Sure, the brand new ARRI ALEXA 35 has arrived on the CineD headquarters! We have been all tremendous excited to get our arms on this new star within the digital camera universe and interested in what it has to supply. Additionally, we have been hoping for a brand new lab take a look at benchmark in fact. ? Then let’s dive into our ARRI ALEXA 35 lab take a look at!
Every time a brand new full-fledged cinema digital camera arrives in our lab, we will’t wait to place it by means of the paces – like final time when the Sony VENICE 2 digital camera arrived, scoring a surprising new all-time low for rolling shutter efficiency (<3ms in full body). Because the ARRI ALEXA digital camera’s set the benchmark up to now by way of dynamic vary (with 14+ stops), we virtually couldn’t imagine ARRI’s claims that this new ALEXA 35 digital camera pushes the dynamic vary to an unbelievable 17stops.
This time we’ve got an added bonus for you, as Nino and I focus on lab take a look at leads to a video as properly. And, as well as, I took the ALEXA 35 for a spin and shot with my daughter – I simply couldn’t resist the temptation when Nino stated in a reasonably informal voice “Why don’t you are taking it over the weekend – if you happen to like?”.
So, let’s get rolling! As soon as once more, an enormous “thanks” goes to my pricey colleague Florian Milz at CineD who helped me get this lab take a look at shot. Right here’s a band photograph of us two, posing with the ALEXA 35 (sorry, we simply needed to ;-))
Rolling shutter of the ALEXA 35
Utilizing our customary methodology to measure rolling shutter with our strobe gentle, we get 7.9ms in 3:2 4608×3164 open gate mode (I left the black bars on the proper and left to point “open gate”):
That could be a excellent consequence (much less is healthier). A 4.6K 16:9 window (full sensor width) interprets to five.7ms. Nevertheless, the #1 spot by way of rolling shutter nonetheless stays with the Sony VENICE 2 (full body) with lower than 3ms.
In 4K 16:9 mode (which is definitely 4096×2304) the picture is barely cropped, and we get 7.6ms from 24 to 120 frames per second.
Dynamic Vary of the ALEXA 35
Now, that is the place it will get tremendous attention-grabbing. Will we have the ability to see the claimed 17 stops? I truly received fairly anxious when ARRI talked about of their press launch one thing like 1.5 stops higher spotlight efficiency. This might imply an in depth name to nonetheless have the ability to absolutely clip the primary patch of the Xyla21 stepchart that we use for our exams. The digital camera firmware model was 1.00.03.
If you’re not conscious of how we take a look at dynamic vary, please take a look right here.
Lastly within the lab, all was good however sure, it was shut. If any digital camera producer releases the following digital camera with an excellent higher spotlight efficiency we can have an issue …
Waveform of the ARRI ALEXA 35 in ARRIRAW open gate EI800
The waveform plot of our Xyla21 chart reveals an astonishing 16 stops above the noise flooring:
A stable seventeenth cease contained in the noise flooring in addition to an 18th and nineteenth cease are seen as properly. We’re near the restrict of our 21-stop Xyla21 chart!
Additionally, you’ll be able to see that the brand new LogC4 curve distributes the cease otherwise than earlier ARRI Log curves. ARRI, due to this fact, offers a very new set of LUTs for the ALEXA 35, which we’re utilizing right here as properly.
Let’s take a look at IMATEST – right here, we’re getting 15.1 stops at a signal-to-noise (SNR) ratio of two, and 16.3 stops at SNR = 1
That’s astonishing – a brand new benchmark for our lab take a look at! Evaluating that to the ALEXA Mini LF that we examined right here, that’s about 1.7 stops higher at SNR = 2 and 1.4 stops higher at SNR = 1 (the ALEXA Mini LF had 13.4 stops at SNR = 2 and 14.7 stops at SNR = 1 for ARRIRAW).
By the best way, ProRes 4444 XQ confirmed very comparable outcomes, right here is the IMATEST graph:
Out of curiosity, I checked additionally EI400, 1600, and 3200 and IMATEST all the time confirmed virtually precisely the identical outcomes. Here’s a consequence for ARRIRAW at EI3200:
What occurs whenever you change the publicity index (EI) is mainly that the sign values are distributed otherwise alongside the 12bit (ProRes 4444 XQ) or 13-bit (ARRIRAW) file, as may be seen within the waveform beneath for EI3200 in ARRIRAW (clipping, in fact, occurs on the identical mixture of lens iris settings and shutter for a given framerate):
Right here, the seventeenth, 18th, and nineteenth stops are even higher seen as code values are sitting larger.
