ARRI’s surprise announcement of their new ALEXA 265 cinema camera is already proving to be one of the more intriguing film products of the year. Combining the giant sensor of the ALEXA 65 with the compact form factor of the ALEXA 35, the ALEXA 265 appears to be an ideal blend of both.
Still, as is the case with any new camera—especially a high-end one from the likes of ARRI—it’s a bit hard to get a sense of how this new camera will actually perform for those who work in filmmaking and video production. So, while we wait for more specs and a price for the ARRI ALEXA 265, let’s look at the next best thing we can examine.
Here’s a collection showcasing some of the first footage shot on the ALEXA 265 and some insights shared from the lucky DPs featured on ARRI’s channel.
ARRI ALEXA 265 First Look
Featuring a trio of cinematographers who specialize in some stylistically different filmmaking approaches, ARRI has released three preview videos showcasing the ALEXA 265’s 65mm possibilities. You can watch the videos below.
This first video was shot by cinematographer Alejandro Mejía AMC and features the work of choreographer Mia Hjelte and two talented dancers for this ALEXA 265 showreel. Alejandro tested the camera in widely varying available light and pushed its versatility, as well as the unique qualities of the 65mm format.
“I always thought that 65 mm was a beautiful format, but when I saw the ALEXA 265 I suddenly realized it was a possibility for the kinds of projects that I shoot, often working fast with available light. We had a magic hour scene on a bridge. We tried some silhouette shots and worked in low light. The results were amazing. At the same time, scenes with hard sunlight on the different skin tones of our dancers were very nice as well.” – Cinematographer Alejandro Mejía AMC
“Pulse” was shot with ARRI Rental Prime 65 S, Prime 65, and Prime DNA lenses.
This second preview video was shot by cinematographer Krystian Winszewski who took a break from his documentary “GT40 – The Road to Spa” to help ARRI shoot an ALEXA 265 reel that showcases the ways this tiny camera, with its huge sensor, expands the possibilities of 65mm filmmaking.
“As a filmmaker with a deep passion for both cinematography and classic racing cars, combining these two loves on set was truly a dream come true. Having the opportunity to film three Ford GT40s on the track using the ARRI ALEXA 265 was one of the most exciting and memorable experiences in my career. The 65 mm sensor produces images that are nothing short of spectacular. The level of detail, texture, and richness in the footage is amazing.” – DP Krystian Winszewski
“GT40” was shot with custom ARRI Rental 65 mm anamorphic lenses
This last video was shot by cinematographer Charlie Sarroff who took the new ALEXA 265 on a trip to a hidden skate park at Sequoia Lake on the Californian coast to shoot this showreel for ARRI, titled “Escape.”
“We wanted to demonstrate the camera’s new versatility, so skateboarding in a high-contrast, saturated environment was a fun fit. The camera is much lighter and more versatile than its predecessor, making handheld work less taxing. Since the ALEXA 265 is not much larger than the ALEXA 35, we could easily mount it on gimbals, remote heads that only take smaller payloads, and on the TRINITY 2. The camera has some impressive upgrades: more dynamic range and the same color science as the ALEXA 35.” – Cinematographer Charlie Sarroff
“Escape” was shot with ARRI Rental Prime DNA and HEROES lenses.
As mentioned above, we’re still waiting to get the full list of specs and a price point for the ALEXA 265, but for those interested you can keep tabs on ARRI’s website here.
Author: Jourdan Aldredge
This article comes from No Film School and can be read on the original site.
