ALEXA拍音乐剧，谈及ALEXA与D-21对比

#幕后制作#

孩子们的音乐喜剧小捷胜女巫2010年12月至2011年2月在克罗地亚拍摄。其使用了ARRI ALEXA。导演Tomislav Žaja，编剧Irena Krčelić。讲述了一个在罗马一个城市家庭的故事。

这部电影，由Eurimage支持，是克罗地亚（公式电影），马其顿（Geyzer电影制作）和奥地利（克努特 Ogris电影）联合制作。它的拍摄地点在萨格勒布、斯科普里和维也纳。克罗地亚摄影师Mario Delić，第一次使 用ALEXA，留下了深刻印象相机的性能，下面是一个他的使用报告，说了些在拍摄过程中的经验。

拍摄时他选择了库克S3 T2.2镜头（而不是S4系列）看起来更柔软些，再加上他喜欢的镜头耀斑的边缘， 只需轻位给的。 ALEXA的人体工程学和方便的菜单非常适合我们32天的拍摄进度，而且那两个孩子以前没 有什么表演经验;动物也参与其中;三个国家，四种音乐和大量的特效镜头。对于12天里，他们用了两台机 器，很多时候都手持要不然就是用斯坦尼康镜头，在难办的夜间地点、极端天气条件（低至-14 °C）。 在这种条件下才能证明及其的出色。

因为他喜欢创造性的操控，许多拍摄有使用色彩校正菜单，还有波形监视器的帮助。他唯一偏爱的是D-21 的光学取景器。虽然Alexa的取景器是非常先进，但它会使眼睛感到累，有时候控制焦点有些难把握，这 应该会很快得到改善。整个电影是拍800 EI，经常在室内以及明亮的室外场景都添加了NDs。虽然摄像机 有一个内置的红外滤光片，但他注意到，尤其是在阴天与NDs配合时会出现轻微的绿色调。这是很容易处理，在菜单CC上和后期调色都可以解决。

参考原文：

The children\\\\\\\'s musical comedy LITTLE GYPSY WITCH was filmed between December 2010 and February 2011, makingit the first feature in Croatia to be shot with the ARRI ALEXA. Directed by Tomislav Žaja and written by Irena Krčelić, the story follows Manusha, a single child in an urban Roma family.One day Manusha\\\\\\\'s granny Ilonka, the neighborhood fortune-teller, deals herself the death card and her subsequent demise prefaces a series of rather unusual events, forcing Manusha - with help from her friend Zdenko and granny\\\\\\\'s ghost - to discover the truth behind \"the curse\", as well as a huge family secret.The movie, supported by Eurimage, is an international coproduction of Croatia (Formula Film), Macedonia (Geyzer Film Production) and Austria (Knut Ogris Films); it was shot on locations in Zagreb, Skopje and Vienna. Croatian cinematographer Mario Delić, using ALEXA for the first time,was deeply impressed by the camera\\\\\\\'s performance and wrote the report below, detailing his experiences on the production.
ALEXAalreadyrockstheworld;ALEXAwithanopticalviewfinderwilltakeustoacompletelynewdimension.
DoP Mario Delic
I first read about ALEXA in the spring of 2010, while shooting a TV series in Egypt with the ARRIFLEX D-21. It was quite amazing what the D-21 already had to offer, so I was excited to get my hands on ALEXA. As it turned out, it offered even more then I expected; the camera\\\\\\\'s dynamic range and sensitivity was a winning point. I tested it side-to-side with the D-21 and printed the results onto Kodak Vision print stock.  In the tests ALEXA held highlights perfectly, which has always been the weakest part of digital cameras. I remember overexposing a white wall by some eight stops and still it didn\\\\\\\'t give this unforgiving digital imprint  -  so-called \"clipping\". Instead it looked like our eyes feel seeing strong brightness. On the other side, black areas were five stops underexposed and still held details, while the D-21 was pitch black in most parts. Sensitivity was crucial on shots lit with just two Kinos with blacklight tubes (UV lights); ALEXA saved all the details and produced stunning results - I even had to underexpose by about two stops. For the shoot itself I chose Cooke S3 T2.2 lenses (rather than the sharper S4 series) to give it a bit more softness; plus I loved the flares those lenses give with just a bit of edge light. ALEXA\\\\\\\'s ergonomics and easily accessible menus made it perfect for our 32-day schedule, which involved two children without previous acting experience; animals as characters; three countries; four musical numbers and a huge amount of VFX shots. For 12 days we used two cameras, with lots of handheld and Steadicam shots, and some tricky night locations in extreme weather conditions (down to -14 ºC). It\\\\\\\'s in those kinds of situations that you can really tell how good the camera in your hand is.
Since I love to take creative control on set, I color corrected many shots within the menus, with the help of the waveform monitor. The only thing I missed was the D-21\\\\\\\'s optical viewfinder. Although ALEXA\\\\\\\'s viewfinder is quite advanced it can tire the eye and critical control of focus can sometimes be tricky, although I\\\\\\\'m sure this will be improved soon. The whole movie was shot at 800 EI, with the addition of NDs quite often indoors as well as for bright outdoor scenes. Although the camera has a built-in IR filter, I\\\\\\\'ve noticed the presence of a slight green hue in combination with NDs, especially on cloudy days. It was easy to handle this within the menu CC and final correction will be done by colorist Matthias Thomasi at Synchro in Vienna, where postproduction is scheduled to begin in June 2011. It is my belief that ALEXA already rocks the world; ALEXA with an optical viewfinder will take us to a completely new dimension.

来源：ARRI官网