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Check out the review of this used Arri ALURA 45-250 (used_1) - HD LENS at the most competitive price at VIDEOLINEA SYSTEM. Explore our HD LENS.
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Check out the review of this used Arri ALEXA MINI (used_1) - DIGITAL CINEMATOGRAPHY CAMERA at the most competitive price at VIDEOLINEA SYSTEM. Look at the list of cameras used to shoot 'The Avengers 2': Arri Alexa XT Plus, Blackmagic Pocket Cinema Camera, Canon EOS C500, GoPro HD Hero 3, Red Epic Dragon. (IMDB) If you're filming a studio movie with Arri Alexa as your main cam, your previous option for 'action' cams were BMD and GoPro.
WHAT IS 'CINEMATOGRAPHY'? 'Cinematography' pertains to the art and technology of motion-picture photography. Through the use of lighting, composition, equipment choice, and a variety of other factors, a cinematographer is able to tell or enhance a given story.
CATEGORIES RULES 1: Posting your own work. Self-posts must be accompanied by no less than a 300 character description of the project. This includes, but is not limited to: what camera/film the project was shot on, techniques used, lights used, difficulties and limitations experienced during production.etc. 2: No solicitation. Solicitation of any kind will not be permitted. This means job listings, crowdfunding, equipment sales/rentals, advertisements or other material deemed solicitous.
3: Opinions. Art is a highly subjective field.
Thusly, opinions can sometimes be divisive. However, one would do well to refrain from down-voting opinions that do not align with their own. Conflicting opinions are what make for constructive and intellectual discussions. 4: Labeling Posts. In an effort to organize the wide array of posts, the sub will broken up into 7 categories:. Lighting.
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Other. When posting, flair your post with the desired category.
If not sure which it should be placed in, choose 'Other'. RESOURCES. Cinematography Societies. I am a film enthusiast and I don't do big film projects to get paid or anything like that. I normally just film events with family and friends and post them online but more importantly, I shoot film for myself because I really enjoy shooting and editing film for leisure. I have a full-time job where I get paid decent money and I don't spend money on anything really, except for fancy computers and camera equipment. I was just wondering how many people will plan to buy the ARRI Alexa Mini for personal use because it is a very expensive camera.
So far I've been using the Sony a7R II, the Sony FS7, the Canon C300 Mark II and the Canon 1DC. These are brilliant cameras with excellent image quality but I really yearn the ARRI look.
I think that since it's a fairly new camera, many film projects understandably don't even know what this little thing can do yet. I guess ARRI meant it as a B-camera for drone footage and action shots at first, but I don't think they half expected it to have a near Alexa quality image (though it's the same sensor).
They will probably become more popular in time. Especially when other camera companies catch up and offer the same set of features at half maybe a third of the price, then the Alexa Mini will probably have a price drop. Otherwise I don't see how ARRI can justify the manufacture of this product if it's only going to be used on specialty shots in major projects. Sorry, but I think everybody knows exactly what it can do.
It's a smaller, drone-attachable version of the Arri Alexa. You're looking at the camera as an A-Cam to film family and friends. Hollywood is looking at it as a cheaper action B-cam to match their Alexa A-cam. Look at the list of cameras used to shoot 'The Avengers 2': Arri Alexa XT Plus, Blackmagic Pocket Cinema Camera, Canon EOS C500, GoPro HD Hero 3, Red Epic Dragon. (IMDB) If you're filming a studio movie with Arri Alexa as your main cam, your previous option for 'action' cams were BMD and GoPro. Now you have an option to shoot action inserts with a matching camera sensor (at least closer than the previous options.). I get what you're saying.
Not denying the actual intended purpose of this camera. But at this price point, a lot of indie filmmakers might see it as a chance to shoot with the ARRI sensor without necessarily using the Alexa, which I assume most indie filmmakers wouldn't have the finances to afford the Alexa XT, or SXT. I see the Alexa mini as an actual game-changer not only in terms of the possibilities it can bring to major shoots as a B-camera to the Alexa SXT, but also as an A-camera to smaller projects without such a gargantuan budget, since there isn't any camera out there in that form factor that offers the same amount of quality. Yes you could argue for RED cameras, but most films I know do not use RED cameras for some reason, it's mostly due to the 'look' of the footage from the camera. At less than $50,000 this camera really opens up the market to a lot of people, also because of that form factor, we might be seeing a lot of individuals buying it for personal use (those willing to save up for it that is). Cheers.
