on the smaller cheaper DSLRs over their previous favourites, purely because the potential for smooth stabilised shots was there.
The bigger productions simply had a DSLR as well, they were cheap enough to just have as an option to use alongside the main camera, just for gimbal shots.

Freefly MoVi M15, MoVi Pro and DJI Ronin 2 Gimbals

Whilst the DJI Gimbals had opened up stabilisation options to the DSLR market, another type of camera was getting smaller, and that was the higher range cameras for Commercials and Films.
The Arri Alexa Classic had been replaced by the Arri Alexa Mini, and RED had just followed suit, creating a smaller box-like camera but with enough firepower for a feature film. These were beyond the Ronin and Ronin-M, and it was a style of shooting that demanded more reliability in the Gimbal shots… so Freefly entered the market.

The M15 was a great entrance, but they really came into their own with the MoVi Pro. It had everything productions were looking for. Although it was considerably more expensive that the DJI options it could comfortably take the size and weight of the Alexa Mini and RED Cameras, with reliable motors and smooth gimbal operation, meaning it was reliable and affordable. The fact that the MoVi Pro is still one of the frontrunners, shows just how ahead of it’s time it was.

DJI were obviously not going to give up their crown quietly. They released the Ronin 2 and the best gimbal came down to either situation or personal preference. Both have Pros and Cons against the other, but that’s a discussion for another day.

DJI RS-2 Gimbal

As cameras have become smaller and better, more and more manufacturers and models have entered the market. However, as of November 2022, there is one Gimbal that is really pushing out all others to take the crown. That gimbal is the DJI RS-2 (you can see the impressive specs on their website).

Affordable, reliable, small and lightweight, but full of features (many of which you would never use, but hey, cool to have them…) this is a product that’s naturally grown over time. From the Original Ronin, to the Ronin-M, to the Ronin-S and now the RS-2, each time improving on previous flaws and now DJI have something which has been timed perfectly with cameras such as the Sony FX range (Sony FX3, FX6, A7S Mk III) and Blackmagic Pocket and URSA Mini – ranges of cameras with high enough specification for many productions, and a gimbal at a price point that makes them a must-have. Now productions don’t even think about whether they need a steadycam shot… they take a our gimbals anyway, just in case.

Tilta’s Helping Hand to DJI

One issue these smaller gimbals have always had, and one that continues with the RS-2, is their ergonomics. The single handle was fine for the DSLRs, as you could hold it with one arm without much problem, but suddenly proper cameras are being balanced on them; they may have got smaller, but they are not DSLR size. This puts you in an awkward 2-handed hold, with your elbows in an unnatural position and an awkward walk required. Tilta saw this, and released the Tilta Ring Grip for RS-2. It has mounting points and power outputs for monitors, and moves your arms to a much more comfortable position. Combine these and you have a full Gimbal system for a huge range of cameras.

Tilta went one further with the release a few months later of the Hydra Alien Car Rigging System. Again specifically designed for the RS-2, this gives smooth tracking shots from a car, and combined with various RS-2 features even allows remote control.

Various other attachments and accessories are having releases by various brands, and many are noticing that the success of the RS-2 is the one to piggy back on to.

Will there be better gimbals coming soon? Maybe, but it’s hard to see who can knock this off the perch at the moment. (They have released an RS3, but it’s pretty much the exact same).

DJI Ronin 4D 6K

With the DJI Ronin 4D 6K DJI have gone full circle. Back to their days of the DJI Osmo, with a camera and Gimbal built in together. Only difference from the Osmo – this actually works. Full 6K camera gives outstanding quality, and because it’s a fixed setup there is no need to deal with the fiddly adjustments with different shapes and sizes of camera. This will hit the spot for people willing to compromise a little bit of overall quality, for a large amount of rigging time saved.

Thank you to everyone that joined us in our Manchester Open Day 03/2023 and hope you enjoyed it as much as we did.

In March 2023 Media Dog Manchester hosted an Open Day, to demonstrate a few of the new pieces of equipment we have added to our hire fleet, and to demonstrate the new Robotic Arm available through our good friends at Light and Distort (https://www.lightanddistort.com).

It was great to see so many of our good friends and new faces alike, getting their hands on The Alexa 35, Mamiya N lenses, Canon SSCs, and much more.

Feedback from the event was fantastic, and we know there were a lot who were unable to attend due to large amount of snow in the Midlands and South, so keep your eyes peeled for another event like this coming soon.

How Sony Cameras have taken back the TV Market.

There has been a lot spoken about the latest Sony PXW range of cameras lately, and with good reason. They have become the go-to camera for nearly all run-and-gun-style, observation documentaries and entertainment TV.

For a while, Sony had lost their stranglehold on this market. Primarily due to Canon throwing the curveballs of the EOS C300 and the XF305. Both of which accompanied their already popular stills cameras such as the 5D Mk2 and Mk3.

