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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 Alexa and Mysterium-X...

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Charles Stewart Jr said:
I'm sorry I must have missed this. Can you explain further?
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They've cut 30% of the FCP team. My girlfriend works at apple and the inside scoop is that FCP is pretty much cut off from any future at apple. It's fly poop compared to iphone, itunes, etc.
 
I can't believe ARRi. More like ARRgh.
First they missed 4k and now SxS.
SxS causes every laptop I've used to crash and killed my OS drive too.
Damn it, i had high hopes for Germany to kick ass again but now I'm embarrassed that my countrymen are followers not leaders.
 
Mike Gross said:
With apple cutting the FCP group and removing the express cards slots, this was a bad bad decision.
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This kind of speculation from the outside is unproductive, honestly. We basically know Apple is doing a major rewrite on Final Cut; they forced themselves into that by deprecating Carbon. Where that product is in its release cycle and what impact that might have on the necessary development team size is anyone's guess. It's worth noting the cuts weren't to the core team; they might well have been to contract workers who were brought on for a specific part of the project and are no longer needed. IOW, those cuts might actually signal that the new FCP is getting close to release, rather than that Apple is deemphasizing FCP. I don't know, and neither does anyone else who's allowed to talk about it.

The idea that Apple would walk away from FCP because they're more interested in iPads never made any sense. It's like saying Sony might walk away from digital cinema cameras because they're more interested in PlayStations. Large companies can do more than one thing at a time, and it's hard to imagine there would be much possibility for direct talent poaching between the FCP and portable devices teams.

As far as Arri supporting DNxHD... sure, why not? But not instead of ProRes. FCP is the world's most popular non-linear editing application these days. And there's not, as far as I'm aware, a DNxHD variant that can match ProRes 4444 yet.

Grady Wilson said:
Red announced 1080 RGB downscaled recording 6 months ago but I can't remember what format they were recording to, does anybody remember?
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Some new REDCODE variant. Which is nice, but not nearly as convenient as ProRes. Not unless they can talk Apple into supporting it natively, anyway.
 
Mike Gross said:
With apple cutting the FCP group and removing the express cards slots, this was a bad bad decision. DNxHD and SSD would have been much smarter. I'm disappointed in Arri on this one. I'm still hurting from their decision not to do 4k on Alexa.
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I was told tonight that an Avid solution is in the works. I'm not sure if it's MC 5 being able to work natively w/ ProRes or Arri being able to write DNxHD, or both.
 
Chris Kenny said:
This kind of speculation from the outside is unproductive, honestly. We basically know Apple is doing a major rewrite on Final Cut; they forced themselves into that by deprecating Carbon. Where that product is in its release cycle and what impact that might have on the necessary development team size is anyone's guess. It's worth noting the cuts weren't to the core team; they might well have been to contract workers who were brought on for a specific part of the project and are no longer needed. IOW, those cuts might actually signal that the new FCP is getting close to release, rather than that Apple is deemphasizing FCP. I don't know, and neither does anyone else who's allowed to talk about it.

The idea that Apple would walk away from FCP because they're more interested in iPads never made any sense. It's like saying Sony might walk away from digital cinema cameras because they're more interested in PlayStations. Large companies can do more than one thing at a time, and it's hard to imagine there would be much possibility for direct talent poaching between the FCP and portable devices teams.

As far as Arri supporting DNxHD... sure, why not? But not instead of ProRes. FCP is the world's most popular non-linear editing application these days. And there's not, as far as I'm aware, a DNxHD variant that can match ProRes 4444 yet.



Some new REDCODE variant. Which is nice, but not nearly as convenient as ProRes. Not unless they can talk Apple into supporting it natively, anyway.
Click to expand...

I agree that these FCP rumors need to be taken w/ a HUGE grain of salt. They read like they are based on one internet post from about a month ago.

As for DNxHD, Alexa also writes ProRes 4:2:2, which there is DNxHD version of. Also FCP may be the most popular NLE but I best most projects shot on Arri equipment are still cut on Avid (at least for the time being).
 
