List of UHDs that utilize 4K or Higher Masters

[Poya]

This changes everything:

https://www.arri.com/largeformat/

[Geoff D]

Originally Posted by Poya

This changes everything:

https://www.arri.com/largeformat/

I dunno about that, they're just trying their hand at the current craze for VistaVision-sized sensors, roughly equivalent to 8-perf 35mm. RED have theirs, Sony have the Venice, Panavision have got the DXL etc.

[Doctorossi]

Originally Posted by Poya

This changes everything:

https://www.arri.com/largeformat/

It changes everything if Arri is able to manufacture and sell or rent them in much more significant quantities than they have/can the Alexa 65. Otherwise, it doesn't really change much at all.

[Poya]

Originally Posted by Doctorossi

It changes everything if Arri is able to manufacture and sell or rent them in much more significant quantities than they have/can the Alexa 65. Otherwise, it doesn't really change much at all.

The Alexa 65 is rental only. This will replace the current Alexa line.

[HD Goofnut]

Originally Posted by tristenkw5

This is exactly the thing I’m looking for, I didn’t realize ratios would vary so widely under the same format. Thanks to both users who responded.

I keep this thread handy for AR rookies: https://forum.blu-ray.com/showthread.php?t=183967

[FilmFreakosaurus]

Originally Posted by Poya

This changes everything:

https://www.arri.com/largeformat/

I hope it doesn't look like the Alexa65. Marshall was shot with the 65 and it looked very smeery and digital under low light scenes punctuated with tiny bright lights (high contrast) during the flashbacks on the bridge and the image Jello-O'd like crazy during whip pans.

[Doctorossi]

Originally Posted by Poya

The Alexa 65 is rental only. This will replace the current Alexa line.

I fail to see how it changes much. Productions like Blade Runner 2049 that shoot open ArriRAW and maintain an uncompromised post workflow will be 4K instead of 3.4K, but this does nothing to reduce the costs of 4K post-production which make movies like that the exception.

Don’t get me wrong; it’s a good thing, but the camera sensor is not the bottleneck for 4K post.

[Geoff D]

Originally Posted by FilmFreakosaurus

I hope it doesn't look like the Alexa65. Marshall was shot with the 65 and it looked very smeery and digital under low light scenes punctuated with tiny bright lights (high contrast) during the flashbacks on the bridge and the image Jello-O'd like crazy during whip pans.

So one film's usage of it makes it a bad camera then? Marshall was an ultra-low budget production, they had little in the way of prep time to do camera tests and didn't do a hell of a lot of tinkering in the DI either.

[Penton-Man]

Originally Posted by Doctorossi

It changes everything if Arri is able to manufacture and sell or rent them in much more significant quantities than they have/can the Alexa 65. Otherwise, it doesn't really change much at all.

Arri Sig Prime lenses run from ~ $26,000 - $43,000.

[TheSweetieMan]

Originally Posted by Geoff D

I dunno about that, they're just trying their hand at the current craze for VistaVision-sized sensors, roughly equivalent to 8-perf 35mm. RED have theirs, Sony have the Venice, Panavision have got the DXL etc.

If nothing else, this finally means Native-4K Netflix content, that isn't solely shot on RED.

Don't get me wrong, RED makes some great stuff, but I much prefer ARRI.

Really looking forward to seeing what can be created with these going forward.

[Gacivory]

Originally Posted by TheSweetieMan

If nothing else, this finally means Native-4K Netflix content, that isn't solely shot on RED.

Don't get me wrong, RED makes some great stuff, but I much prefer ARRI.

Really looking forward to seeing what can be created with these going forward.

A lot of Netflix stuff has used Panasonic Varicam and Sony CineAlta cameras. So it hasn't been all RED.

[TheSweetieMan]

Originally Posted by Gacivory

A lot of Netflix stuff has used Panasonic Varicam and Sony CineAlta cameras. So it hasn't been all RED.

I think a lot of the UHD content on Netflix that I watch is almost entirely shot on RED.

Any chance you can provide a list of 4K titles not shot on RED, by chance?

[Poya]

Originally Posted by TheSweetieMan

If nothing else, this finally means Native-4K Netflix content, that isn't solely shot on RED.

Don't get me wrong, RED makes some great stuff, but I much prefer ARRI.

Really looking forward to seeing what can be created with these going forward.

I will always be with celluloid. Dunkirk and Phantom Thread gives me hope for more celluloid-shot, photochemically-timed films to still get made, especially shown on film. That being said, if all of that goes away and digital was the only option, Alexa would be my choice. The dynamic range and color range have always been top of its class, regardless of resolution. The others, RED in particular, just showcases the fundamental flaws in digital cinematography. RED is more concerned about specs and resolution than giving filmmakers a wide range of tools for the look they want to achieve. Why else would the Alexa be the most popular digital camera out there, especially the camera used by the greats like Deakins and Lubezki, the latter who’s won 3 Oscars consecutively with it? Even Spielberg and Scorsese, celluloid-lovers themselves, have used the Alexa.

Do I get anything out of this plug?

[Gacivory]

Originally Posted by TheSweetieMan

I think a lot of the UHD content on Netflix that I watch is almost entirely shot on RED.

Any chance you can provide a list of 4K titles not shot on RED, by chance?

http://info.panasonic.com/varicam-properties.html

I didn’t find a link for everything shot on Sony, and I don’t know everything off hand. I know Sense8. IMDb features a page called tech specs that could also provide that information.

[TheSweetieMan]

Originally Posted by Gacivory

http://info.panasonic.com/varicam-properties.html

I didn’t find a link for everything shot on Sony, and I don’t know everything off hand. I know Sense8. IMDb features a page called tech specs that could also provide that information.

Thanks for the link.

So, out of that list, I've admittedly watched 'The OA', which IMO, does look good.

And, I've also watched 'Ozark' and 'Death Note.'

So, those are at least three titles off hand that don't feature the RED cameras, and now that I think about it, they do look different in comparison.

[Penton-Man]

Reply by -
https://www.linkedin.com/in/josephslomka/

[TheSweetieMan]

Penton, is that in regard to the new LF?

[Geoff D]

Doubt it, look at the dates on the posts. They're discussing Yedlin's camera/resolution demo I think.

[Penton-Man]

Originally Posted by TheSweetieMan

Penton, is that in regard to the new LF?

nope, zee Weaponé 6K, which is noisier.

[Geoff D]

Ah, it's the RED forum, I thought that colour scheme looked familiar.