Sony came back with the PMW range: the PMW500, PDW-F800 and shortly after the PMW-F5 and F55. However, they never re-establish the dominance they had with the DSR-450. The DSR-450 were essentially the only camera needed for many years.

Sony Cameras
Sony Cameras

Finally, Sony seem to now have it nailed. Creating the three musketeers of broadcast and TV production: the PXW FX9, FX6 and FX3. If we are going to bring D’Artagnan into this then we can add in the A7S MkIII as a very capable 4th option.

There are few Broadcast Productions whose needs are not covered by this range of cameras. Expecially with it’s flexibility with lens mounts in particular.

Sony Cameras and the G-Master Lenses

Using the Sony G-Master lenses with these Sony Cameras gives an unreal level of autofocus performance, which nicely accompanies the incredible shallow depth of field they give. Native E-Mount means you can easily adapt to other mounts, with reasonably inexpensive adapters – although these do lose the autofocus capabilities of the E-Mount G-Master lenses.

For people using manual focus, we maintain that the Canon L Series lenses are still better than their Sony counterparts. The focus on Sony lenses is controlled electronically, meaning the fraction of a second delay can cause you to miss a critical focus point, whereas the manually connected Canon ones stop exactly when you stop. We hear a lot of people struggling to manually focus these when shooting with a small depth of field as they ‘overshoot’ the focus.

Want to use even nice lenses? Well, E-Mount can just as easily be adapted to PL, opening up a range of PL lenses such as Arri Ultra Primes, Cooke S4i, Zeiss Supreme Primes and Zooms such as the Canon CN10, CN7 and the Arri Alura.

Bare in mind that some of these lenses are Super35mm, which will mean you need to tweak some settings.

Should I shoot full frame?

This is an ongoing debate. Many will say Full Frame looks nicer, looks crisper, more modern, and there may be something in that. However there’s also a reason Super-35mm has been so popular for so long. Super35mm has that classic look that so many prefer, bringing you into the action with a slightly narrower viewpoint.

Full frame also puts focusing at a much more critical point. Not an issue if you are using the Autofocus option on G-Master lenses, but it does make footage, especially when its very run-and-gun for quick acquisition, more difficult to obtain – especially with the manual focus issues above.

The FX9 allows both Full Frame and Super35mm in HD and 4K. It’s sensor is that of the 6K Venice, albeit with a few limitations and reduced codecs.

The FX6 has the smaller sensor also used in the FX3 and A7S. If you want to shoot in Super35 you have to shoot in 4K. It does not support Super35 in HD.

As I write this, in October of 2022, our FX9s and FX6s are flying in and our on a range of productions, whereas the once equally busy C300 MkIIs seem to have accumulated a light layer of dust.. It will be interesting to see Canon’s response.

IBC 2022 Reconnaissance Mission

Fantastic to be back at IBC after a 2 year enforced COVID absence with IBC 2022. There was lots of great gear to check out and it was good to catch up with industry professionals from all over the world. Although a lot of the things at the show for the first time have already been added to Media Dog’s kit kennel. So what was new that excited us about IBC 2022…. 

IBC 2022!

Canon

Canon have surprised everybody by launching a new high end lens: the Canon CN8 X 15 15-120mm Zoom lens. The price has not been announced but we expect it to be around £23,000. We got our hands on the lens and it looks really nice. The extra two Millimetres creates a very useful view on the world that is noticeably wider than the ever popular Canon CN7. We think it will be used instead of the CN7 on many shoots as it comes with a 1.5 built in extender effectively making the lens 180mm. This gives single operators the ability to get that bit tighter in, so useful when you’re running and gunning making a TV documentary. With the extender engaged this lens will cover full frame but you will lose some light. We also suspect you’ll lose a small amount of image quality.

The Canon CN8 at IBC 2022
The Canon CN8
Close Up Of The Canon CN8 at IBC 2022
Canon CN8 15-120mm
The Canon CN8 From Behind at IBC 2022
Canon CN8 1.5 Extender

Red

Red showcased it’s new V-Raptor XL camera with its multi format 8K LF or 6K super 35 sensor. It does incredible slo-mo at 600 frames per second at 2K. Currently there is no viewfinder for it but it should be here next year. It looks like a very nice camera and being from RED will produce gorgeous images.

Sony

We where very impressed with Sony’s FR7 a full frame PTZ camera that allows the huge range of e-mount lenses to be used. It uses the same full frame sensor as the incredibly popular Sony FX6 so we have no doubt it will perform well and produce stunning results. We think it will change the look of shows such a Goggle box and 24 hours in A&E.  One of the problems with PTZ cameras is keeping the lens focused but this has real time eye auto focus and tracking as well as pan, tilt and zoom functions that combine to focus on fast moving subjects. And it works really well.

