We are working on visual effects for some major feature films (stereo and mono) shot on the Arri Alexa. As we are starting to offer complete post production solutions in China (for digital movie projects) I did some research on the specific work-flows for this camera. I am sharing some interesting and useful links, if you consider shooting on Arri Alexa or do post-production:
After much anticipation, ARRI is pleased to unveil ALEXA — the first model in a new generation of digital cameras for feature, television, commercial, documentary, music video production and more. Compact, ergonomic and lightweight on one hand, robust with ARRI’s legendary reliability on the other, ALEXA’s new Super 35 format sensor delivers amazing images with a base sensitivity of EI 800, low noise and an unsurpassed dynamic range of 13.5 stops. ARRI Imaging Technology (AIT) captures organic, film-like images unlike any digital camera, with natural color rendition and pleasing skin tones.
The unique Dual Gain Architecture (DGA) design of ALEXA’s CMOS sensor ensures the same wide exposure latitude across a range of sensitivity from EI 200 to EI 1600. This creates opportunities in post-production, where it is easier and faster to get the most out of the rich, captured images. Good detail in both highlight and shadow areas as well as a very low noise level help the colorist to reduce time, effort and thus, cost in grading. ALEXA’s excellent signal to noise ratio and clean color separation are particularly effective for greenscreen and VFX work.
The ALEXA system represents the most versatile and quickest workflow from the set, through post to distribution. This is achieved through ALEXA’s efficient Shoot To Edit (Shoot > Edit) workflow with a multitude of output options, complete metadata and integrated color management.
ALEXA is unique in that it can simultaneously record Apple QuickTime/ProRes files, output uncompressed HD video and uncompressed ARRIRAW data.