Chris Kenny said:
This kind of speculation from the outside is unproductive, honestly. We basically know Apple is doing a major rewrite on Final Cut; they forced themselves into that by deprecating Carbon. Where that product is in its release cycle and what impact that might have on the necessary development team size is anyone's guess. It's worth noting the cuts weren't to the core team; they might well have been to contract workers who were brought on for a specific part of the project and are no longer needed. IOW, those cuts might actually signal that the new FCP is getting close to release, rather than that Apple is deemphasizing FCP. I don't know, and neither does anyone else who's allowed to talk about it.
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FCP is stagnant and hasn't any significant improvements in a while.
I've heard rumors about this rewrite for two years and no actual signs of improvement. Not much optimism for FCP actually getting better.
I use FCP but something better will come along soon.
 
Chris Kenny said:
As far as Arri supporting DNxHD... sure, why not? But not instead of ProRes. FCP is the world's most popular non-linear editing application these days. And there's not, as far as I'm aware, a DNxHD variant that can match ProRes 4444 yet.
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It may be the most popular, but in ARRI's price range?



Chris Kenny said:
Some new REDCODE variant. Which is nice, but not nearly as convenient as ProRes. Not unless they can talk Apple into supporting it natively, anyway.
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Well, you can already work natively with Red files. Whether 1080p RGB is convenient is unknown (but consider it won't have to debayer, just decode).
 
Carsten Fenstermacher said:
FCP is stagnant and hasn't any significant improvements in a while.
I've heard rumors about this rewrite for two years and no actual signs of improvement. Not much optimism for FCP actually getting better.
I use FCP but something better will come along soon.
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4:4:4:4 and 4K are definite, significant improvements.
 
Chris Kenny said:
Some new REDCODE variant. Which is nice, but not nearly as convenient as ProRes. Not unless they can talk Apple into supporting it natively, anyway.
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Thanks for all the perspective on FCP Chris. I was about to cry.

As to recording to ProRes, I'm not sure what all the fuss is about regarding Arri supporting this. ProRes is as easy as hooking up an HD-SDI cable to a Ki Pro. Of course, you lose the advantages of shooting on a RAW color space camera when you do this both internally or externally.
 
Alexa looks like a great camera, love that it will be very modular, being able to utilize better storage in the future is fantastic and they are definitely learning a lot from the crew at RED, and it looks like there are some great ideas they have implemented that we may se in other cameras in the future.

I hope more and more cameras start providing options for spitting out a visually lossless offline editing format, great stuff.
 
Mark my words... 1080P acquisition is NOT future-proof. I'm disappointed in this aspect. The new Aaton looks interesting... 4K. I understand there is another 4K camera coming soon (SI?). At least there are a few of us that view the future the same way.

Jim
 
Todd M. said:
Thanks for all the perspective on FCP Chris. I was about to cry.

As to recording to ProRes, I'm not sure what all the fuss is about regarding Arri supporting this. ProRes is as easy as hooking up an HD-SDI cable to a Ki Pro. Of course, you lose the advantages of shooting on a RAW color space camera when you do this.
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I do that with a KiPro also while recording 4k raw.
IMHO, a no brainer. Not sure what the big deal is about that either.
 
Jannard said:
Mark my words... 1080P acquisition is NOT future-proof.

Jim
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That is my single biggest disappointment with the Alexa.
RED gets it.
Aaton gets it.
Even Sony gets it with their announced 4k camera.

I'm starting to believe Arri is protecting the film camera market.
 
Jannard said:
Mark my words... 1080P acquisition is NOT future-proof. I'm disappointed in this aspect. The new Aaton looks interesting... 4K.

Jim
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Right on, Jim. To me, 4K as the future is crystal clear.

These guys simply do not get it. Rolling out a next-gen camera that cannot finish to 4K RGB? Really? And barely any overcranking? If you do want overcrank, you have to pay a ton $$$ more?

I'm telling you right now, when 6K Monstro drops, it's game over.

Finish them!!
 
Jannard said:
Mark my words... 1080P acquisition is NOT future-proof. I'm disappointed in this aspect. The new Aaton looks interesting... 4K.

Jim
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Yes, very hard to disagree with that. Do you think sticking to a lower resolution is just one more speed bump for them to put in the road to keep people scanning film for a little while longer?

Something to be taken from this though, being able to pull a flavor of ProRes directly off the Scarlets would be excellent, but maybe you guys have already cooked up a better workflow already?

Tom Lowe said:
Why not shoot to SSD?
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The module is interchangeable in the future, I would imagine for quite a pretty penny.


BTW:

FCP salt lickers and naysayers, nay on. . .
 
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