Samyang

Two more lens options on show of note were from Samyang. The Samyang XEEN MEISTER creates impressive images and the quality seems really good. But with only three in the set and at £6,300 plus VAT they have been positioned at a very high price point. Samyang were also showing off the XEEN Anamorphic 2x. They cover full frame and claims 8K resolution but again at £14,000 plus VAT per lens they had better be very very good. Fortunately they did look good.

The Samyang Xeen Meister Lens at IBC 2022
The Samyang Xeen Meister Lens

Atlas

We tested the new Atlas Mercury Series 1.5x Full-Frame Anamorphic Primes. The flair was very pretty classic anamorphic horizontal flair with oval bokeh. They have a great quality feel to the lens and are very compact at an impressively competitive price of around £5,000 – £6,000 when they hit the streets.

Arri

There was a lot of people on Arri stand but we got the feeling they were mainly there asking when they were going to receive their new Alexa 35. We checked and yes its still a very good camera and we await the immanent arrival of our cameras.

The Alexa 35
Team Arri 2022!

Well that’s about it and if you are a manufacturer and not making an LED light you are not trying hard enough. They were everywhere on loads of stands as manufacturers try and get a piece of that huge growing market.

Always great to go to Amsterdam and meet all our friends there. Thank you IBC and the IBC 2022 team!

Rob Shaw

Eileen Byrne

Mark Tredinnick

Media Dog Team

The Media Dog Team

The Alexa 35 is nearly here. Here is why the Alexa Mini’s aren’t packing their bags and going away just yet.

We don’t keep it a secret here at Media Dog that we love the Arri Alexa Mini’s range of cameras. They’ve been our go tos from the Arri Amira, to the Arri Alexa Mini, Alexa Mini LF and we are now salivating at the prospect of getting our first Alexa 35. Hopefully it will be with us in the coming weeks.

Arri has had some stiff competition over the years from Red and Sony. Red has had their Dragon line featuring 6k imaging and Sony have had their Venice’s. Even compared to such monsters the Mini’s have been one of our top choices for the majority of high-end shoots.

Don’t take our word for it? Well, here are just some productions who also found that Arri Alexa’s were the cameras for them:

Where They’ve Been Used

So why is the Arri Alexa and the Alexa LF still the top top choice? One released in 2015, a relative pensioner in the fast-moving world of technology, and the other released in 2019.

At the top of the list comes the obvious point of image quality. It’s dynamic range and outstanding colour production puts it at the top table. There’s a hundred write ups out there, from directors and DOPs all saying what they like, so I will skip going too technical on this occasion.

Why We Love The Arri Alexa Mini’s

For us, it’s the reliability that really sets it apart. Whilst other cameras can boast similar numbers in terms of dynamic range and quality output, only the Arri cameras are supplied without some form of headache out of the box. They just work, and work well. Having efficient codecs, being stored on reliable media and a menu system that has everything in a sensible place. Whilst many other brands give you error messages along the lines of ‘You can’t do that but I’m not going to tell you why’, Arri Cameras just make sense.

Size and weight of the Alexa Mini also makes it a top choice at all levels of film production. Whilst the Alexa Mini LF is bigger than the original Mini, Arri have been careful to keep the size within the capabilities of some of the mid-range stabilisation options such as the MoVi Pro or DJI Ronin 2. It also stays within the size and weight of Robotic Heads, Car Rigs and even in some cases, Drones.

This means you can use the same camera consistently across your shoot. It doesn’t force you to swap to a smaller camera for those specialist shots.
At the lower down levels, when you are not running with fleets of film trucks and hundreds of crew members, the size allows easy moving between locations, travelling and quick and simple rigging and de-rigging.

Dune (2022)

The flexibility also allows productions to take it’s output capabilities to new levels. The 2021 film ‘Dune’ was shot in ARRIRAW on an Alexa LF, transferred to 35mm, and then scanned back in to Digital, which creates a softer feel more akin to classic film, but keeping some of the sharp characteristics of digital film. BTS Greig Fraser ASC, ACS tested with 65mm, IMAX, Digital 35mm and Film, but said “We just want to use the digital look, but to create softness. When we projected film, it just didn’t give us the feeling that we were after. Digital felt too crisp, and film looked too nostalgic.” The process they decided on was one not really seen before in cinema release films, but fitted both the Fraser’s and Director Denis Villeneuve’s vision for the feel it produced.
“The film has softened the edges of the digital. It gave us something that film acquisition couldn’t give us, and it gave us something that digital acquisition couldn’t give us.”

Whilst not many productions have the budget of Dune’s, this innovative approach highlights how Arri have made their output so insanely good, that it can be converted in format twice and still produce an image to win over one of the world’s top DOP and Director, for a box office hit.

