There’s no denying that the Arri Alexa is the gold standard for film quality that all other digital cinema cameras follow. Nearly every independent filmmaker would jump at the chance to shoot their projects on an Alexa if they could, but often the price of the camera (even as a rental) is prohibitive for lower-budget productions.
Therefore, most filmmakers look for one of countless alternatives. There they are. There really is no time like the present to invest in a cinema camera, especially when you consider the ultra-low-budget digital SLR/mirrorless market.
Many filmmakers choose to shoot with cameras like the Sony FS7, Lumix GH4, Blackmagic URSA, Canon 5D III, or other cost-effective digital cameras for the simple reason that they provide fantastic images at a very low cost…but no matter what, So many of us are still trying to make our cameras look more like Alexa, either by adjusting camera settings or compensating for editing room shortcomings.
When you use the Arri Alexa, you’ll understand why this camera is priced the way it is. It’s the ultimate professional tool, in some ways more reminiscent of a Super 35mm cinema camera than a digital cinema camera. Much like the previous generation S35mm cameras, they were typically used on higher budget productions.
But there is a significant difference between Alibaba’s digital lineup today and its movie lineup in the past few years: Arri did once have a solution for lower budget productions with their line of Super 16mm cameras, but there is no digital equivalent available today.
As many of you already know, I’m a big fan of Super 16mm film My next short film will be shot on an Arriflex SR3 or Arriflex 416, depending on availability. I like this format not only because it’s beautiful, but also convenient. No other film format is as truly suited to low-budget filmmakers as Super 16mm, as its lower cost (from raw materials to processing) makes it a viable alternative to 35mm or high-end digital for many filmmakers. The physical form factor of the Super 16mm camera makes it ideal for run-and-shoot or handheld shooting, both of which are common scenarios for independent grade productions.
While film was still heavily used in films of all shapes and sizes, those on a lower budget could turn to Super 16mm film (instead of 35mm) to get the quality they wanted without spending too much money. During this time Arri made some amazing 16mm cameras specifically to serve this market, many of which are still in use…
With this in mind – What I’d like to see from Arri is a digital equivalent to their S16mm film cameras from years past.
The Super 16mm Alexa will be a dream for many filmmakers. Ideally, it would use the same type of sensor and color science that we all love from Arri’s other digital cameras, but also in a smaller package. A smaller sensor and smaller physical size of the camera may result in a more cost-effective price point. In many ways, this camera may look more like an “Amira Mini” than an Alexa Mini, as it’s designed ideally with handheld shooting in mind.
If this type of digital S16mm Alexa were available at a relatively reasonable price (similar to the sub-$20,000 price tag of the new Panasonic Varicam LT), they would be snapped up quickly. This is the case even if features like ARRIRAW, 120fps Overdrive or full 4K recording aren’t available. While some DPs have a legitimate need for these types of features, there are plenty of other cameras in the sub-$20,000 market that offer them – from RED to Sony to Blackmagic and more…
But for filmmakers seeking a true Super 16mm film look with Alexa color science and dynamic range, it’s worth the compromise on functionality (even if it means no RAW recording) to be able to capture this beauty .
Some of you might think that spending $20,000 on a hypothetical camera that doesn’t record RAW, has a cropped sensor, and doesn’t have other key features offered by competing cameras is a lot of money. But a camera like this isn’t about the specs, it’s about the quality. There’s a clear gap in the market right now between budget cinema cameras like the Blackmagic URSA and high-end cameras like the Arri Alexa SXT, and cameras like this are sure to help bridge that gap.
Even if this isn’t a purchase option for some low-budget filmmakers, it will certainly become a more viable rental option. Not to mention, buying or renting an S16mm lens will help filmmakers save more money than renting a full S35mm PL mount cine lens.
Could such a camera exist? Who knows. But if anyone at Arri is listening: I certainly hope the digital S16mm camera is considered part of the Alexa range going forward. If something like this were brewing, I would be the first in line waiting to be photographed.
This is all wishful thinking, but with NAB on the horizon, who knows what Arri or others will bring to the table. There is hope here!
