You have such exposure latitude with ARRIRAW, especially in the shadows but also in the highlights.
Acclaimed cinematographer Dante Spinotti has been a proponent of digital shooting for many years. He has often paired ALEXA with anamorphic lenses and first used ARRIRAW on the film HERCULES. “Recording ARRIRAW with ALEXA takes me to a level that I’m really comfortable with,” he says. “What I appreciate about the technology is that it gives me a much wider space to explore.”
I am convinced by the extreme versatility and robustness of the ALEXA XT.
French cinematographer Philippe le Sourd, Oscar-nominated for his work on THE GRANDMASTER, still likes to shoot 35 mm film on feature films, but has captured in ARRIRAW with the ALEXA XT on commercials such as Givenchy’s ANGE ET DEMON. Of the ALEXA, he notes, “Its capacity to record ARRIRAW from 1 to 120 fps has given me a new perspective on capturing images on set.”
I love working with ALEXA – you get rich, refined images with the immediacy of shooting digital.
New York-based cinematographer Reed Morano’s credits include FROZEN RIVER, AND SO IT GOES, KILL YOUR DARLINGS and the HBO series LOOKING. She has used ALEXA on a number of productions, including THE MAGIC OF BELLE ISLE and SHUT UP AND PLAY THE HITS, stating, “I’m a staunch film lover and it’s the one digital camera that replicates film’s color space, texture and dynamic range better than any other.”
Looking to make the most of a relatively low $9 million-dollar budget on the tense Robert Redford one-hander ALL IS LOST, director J.C. Chandor and DP Frankie DeMarco captured in ALEXA with ARRIRAW, in order to make the complex VFX work in post easier. DeMarco notes, “In general I'm grateful that with the ALEXA, ARRI has gone for features that filmmakers and cinematographers care about.”
French cinematographer Benoit Soler had a 24-day shooting schedule and a budget of only 600,000 Euros to shoot director Anthony Chen's ILO ILO, which won the Camera d’Or at Cannes 2013. He had to work fast and deal with Singapore’s harsh, equatorial sunlight, noting, "For me the only camera available at the moment to handle highlights nicely would be the ALEXA.”
Working to a challenging schedule on director Hany Abu-Assad’s OMAR (which won the Un Certain Regard Jury Prize at Cannes 2013), cinematographer Ehab Assal had to make rapid switches from handheld to tripod operation and deal with high contrast, fast-changing available light. "I wanted a camera that could hold it together without checking on monitors,” he says. "I needed a camera to trust and I did trust the ALEXA.”