Having just commented on your lens thread and now noticed this one, I'm going to chime in with my two cents. Firstly, the Alexa Mini is essentially the regular Alexa in a small form body. It's the same sensor, it's the exact same image quality. The purpose of the Mini is not just for drones and action cams, but gymbals (ie Movi) and anything else that benefits from a smaller, lighter package. In a way, it's competing with Red's offerings as until this point, that was one of Red's advantages. Now Arri can directly compete in that department.
The Mini can be and I frequently see being used as a regular 'A' cam. Maybe not on big productions, but certainly smaller films or corporate jobs perhaps. It's a more affordable option to its bigger brother and an alternative to the Amira. The regular Alexa is designed more for large productions with multiple crew on the camera team alone (as opposed to single operators or just 1 AC).
It has so many more inputs and outputs and in every way is designed for large, professional sets and workflows. As for buying the Mini for personal use, I wouldn't recommend it, nor would I do it myself in your shoes.
Firstly, as others have pointed out, camera technology advances so quickly these days, a camera is not a solid investment. It WILL go down in value by the time you come to sell it or upgrade or whatever. In under five years the 'prosumer' (. Thank you for taking the time to explain all the peculiarities of the industry and technology that I might not have known before. I think you've made me completely rethink my stance on this whole 'project'.
It certainly makes a lot of sense to not buy cameras because they do reduce in value very rapidly with technology. In these few years alone the C500 probably had a reduction in price more times than I can remember. The release of the FS7, a camera at that price point was equally as surprising to me. I would certainly love to be looking into lenses now, with cheaper cameras or even renting as and when I need it. As for lenses, I think this would be a digressing from the topic of this thread, but how is it like with renting lenses because I can certainly see the advantage of Hollywood studios to own these lenses as they could be use multiple times by different film crews on different projects, do they rent their equipment nevertheless?
I mean if you were going to rent a $25,000 lens or even a whole set of $25,000 lenses for a few months, it would already amount to the price of the lens, based on the prices I've seen on websites. Though they would probably have some sort of bargaining power if we dwell further into the economics of it but still, it wouldn't take long for a project to pay enough money on rentals to own their own equipment. Having that said, what is the rental industry like in terms of volume? Do lenses and cameras get rented all the time? There seems to be a plethora of film projects everywhere nowadays. The reason I'm asking is I'm considering buying a set of whatever brand of lenses that I haven't decided on yet, and rent it out cheap until it pays for itself. Would that be a feasible idea?
I know people don't really do that but since I already had money I don't need that I was planning on spending anyway, why not make it an investment. Again, thanks for the write-up. Appreciate it loads. Large productions (ie Hollywood films) will always rent all of their gear rather than purchase. Different production companies collaborate with others on films and perhaps it wouldn't be fair for one company provide the kit that they'd already invested in, nor would it be viable for two companies to split the cost of said lenses.
Who owns them after the production wraps? Furthermore, many productions have a company set up specifically for that film, regardless of the actual production company(ies) making the film. This is usually for tax purposes - you may have heard that films are designed to make no money. Let's say 'Big Film Ltd' is set up for the 'Big Film' movie. Let's say 'Big Film' cost $50m to make and it took $100m.
A profit of $50m for Big Film Ltd? Conveniently Big Film Ltd has $50m of expenses. Perhaps paid to the production company, director, actors etc. So Big Film Ltd doesn't make any money and is closed after the film. This is an over simplification and diverges from the topic at hand, but you get the idea.
Every film will require different kit. Different lighting, different cameras, different lenses. So again it isn't feasible for a production company to own everything. Let alone the additional cost of a building for everything plus the staff to look after it all. This is where rental houses come in.
This is exactly their job - to own everything. A director or DoP or whoever may come in to see what's available, get advice or suggestions on kit or test out different lenses to see what's most suitable or appropriate for a given project. The production will rent everything from rental companies for their shoot. This has a few advantages. As touched upon earlier, it's not cost effective for a production company to buy kit - even if it was used on several features. Some specialist equipment can take years, maybe decades to pay off, and that's the investment the rental companies make. They have a piece of kit very few, if anyone else in the world has - so they get the hires for it - and plus the rest of their kit (that's likely already paid itself off several times), helps pays for that piece of equipment, slowly but surely.