If you’d like more information on how Dune was shot you can read more on Y. M. Cinema.

The Alexa 35 will blow the filming world away, that we are sure of. But if the Arri Alexa Mini’s and the Alexa LF are this good, are they really going to vanish overnight? The LF will also keep those who prefer the Full Frame look happy. The Alexa 35 likely to win over those who prefer Super-35mm.

The Alexa 35 will add to Arri’s range of outstanding choices for high-end Film, Commercial an TV Production – not replace it.

The ARRI ALEXA 35: 105 years in the making

With ARRI unveiling its latest camera the ALEXA 35 I was have been wondering just what makes Arri so good and why it is dominating the high end of our industry in so many fields. Not just manufacturing cameras but also involving themselves in all aspects of the motion picture industry, from light & grip to lenses. What has made this small company employing around 1500 people become a goliath in the Film and TV industry?

The beginning

In 1917 two aspiring cinematographers with an interest in technology formed a company in Munich, Germany. Those visionary’s were August Arnold and Robert Richter. ARRI is one of few companies founded at the birth of Cinema still in business today, and their experience shows.

Arri Alexa Image

Their first products were movie lights and printing machines but in 1924, they built their first camera, the KINARRI 35. Richter was convinced that 16 mm would be more suitable for home movies, and the KINARRI 16 followed shortly after.

1924 was a busy year for the boys as they built their first electric tungsten lighting fixtures. Their first lighting fixtures used multi-segmented mirrors. Little did they know that 82 years later this would repeat on the ARRIMAX 18/12, the most Powerful HMI PAR Light available.

Inspired technology and creative design

Lots of hard work on design and technology was conducted in the next few years, culminating with the launch in 1937 of the ARRIFLEX 35. Various versions followed later with the ARRIFLEX 35 becoming know for handheld and POV work because of its small lightweight design. The Good, the Bad and the Ugly (1966), Bullitt (1968) Easy Rider (1969), were all shot using an ARRIFLEX

In 1972 were Arri’s early HMI units were used Munich Olympics Games the ARRIFLEX 35BL camera arrived. The 35BL was the company’s first silent 35mm production camera. Various 35BL models followed and were used on such major features as:

Over the 80’s and 90’s three new cameras were launched:

Arri launched its final 35mm silent studio film cameras in 2000, the ARRICAM ST and LT. Three years later Arri introduced the The ARRIFLEX 235. The ARRIFLEX 235 was the last 35mm film camera ARRI would build and the writing was on the wall for film acquisition in the Arri family.

We are all now living in the digital age. Arri is no exception, because in 2005 they launched the ARRIFLEX D-20, ARRI’s first digital cine camera.

In 2006, ARRI showed the ARRIFLEX 416 the last or a generation of Super 16mm cameras. Film was becoming a thing of the past for Arri, but we all still wanted that film look.

The Birth of ARRI ALEXA

We now move onto the birth of the sensor we use today and a pivotal moment in ARRI’s history. In Amsterdam at IBC in September 2009 there was three wooden models displayed, code-named ALEXA EV, ALEXA EV-Plus.  Would theses be embraced by DP’s and Rental houses? Rumour has it that Arri bet the whole company on these new digital cameras. Of course the response was amazing and as a result we use evolutions of that sensor today.

Working models of the ARRI ALEXA were introduced in 2010. They were used on The James Bond film Skyfall, which was shot with two prototype ALEXA Studio cameras in 2012.

All this talk about cameras but what about the lighting side of Arri, well that was in for a revolution of its own when in  Amsterdam 2010, ARRI presented prototypes of a new focusable LED Fresnel lighting fixture and the ARRI L7 fresnel arrived on set in April 2011. In April 2015 the SkyPanel was launched brighter than a 6 kW tungsten space light or a 2 kW tungsten soft light.

In October 2012 The Stahl family acquired August Arnold’s 50 percent share in Arri from his son, Robert Arnold. As such, the heirs of Richter now own 100 percent of ARRI, keeping it a family business though and though.

The range of Alexa models has expanded over time with:

The Future

Now to 2022 and the next era of digital cinematography with the launch of the ALEXA 35, with its 17 stops of dynamic range the first ever digital camera to have a better dynamic range than a film negative, two stops in fact!

With that pedigree how can the ALEXA 35 not be a winning camera and the choice of DP’s across the world. The proof will be in the using and the viewing, but everything is looking so promising so far for the KINARRI 35’s great (x31) grandchild. 

We have our ALEXA 35’s on order and can’t wait to hire them out to you, we keenly await their arrival.

Mark Tredinnick

Company Director

Source:  Arri.com

Photos: Alexa 35 launch at Arri UK 9th June 2022

Alexa 35 launch at Arri UK 9th June 2022
Arri Alexa 35 Internals
Arri Alexa 35 On Display