In the last few years, cine-grade gear is becoming more affordable. When I started shooting video, Cine PL lenses were basically a dream to rent. Let alone own. Laowa has been a key player in bridging that gap as they bring their new line of cinema lenses. They really knocked it out the park with their new Laowa 12mm t/2.9 Zero-D Cine. This video shows exactly just how well the $1500 dollar cine lens stacks up against an ARRI Ultra Prime 12mm T2.0 F Lens $35,000 lens.
While the photography crowd might laugh at Arri’s use of the term “large format” when we’re talking about a sensor only a hair larger than a “full frame” DSLR or mirrorless camera. When it comes to video, though, that is rather large. At 36.7 x 25.54mm, the sensor offers 4.5K (4448 x 3096) resolution and is the same one found in the much larger Alexa LF released last year.
The newly announced Alexa Mini LF cuts the size down dramatically over the full sized Alexa LF and is compatible with LPL and PL mount lenses, supports full frame and Super 35mm recording as well as all anamorphic de-squeeze ratios. It has three built-in 0.6, 1.2 and 1.8 ND filters, and records to both Apple ProRes and Arri RAW.
Vertical video is the bane of the 21st century. We all (well most) wish it would just go away. But with Instagram Stories, IGTV, Snapchat and a bunch of other apps that thrive on vertical video, it’s going nowhere. And now it seems that Arri is getting in on the action with an adapter plate that allows you to mount your Alexa Mini vertically on the tripod.
A couple of months ago, we’ve seen how iPhone 7 Plus stands against the $50K Red Weapon. It performs pretty well in bright conditions, considering that’s it’s just a smartphone and Red Weapon is a powerful professional camera. But now, Potato Jet makes a new comparison. This time he compares the iPhone 7 Plus to Arri Alexa Mini, and shoots in various lighting conditions, not just in the bright sunlight. So, how bad is the iPhone compared to $82,000 Arri Alexa?