Additional cost! Buying a camera, let's say an Alexa for £50k.
It doesn't cost just that. Battery plates, batteries, cables, media, readers, support (bridge plates, rods, shoulder mounts), follow focus', matte boxes, filters, the list is endless. You could easily spend double on just all the little extra bits required to get a decent shooting kit. And again, different productions would need different setups, requiring different accessories. A rental house will have all of this and can tailor a package. Again, as mentioned earlier, a rental company will have every kind of lens, every kind of camera, every kind of light - to suit any production.
And not only that, they have multiple copies of everything, which leads me on to. One of the most important reasons is the back end support you will get from rental companies. If you break a lens or the camera packs up, you can call the rental house and they'll be able to get you a replacement, sometimes even that very day, to ensure you can keep shooting. If it was production's own camera or lenses, you'd be stuffed. Not only on set support, but rental houses will keep their kit maintained and serviced between jobs, at their own cost, ensuring they're always in the best possible condition for the next rental. So, to answer some of your questions, yes, cameras and lenses get rented out all the time.
A rental house that supplies TV drama and features could easily have dozens of Alexas for example, many of which will be out at any one time. And if a production company rented a set of lenses (let's say they were worth $250,000) for a month or two, the rental cost is unlikely to reach that amount.
The total bill for all the kit would be much more, of course, but rarely do individual items cost as much to rent as they would to buy. Of course, it can and does happen for very long hires or for much cheaper kit (the cheaper the item, the higher the rental cost as a percentage of purchase cost), but the fact remains that you get the additional support by renting, and production may not need that same bit of kit on the next job.
Or ever again, had they simply bought it. As for buying your own set, if you were to rent it out to pay itself off, that would be a very good idea.
Many owners of high end glass and cameras do just that, so you won't be in a unique situation don't worry. My tips would be to insure it all yourself, and if you hire it to anyone, they must have their own insurance (and provide you with evidence of such!) should they damage it. I've found that with high end equipment such as cine glass, anyone who's hiring is often very aware of what their value is and will generally look after them. Accidents of course do happen, but they're more likely to appreciate and take care of them than say, a college student. I'd also get in contact with any and all local rental companies and just let them know that you have X set of lenses available for hire should they ever need them. Rental companies often cross hire (x-hire) between each other or from independent owners if they don't have that specific item or their own are already out. Buying a set of lens would be an active investment with costs, just like running a small business (which it is!
A lens rental business). Putting your money into an index fund would be lower stress and time, and I'd expect a higher return too than from a lens set! But if you do buy a set of lenses, I recommend these as the best value low end PL lens on the market: A great owner op set. Or get these: Or if I was you. I'd just get a set of a Rokinon Cine DS lenses in Nikon F mount for a fraction of the cost: Then I'd get a Sony PMW-F3 which is crazy good value secondhand (US$1.5K!) together with a BMD Video Assist ($495). And/or: a BMPCC (or the new BMMCC). Because I feel it is a little too early for a hobbyist to jump on high end 4K.
You with go with 8bit 4K such as the Samsung NX1 (great camera! But 8bit), or you go with heavily compromised URSA Mini 4K or secondhand RED One MX.
(good for some, but not my cup of tea. Neither R1 or UM4K) But if you just wait a couple of years then you'll be able to pick up a secondhand Sony FS7, Sony F5, Kinefinity 6K, or URSA Mini 4.6K for dirt cheap prices! Just wait, we're on the edge of high end 4K cameras becoming extremely affordable. But we're not there quite yet, we're still looking at roughly US$10k for a complete kit (give or take a few thousand). The features of the Alexa mini over the available cameras out there is very tempting though. I mean UHD (albeit upscaled) in ProRes up to 444 and 60p? Nobody else does that.
Best Buy Arris
I could get a RED camera but I don't really dig the look. I do love the look on the Canon C300 Mark II but that only does 4K at 30p and 422. There's nothing out there that matches the Alexa Mini in terms of recording codecs, even if you factor in an Odyssey recorder, I don't think you can reach 4K at 444 and 60p. Unless I'm wrong. Also it's the closest thing I can afford right now to the Alexa SXT, which there's no way I'm getting because that's not a camera that's friendly to one-man crews.