Wow, what a consequence!
Latitude take a look at of the ARRI ALEXA 35
Latitude is the aptitude of a digital camera to retain particulars and colours when over- or underexposed and pushed again to base publicity. A while in the past, we’ve got chosen an arbitrary worth of 60% luma worth (within the waveform) for our topics’ faces (truly the brow) in our customary studio scene. This CineD base publicity ought to assist our readers to get a reference level for all of the cameras examined, no matter how they distribute the code values and which LOG mode is used.
See the picture beneath for our base publicity scene with the ALEXA 35, utilizing the ARRI_LogC4-to-gamma24_Rec709-D65_v1-65 curve together with the next DaVinci Resolve settings (Model 18.0.1):
Now, we begin to overexpose. Sadly, regardless of altering the sunshine bulb of our studio gentle to a 2.5x stronger one (softbox and all the pieces else the identical), and utilizing a Canon 50mm f1.2 lens we couldn’t get the purple channel on Nino’s brow even near clipping (we’re displaying you the picture with simply the LUT utilized, not corrected to present you a sense on the overexposure – take a look additionally on the video):
As you’ll be able to see, there may be about 1 cease room for the purple channel on Nino’s brow. Introduced again to base publicity, we get this picture:
So we’ve got to issue that in after we begin to underexpose now.
Let’s take a look at 4 stops beneath, pushed again:
For the data, we’re already at 9 stops publicity latitude (4 over to 4 beneath, plus 1 extra cease within the highlights). Each different digital camera together with the Sony VENICE 2 was falling aside at that latitude degree (save for the ALEXA Mini LF that confirmed 10 stops of publicity latitude).
So let’s bounce forward to 7 stops underexposure from our base, pushed again:
Right here is the primary time that some critical noise begins to kick in that’s not actually tolerable anymore with out noise discount. However choose your self, take a look on the video above.
Noise discount simply removes this noise:
What may be seen is that colours begin to fade, particularly seen on Nino’s shirt (rising the colour increase for instance simply corrects this).
Keep in mind, we’ve got reached (4 over to 7 beneath plus 1) = 12 stops of publicity latitude! That’s already 2 stops greater than the perfect digital camera ever examined, the ALEXA Mini LF.
Now let’s take a look on the 8 stops underexposed picture:
Noise now actually begins to deprave the picture to an extent that it turns into unusable – let’s take a look if noise discount can save this:
Noise discount can not save this picture with out destroying all particulars – recreation over! Recreation over at 13 stops publicity latitude … how superb is that? It nonetheless seems to be surprisingly good I’ve to confess although.
As anticipated, in ProRes 4444 XQ outcomes are a tad worse – in ARRIRAW we’re having 13bits at our disposal, in ProRes 4444 XQ “solely” 12 bits. This reveals particularly within the noisy, shadow stops when they’re being pushed up.
Right here is the 8 stops underexposed picture utilizing noise discount for EI800 in ProRes 4444 XQ:
So, in abstract, we’re getting 12 stops of publicity latitude – with some wiggle room in the direction of 13! Superb. The ALEXA Mini LF had 10 stops, the Sony VENICE 2 had 9 stops, the FUJIFILM X-H2S will get near 9 and most different cameras are between 7 and eight stops of publicity latitude – simply to present you some reference!
ARRI ALEXA 35 lab take a look at – Abstract
As anticipated, the ARRI ALEXA 35 units a brand new benchmark in our lab take a look at for dynamic vary and latitude. ARRI claims 17 stops – this cease sits already contained in the noise flooring, as may be seen within the waveforms above. Nevertheless, with 13bits ARRIRAW utilizing some noise discount this cease is usable!
Will probably be attention-grabbing to see if different digital camera producers are even remotely in a position to observe our new (and outdated) chief of the pack right here.
Please take a look additionally on the video above, as a bonus characteristic, I included a little bit mini-doc with my daughter which lets you see some real-world footage as properly.
CineD Databases launching TODAY
As you’ll be able to see within the video above, we may even launch our CineD Databases together with all of the Lab Take a look at leads to the Digicam Database at this time. Keep tuned to CineD within the subsequent hours for this huge launch!
Man, what do you consider our ARRI Alexa 35 lab take a look at? Tell us your ideas within the feedback part beneath!