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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 :)

Arri 65mm digital camera

Brian Merlen said:
Its a shame there is not a 4k prores capture option for this model, granted people may want to use raw only at these budgets, but I think prores capture is a very popular feature of Alexa and Amira, and a real selling point for producers (despite the baked in nature of it).
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Prores is not an option for the one who are willing to shoot 65mm. It's like having bicycle pedals in a dragster...

Pat

PS: I love bicycle and drive them more often than dragsters.
 
Marc Wielage said:
I don't think the rest of us can afford the post-production expenses of dealing with files this size. Realistically speaking, very few productions were able to afford 65mm film in the last 40 years, either. It's not just about the costs of the camera; it's about dealing with 2TB per hour of data. Take that all the way through the final stage of post, and I bet it'll be a very slow, arduous path.

It'll be doable for people with vast resources and time, but very daunting to 90% of most filmmakers out there.
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what about REDcode raw?
 
data rates allways become manageable.
it's funny to see these arguments popping up with new formTs. again.

but offline/online workflows probably will still have some merit the next decade, too...

:-)
 
Glen Powell said:
This isn't the first rental only camera ARRI has ever released... Not even the first rental only digital camera - anyone ever use the D20?
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I believe the Dalsa Origin 4K camera was available for rental in 2006, even before the first Red One was sold. The issue was that the camera wasn't very reliable, storage was a huge issue, and workflows were a nightmare.

jake blackstone said:
For obvious reasons, ARRI can't use RedRAW. For ARRI it's less a question about the technology and much more about the IP limitations.
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They can sure use Arriraw with the Codex box, but I suspect there will be other new file formats that will have a solution to either lossless or "virtually lossless" compression. Even that plus Log-C would be more than enough for 90% of most scripted dramatic productions I can think of.
 
jake blackstone said:
For obvious reasons, ARRI can't use RedRAW. For ARRI it's less a question about the technology and much more about the IP limitations.
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They could just use JPEG2000 with some tweaks. Or Cineform.
 
Just to put things in perspective a bit, I'd wager that the total cost to rent the Alexa65 system (camera, lenses, mags, codex xfer station) will reach close to $10,000 per day. Of course everything's negotiable but keep in mind this camera system was designed for the 1% not the everyman...
 
Adrian Jebef said:
Just to put things in perspective a bit, I'd wager that the total cost to rent the Alexa65 system (camera, lenses, mags, codex xfer station) will reach close to $10,000 per day. Of course everything's negotiable but keep in mind this camera system was designed for the 1% not the everyman...
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Well the mags are the same from the XT, so really just the body, lenses and codex transfer station will account for non normal costs. No quotes yet available and no availability until Nov, so we will all find out then. PS if CSC works the way Abel does regarding sub venders I can get this baby on discount :p perhaps something for producers to keep in mind when choosing a DIT haha j/k. No but really I am going to take them up on their offer of going in to test it at CSC, not even from an operator perspective (though that part interests me if its in my budget range), more from a DIT perspective since its got its own unique arri raw workflow if you will, and I always work on prores arri projects it would be a good way to prepare myself for more Arri Raw gigs in general I think...plus I'm a total camera nerd so seeing that baby in person is inspiring to say the least... :p
 
You'll need three times the cards. They are extremely expensive to buy or rent. You'll also be generating three times as much data as a standard Alexa raw job. The cost to QC, transfer, and archive is three times as much. We're talking HUGE amounts of data. Post production and turnaround costs will skyrocket on any long-term shoot.

On a two camera 100 day shoot what will your total raw data camera original masters add up to?

Dragon maybe 300TBs?

Alexa raw maybe 800TBs?

Alexa65... 3 Petabytes?


ouch...
 
Adrian Jebef said:
You'll need three times the cards. They are extremely expensive to buy or rent. You'll also be generating three times as much data as a standard Alexa raw job. The cost to QC, transfer, and archive is three times as much. We're talking HUGE amounts of data. Post production and turnaround costs will skyrocket on any long-term shoot.

On a two camera 100 day shoot what will your total raw data camera original masters add up to?

Dragon maybe 300TBs?

Alexa raw maybe 800TBs?

Alexa65... 3 Petabytes?


ouch...
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Wow. Those are some eye popping numbers.
 
Well you could cycle the cards pretty quick I am sure... Unless your keeping master cards you won't necessarily need 3 times the cards. Ironically I just did an entire movie on Arri prores in only 3.7TB lol. Easy peasy prores...Producers love that s*it!

Adrian Jebef said:
You'll need three times the cards. They are extremely expensive to buy or rent. You'll also be generating three times as much data as a standard Alexa raw job. The cost to QC, transfer, and archive is three times as much. We're talking HUGE amounts of data. Post production and turnaround costs will skyrocket on any long-term shoot.

On a two camera 100 day shoot what will your total raw data camera original masters add up to?

Dragon maybe 300TBs?

Alexa raw maybe 800TBs?

Alexa65... 3 Petabytes?


ouch...
Click to expand...
 
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On my last ARRI raw movie we had about 40 XT Mags for two cameras. Turnaround was tight. You don't recycle the cards daily like one might on a ProRes job. You need to keep the original cards under lock and key until all material is QC'd by Post. Turnaround can be anywhere from 24-48 hours.

If we'd shot Alexa65 we would have had to have at least 100 mags. To buy that many XT Mags you're looking at over half a million dollars.
 
That might also probably be a part of the rental package.

We need a real technological breakthrough in storage technology.

Battistella
 
wow that nuts man!
 
Paul E. McCarthy said:
Maybe it will be cheaper and make more sense to shoot on the 765.
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Like it initially was shooting S35 digital vs film.

This is the first. Like the D20/Dalsa thingy way back when. (I don't count the F900 2/3" cams)

And when the gate is open
 
Going back to my earlier comments, I think a prores option for this camera is not too much to ask for. Or just make it yourself in the vault and trash the originals. At a certain point even bigger productions may not want to deal with these kinds of storage requirements, especially for a 2k delivery..
 
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