Visuals of exceptional quality were required for all three of these high profile productions and Alexa Voir Alexa dans l'index delivered, though the shooting conditions were varied and demanding. Khondji is now considering Alexa Voir Alexa dans l'index for an upcoming feature and recently spoke to Arri Voir Arri dans l'index about his experiences with the camera so far.
- Voir Darius Khondji dans l'index , AFC, ASC and Arri Voir Arri dans l'index Alexa Voir Alexa dans l'index - Photo Moa Khalil" type="image/jpeg">
- Darius Khondji Voir Darius Khondji dans l'index , AFC, ASC and Arri Voir Arri dans l'index Alexa Voir Alexa dans l'index
- Photo Moa Khalil
Darius Khondji Voir Darius Khondji dans l'index : My first Alexa Voir Alexa dans l'index shoot was the little 3D job for Mercedes and that was all daylight exteriors. It was a film to show the new generation of Mercedes cars that are coming - electric, hydrogen and hybrid vehicles - and it was shot in Paris ; they wanted a 3D film to show on a big screen at the Champs-Élysées before the Paris Motor Show, which took place in October. The Alexa Voir Alexa dans l'index handled the daylight exteriors and the 3D shooting very well ; we had no real problems.
The Dior commercial was a J’adore spot starring Charlize Theron ; it won’t come out until sometime next year because there’s a lot of heavy postproduction to be done. That was a very interesting job to do with the Alexa Voir Alexa dans l'index because the first day of the shoot - it was a day-for-night shoot - was in the Hall of Mirrors at Versailles, which was only lit by very dim electric candelabras. We weren’t able to light the hall so we had to rely on very little light ; we did tests with different digital cameras and decided to go with Alexa Voir Alexa dans l'index because it was the most sensitive and delivered the nicest, softest look.
AN : Did you shoot at the base sensitivity of 800 ASA at Versailles ?
DK : I did shoot at 800 ASA and that was more than enough. When I read the light meter in this very dim light - just like I would do for film - I was reading T0.7 at 800 ASA, which is hardly any light, but when we looked at the monitor, a stop of T1.4 on the lenses was actually overexposed, so we stopped down to T2.8. The Alexa Voir Alexa dans l'index sensor is very sensitive and at times your light meter can be almost useless, so you just have to trust your eyes. In the end, though, it is better to use your meter and light the way you would if you were shooting film.
AN : What was your experience of the latitude of the sensor ?
DK : The dynamic range is very good. I’m sure it could still be improved, but it’s really far better than any other digital camera I’ve worked with. I just didn’t feel any restriction with Alexa Voir Alexa dans l'index , whereas normally with digital cameras you might have to dim down things like bright practicals a little bit to protect the highlights.
AN : What recording systems did you use for these shoots ?
DK : I work with a very good DIT called Christophe Hustache Marmon ; we haven’t used the raw data mode yet, but we have used the onboard SxS card recording, as well as HDCAM SR. On the Gautier shoot we used the SxS cards and editing was happening on the set, which was fantastic. That’s the way Jean-Baptiste likes to work.
AN : How do you find the camera to work with ?
DK : I like the Alexa Voir Alexa dans l'index very much ; I feel closer to this camera than I have to any other digital camera. I don’t know if it’s because of the fact that it’s an Arri Voir Arri dans l'index - obviously that helps - but when you’re on set with it you just feel that Arri Voir Arri dans l'index has made the effort to deliver what directors and cinematographers actually want, and to make it more like a film camera. The Alexa Voir Alexa dans l'index is smaller and it’s silent, which is so important ; it can be handheld or put on a Steadicam ; it doesn’t heat up too much and of course its sensitivity gives us a lot of freedom.
AN : What are your thoughts on the look and feel of Alexa Voir Alexa dans l'index images ?
DK : I think one of the things that makes me very happy with this camera is how soft and nice the curve is and how much you can play with the material ; you can really mould it like a sculpture to make it softer or more contrasty - like using different negatives - and I really appreciate that. It allows you create the look that you want, without anything being blocked from the beginning, so it’s nice to have that freedom.
It’s a very sensuous camera to play with ; of course there will be improvements, but it’s the first time that I feel digital has turned a page. When I first used Alexa Voir Alexa dans l'index the nostalgic part of me was a bit sad, in a way, because I’m one of the biggest defenders of film - and I will continue to shoot features on film - but for my next feature I think Alexa Voir Alexa dans l'index might be a good choice. I feel that Arri Voir Arri dans l'index has gone beyond simply trying to imitate film and - starting now - digital has moved into a new era.
AN : So you’d be happy to use Alexa Voir Alexa dans l'index for a feature film ?
DK : Yes I would, although it will also be really great when Arri Voir Arri dans l'index develops the 4:3 sensor model and also an optical viewfinder, because that will feel even more like a film camera. Being able to use that full sensor to shoot anamorphic or 1.33 Voir Format 4/3 dans l'index :1 will be fantastic.