ARRI ALEXA in-camera recording using AVID’s DNxHD MXF file format

[Gunleik Groven]

There are a few that have advocated prores 444 redlogfilm as an end to end format who have impressive prores results to show for them... eh... Him.

Mark Toia

And he is an excellent shooter and gets what he wants...

But te sexyness of mounting such a module directly on-cam without any cables, is significant...

Anyhow. We'll know when they have made it - whatever it is.

[Oliver Koeppel]

It´s not only a question if it´s needed or not. It´s also a question of what the costumer wants. I don´t mean us red costumers - I mean productioncompanys. Sometimes hard to argue with them, why Arris technology should be not good enough...
I don´t wann handle with additional adapters and cables. I want it built in. A module, which appears and feels like a part of my cam. Recording raw and "proxy quality". And if they want "1080 440mBit proxys", they should get it.
I don´t wanna shoot on Alexa, I want Epic. And I hate it, if they decide to shoot Arri, only because they think red´s workflow seems to be to complicated and the alltime-blah-statement: "...Alexa is easier to grade, especially for skintones...."
I know they´re wrong. But that does not matter anytime

[Oliver Koeppel]

... We'll know when they have made it - whatever it is.

who made what??? tell us more about it please

[Cüneyt Kaya]

all the third party tools cant make proxies of slo motion shots. and they are ergonomicly a nightmare.plus, i
would love not to hear christmas tree jokes again :)

[Oliver Koeppel]

Hey Kaya, buddy. Exactly, what you said

[Cüneyt Kaya]

and i would vote for a combinated battery and i/o module with a couple of
d-tap's, all the standard connectors, 2 hd sdi outs (adjustable with different overlays, a second monitor port.

[Oliver Koeppel]

I´m shure, Red will push out some modules, as soon, as they´re on track with backorders.
And I´m also shure, they will have some module surprises also.
But I´m not shure about ProRes or DNxHD modules. I´m still hoping for it and trying to make them believe in that solution.

[Manuel Wenger]

+1 for a DnxHD Module, this would be so sweet.
I love RAW too, but as said there are sometimes moments when DnxHD 185 10bit is good enough.
A module of my dreams would be one where you can choose between H264, Prores 422 and 444 as well as different DNxHD flavors.

[Santiago Marti]

What is wrong with using soundevice's pix or atomos samurai? I preordered a samurai for my epic, it triggers by camera and records timecode and filenames and at the same price it serves as a second monitor to the epic. When playback is enabled on epics you could probably play 300fps clips to the samurai. Am i wrong on something? Please let me know. It is really easier to add a samurai to an epic than to add arri raw codec to the alexa, that's for sure.

Santiago Marti.
RED ONE M-X #4215, RPPs, EPIC X on its way.

[Jonathan Carbonaro]

The other problem with Alexa is that there is no metadata color information like with Red.
Meaning DnxHd sounds great for Alexa, and I'm excited to find out more, but dropping Log-C footage into Avid still sucks, and I'm still gonna have editors tell me to give them colored footage as apposed to Log-C dnxHd files.

As for Red, I could see it being good, but maybe not practical for them to concentrate on.

I'm pitching Red to a T V show right now, and they don't want Raw, they want 1080 masters. So the question for me is, can I take the footage, color, and then transcode to DnxHd 36, and transcode to DnxHd 175, on all 3 cameras, everyday?
In this case, recording straight to an Avid codec would actually be pretty sweet.