In tests ARRIRAW won out over 35 mm film. I felt so safe with it that I became a more intuitive DP.
French cinematographer Benoit Delhomme embraced ALEXA and ARRIRAW early on; he was one of the first to use ARRI’s uncompressed digital format on director John Hillcoat’s film LAWLESS, testing ARRIRAW side by side with 35 mm and preferring the digital images. Recently he shot A MOST WANTED MAN for director Anton Corbijn, again choosing ARRIRAW and working with ALEXA M cameras.
We were able to achieve a cinematic look…by shooting anamorphic, using ALEXA’s 4:3 sensor.
As well as feature films and TV shows, cinematographer Maher Maleh has shot high-level commercials for worldwide clients such as Porsche, Mercedes-Benz, Emirates, Toshiba, Adidas, Exxon Mobil and Häagen-Dazs. For commercials requiring a truly cinematic look, he favors capturing in ARRIRAW with ALEXA and anamorphic lenses.
Directed by Martin Scorsese, HUGO painstakingly recreated the magical world of director George Méliès, utilizing ALEXA and 3D stereoscopic to engage audiences further into the story. This was Richardson's third career Oscar win. HUGO also won awards for Art Direction, Sound Editing and Sound Mixing. The film shot with ALEXA cameras serviced by the Cameron Pace Group.
I shot tests with ALEXA and other digital cameras. The choice was obvious.
Cinematographer Claudio Miranda, ASC, and director Ang Lee chose to capture LIFE OF PI in 3D using ALEXA and Fusion 3D rigs from Cameron Pace Group. The movie chronicles the story of a young Indian boy stranded on a lifeboat - with a Bengal Tiger, Orangutan, Hyena and a Zebra - following a tragic shipwreck that claimed the lives of his family. LIFE OF PI is due for worldwide cinematic release in December 2012.
Cinematographer Tim Ives discusses his decision to transition from 35 mm film to ALEXA for the second season of HBO's HOW TO MAKE IT IN AMERICA, which enabled him to work fast and add "a modern look to the film aesthetic."
Cinematographer Newton Thomas Sigel, ASC, found that ALEXA held detail at both ends of the exposure range when shooting daylight car scenes for DRIVE, an explosive new action drama starring Ryan Gosling.