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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

alexa v mx

I think Sanjin is more than entitled to an opinion. He's not the only one either - Deakins has his critics - like every artist. Perhaps he didn't articulate his opinion properly - "flat and boring" can mean a lot of things.

An important factor is - How many DPs are screening these comparisons on 4K projectors? Not many, I am sure. This has to hurt RED, being "ahead of its time".
 
Subhadip Sen said:
"flat and boring" can mean a lot of things.
Click to expand...

Found works of some other British contemporary cinematographers more exciting and interesting to me...hope this helps more to understand what I've wrote.
 
Fredrik Callinggard said:
What you meant :wink5:
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Thanks for your suggestion but "meant" was the first written but I change to "wrote" just because it's more accurate and clear what it is.

You can think or mean whatever you want but only what it is written can count.

Back to the topic:

1. Direct to Edit was possible with R3D for longer time.

For example just simply drag and drop 1K QT proxies to your FCP time line and straightway start to edit.

Export to EDL or what ever format is available on with FCP, probably doable with other R3D apps too,...

Advantage RE-MX.

2. 320GB of R3D with REDROCKET enabled and super fast MacPro (CPU, Drives, bandwidth) it could be faster to get properly in RAW corrected files

than to wait for the transfer of approximately 10 Sony SxSD cards with already in camera baked ProRes 4444.

Think comparison RAW vs. JPEG at DSLR photography.

Advantage RED-MX.
 
Chris,
When you get the Arriflex Alexa camera's are you going to have a meet Alexa at your rental facility across from RED digital studios in Hollywood?
Just wondering if you had a date in mind?
Mickey
 
Subhadip Sen said:
An important factor is - How many DPs are screening these comparisons on 4K projectors? Not many, I am sure. This has to hurt RED, being "ahead of its time".
Click to expand...

Hi,

I would have thought the most important way to view the tests is with film projection, it's still the way most of the world see movies. I think RED has been hurt by taking so long to acknowledge that.

Stephen
 
chrislancaster said:
i dont think its just name ...

alexa is a great camera .. with a lot of good features and it serves a certain market which i believe is mostly episodic tv shows


direct to edit , pro res, pristine 1080 p, and it comes ready to shoot with evf


put a lens on and go
:thumbsup:
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Im still finding it interesting that i read statements like this "alexa is a great camera" its not out yet so how can we say? the 1080p solution is just that 1080p. I as a cinematographer have always tried to over res as much as i can even when we were going to d-beta or even back when it was a 3/4 tape we started on super 35 so the Alexa concept of shooting for the exact format and aspect ratio doesnt allow for much post flexability in resizing or res. As for coming with EVF well believe me your paying out the ass for it with a 70k price tag.And your productions will too. Cause we will charge more for renting you this camera believe me! and the Hi speed solution camera wonr be free either so come on...
 
Mitch Gross said:
Why are you comparing it to a trade-in discount rate on an EPIC? More fair would be "Stage 4" buying a new EPIC v. buying a new ALEXA. RED's offering a great deal for current RED owners in Stage 2 & 3, but that has little to do with a proper cost comparison.
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probably because stage 4 may never really be an issue. Im certain that stage 2 and 3 will have a resale market that will saturate private and public markets to undermine stage 4. Might even mean prices that will eventually even go below the trade in equity value. who knows?
 
Stephen Williams said:
Hi,

I would have thought the most important way to view the tests is with film projection, it's still the way most of the world see movies. I think RED has been hurt by taking so long to acknowledge that.

Stephen
Click to expand...

One of the first tests I did with build 16 was a filmout. I have not done a filmout with MX yet, but I would argue that the path to the filmout (IE: the people preparing the red footage extraction and grading for film, is as important as the test itself.

There is no digital acquisition solution which rivals film but ARRI is best positioned to leverage what they know about film scanning when it comes to creating a product which works best with their film scanner lineup.

One thing we did in out test was to write 4K DPX's to film (2K). So I would like to see if there would be a visual difference to seeing a 2K ARRI RAW compared to a 4K or 4.5K RED RAW.

Either way there is lots of room in the market for both of these camera's. The big studios might contractually oblige ARRI cameras or the DPs who have used their products might have a better "comfort level" with going with the ARRI products. And that is fine.

To use an editing analogy, many editors swear by AVID while a younger generation are much more in tune with FCP or Premiere and that is OK.

Young DP's are not cutting their chops on DV anymore, they are using a very accessible and excellent tool in the RED. This may eventually be the tool they are most comfortable with.

Just look at some of the great work that ZAK has presented at REDUSER. He is obviously talented, but that talent may show through a bit better capturing with RED than with some shitbox DV or HDV camera.

This will now also be true of DSLR, but that in only in the past few months.

IN terms of MX over ALEXA, chances are that the ALEXA will have a higher rent point and FEWER individual owner/operators. IT's well positioned for rental houses who can offer full support and all of the additional equipement needed for big shoots.

But RED M-X affords smaller productions a very attractive image quality/price/accessibility advantage.

To me it is to cinema what Desk Top publishing was to printing and what Photoshop is to photography.

David
 
Stephen Williams said:
Hi,

I would have thought the most important way to view the tests is with film projection, it's still the way most of the world see movies. I think RED has been hurt by taking so long to acknowledge that.

Stephen
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How has Red not acknowledged films are projected on film? Nothing in their system discourages a filmout anymore than shooting on a F23 does...

Furthermore... with many cinemas averaging ~800 lines (or less) on the big screen, I'd suggest that comparing on film DOES prevent people from seeing the full potential of the R1.

-sc
 
VER, Clairmont, Fletcher Camera, just received their Alexa camera's
I'm gonna let them chime in.
It's good times now all manufacturers need to step it up a notch.
MC
 
Went to the SIM event today and heard Michael Bravin and co. talk. Saw some pretty incredible low light footage - looked cleaner than RED to me. The form factor appears better and the build seems more solid.

Kept hearing that "Red is 10.5 stops and Alexa is 13.5" - so really want to get a test happening with the Dynamic Range Test Chart to get to the bottom of that one.

I have to say - today was the first time I felt like jumping the RED ship...

Red still has a price advantage and REDCODE.
 
Steven Caesare said:
How has Red not acknowledged films are projected on film? Nothing in their system discourages a filmout anymore than shooting on a F23 does...

-sc
Click to expand...

Did you see the multi camera shoot outs fom last year?
 
Dylan Macleod said:
I have to say - today was the first time I felt like jumping the RED ship...
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3b9f4cf5-burn-the-witch-burn-witch-kill-monty-python-demotivational-poster-1223816026.jpg
 
Stephen Williams said:
Did you see the multi camera shoot outs fom last year?
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Are you talking about the BSC shoot out? The RED files were not correctly processed according to those I have spoken with. The filmout I did two years ago (Build 15 I think) looked pretty incredible. I have a print if you'd like to see it?

Not jumping ship quite yet...

:-)
 
Dylan Macleod said:
Are you talking about the BSC shoot out? The RED files were not correctly processed according to those I have spoken with. The filmout I did two years ago (Build 15 I think) looked pretty incredible. I have a print if you'd like to see it?

Not jumping ship quite yet...

:-)
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Yes. That's probably correct, however it was not only the BSC tests that had the problem. Red had the opportunity to re-process the footage, nothing happened.
I have always been impressed by digital projection of Red footage & much less so by film projected footage.
 
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