American Cinematographer - September 2017 - 103

takes - up to 30 minutes - and
improvising with the actors. I quickly
found a way to take advantage of Alexa's
low-light qualities and natural color
representation. Later, in the DI, I
discovered there was a lot of room to
play with, and great latitude with detail
at both ends [of the exposure range].
Since then, I have gone on to use Alexa
on multiple projects."
It was also a goal of Arri's to
introduce a digital camera with a 65mm
large-format sensor - what eventually
became the Alexa 65. Kraus points out
that the company's interest in largeformat filmmaking was nothing new.
"We won [a Sci-Tech Award in 1993]
for introducing a 65mm sync-sound
film camera called the Arriflex 765,
which was very innovative," he says.
"But it was launched at a time when
digital sound all of a sudden became
mainstream - so that was the end of
70mm film distribution at the time, and
it was not a big commercial success."
But there again, Kraus notes,
Arri's interaction with the cinematography community during that phase paid
off down the road. "We had that camera
and shot many high-quality test reels
with the best cinematographers in order
to figure out the actual [resolution]
limit," Kraus says. "That got us thinking
about when and how digital could look
as good as film. I tried to convince
[Arri's] owners we should go for top-ofthe-line. The result was the Alexa 65."
Papamichael used the Alexa 65
on 2016's The Huntsman: Winter's War,
"primarily for wide landscape shots, and
operated off a 50-foot Technocrane on a
daily basis. It was a great advantage to
have all that detail in wide shots, which
also allows you to extract portions of the
frame, zoom in, and create small moves
in post. The visual-effects team also
really appreciates the extra image size."
The arrival of Arri's Alexa 65 in
2014, many cinematographers say, was
yet another major advancement in the
maturation process for feature-level
digital cinematography. Greig Fraser,
ASC, ACS - who won an ASC
Award and an Oscar nomination for the

In 1971, motors for
all of the Arriflex
cameras were
manufactured in a
separate Arri
factory near the
company's
Turkenstrasse
complex (top); the
Arriflex 16mm
assembly
department, then
headed by Willi
Zeintl, is seen hard
at work (above);
and a mechanic
adjusts the parallel
position of a 35mm
main drive shaft
(left).

www.ascmag.com

September 2017

103



http://www.ascmag.com

American Cinematographer - September 2017

Table of Contents for the Digital Edition of American Cinematographer - September 2017

Contents
American Cinematographer - September 2017 - Cover1
American Cinematographer - September 2017 - Cover2
American Cinematographer - September 2017 - 1
American Cinematographer - September 2017 - 2
American Cinematographer - September 2017 - Contents
American Cinematographer - September 2017 - 4
American Cinematographer - September 2017 - 5
American Cinematographer - September 2017 - 6
American Cinematographer - September 2017 - 7
American Cinematographer - September 2017 - 8
American Cinematographer - September 2017 - 9
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American Cinematographer - September 2017 - 28
American Cinematographer - September 2017 - 29
American Cinematographer - September 2017 - 30
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American Cinematographer - September 2017 - Cover3
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