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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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Tom Lowe said:
Same thing I predicted years ago. I was calling Epic the "film slayer" the day it was announced. In fact, Jim stepped in and offered to back my side of the bet, but Stephen Williams changed his mind when the real money was slapped down on the table in front of him. :smilielol5:
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That's funny.

I quite enjoyed reading the article. Yes, if film was not dead in 2009, if it resisted the MX, it will be well and trully dead when Epic, Scarlet and Alexa roll out.
 
As I understand from Marcs test, the Alexa is "real" 800asa, were as Mysterium-X "just" squeezes all it can out of 320asa - ist this correct? When I did a test between the 5D and RED one, the 5D was clearly picking up information at least 1.5 stops sooner than the RED one pushed to 2000asa. So I would think a "real" 800asa sensor will always record more information on the dark end - am I getting this right?
 
i will stay on red.

but i know from a lot of other DP´s and operators here : they wait. now.
the big advantage of arri here in europe will be the local servicestations.

red service is great. i think the best i ever had. but to get it, for europeans it´s often more complicated as to send it to arri.
sending red equipment from here to USA or even england is always accompanied with a small or even bigger stomachache... as i remember my strange experience with a red lense and memphis custom...

so - this is for sure an future advantage for the new arris when i listen to the people who think about this topic.
 
"Social Network" by David Fincher the first feature shot on RED ONE M-X upgraded

will enter in the movie history as a film that "killed" acquisition on celluloid in 2010.
 
If memory serves, I believe the original wager between Tom and Stephen was whether or not the MAJORITY of films (Features?) would be shot digitally in 2010, not that film would be "dead'. There needs to be at least a 51-49% difference, and that's it really.
 
Sanjin Jukic said:
3.5K is Alexa's sensor size.

But until NAB still stay unanswered some questions about what it is Alexa recording format and picture size (?), 2K+ or even more (?),

HD-SDI recording works as we know, also what is Alexa on-board recording media (?).
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They say it's a 35 format sensor, Bayer mask CMOS. A-EV will be HDTV (1920 X 1080) A-EV Plus and A-OV-Plus will be ARRIRAW uncompressed, media being a hard drive, told me Stephan Schenk.
 
Jan Reiff said:
i will stay on red.

but i know from a lot of other DP´s and operators here : they wait. now.
the big advantage of arri here in europe will be the local servicestations.

red service is great. i think the best i ever had. but to get it, for europeans it´s often more complicated as to send it to arri.
sending red equipment from here to USA or even england is always accompanied with a small or even bigger stomachache... as i remember my strange experience with a red lense and memphis custom...

so - this is for sure an future advantage for the new arris when i listen to the people who think about this topic.
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I didn't have any problem to sent and get back my R1 from Vienna, Austria to London/Pinewood, England, UK for service.
 
i did not say it is a problem, except the problem i had with memphis custom.
that´s not the rule. sure.
i only said that i know lot of people that prefer a "local" and close service.
i just quote what i heard.
and this will be an advantage for arri in our area.
that does not mean they have better camera or service.
 
Personally I'm more than happy that Arri is back on track.

Interesting that a manufacturer that is just about 3 years on the market has the power to make people feel sorry for a company like Arri.

But this seems to be over now.

Some weeks ago I put an Alexa moc-up on my shoulder and found her despite the boxy design very comfortable.
In this regard she is more advanced than the RedOne. But I have high hopes for Epic if we talk about ergonomics.

Arri will have a fair amount of market shares (especially in the rental market), so will Red. Great that these two companies are in a close but respectful competition. Love to see one day an Alexa with RPPs... we already have that the other way.

Hans
 
Hans von Sonntag said:
... Love to see one day an Alexa with RPPs... we already have that the other way.
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Good point!. A lot of talk about the cameras, but Arri glass and accessories remain in the league of their own.
 
Brian D. Goff said:
As I understand from Marcs test, the Alexa is "real" 800asa, were as Mysterium-X "just" squeezes all it can out of 320asa - ist this correct? When I did a test between the 5D and RED one, the 5D was clearly picking up information at least 1.5 stops sooner than the RED one pushed to 2000asa. So I would think a "real" 800asa sensor will always record more information on the dark end - am I getting this right?
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First - no such thing as a "real asa" for these cameras - if we go look at the definition of ISO, it says for raw that you should "go with what the manufacturer suggests makes a good image", and there is a definition for sRGB JPEGs, but that's about it.

Do you not think that the precise tonal curve used to map the Alexa image into a viewable space is being used to calculate the ISO800 base? I can guarantee that the raw linear light sensor data is way too dark lit ISO800 to be of any use at all. A development curve is needed. Same with the RED - use REDGamma. With the FLUT system, it means that the ISO rating set in camera, and when viewed with REDGamma will give you a mid grey brightness that is correct when you measure the scene with your meter and set the lens and camera accordingly.

If you're talking about a sensor - they have one fixed sensitivity, and it's down to how the pixels light gathering is designed and the filters that come before it in the optical chain.

Graeme
 
Cool article, times are changing fast. I'd loved to have seen a shot of the two cams side by side.

Tom Lowe said:
Same thing I predicted years ago. I was calling Epic the "film slayer" the day it was announced...
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Who cares? I mean really, who cares?

Why celebrate having less choice? That just seems pointless and irrational.
 
It will be interesting to see if Arri offers some form of raw acquisition too at some point. They chose to do an in camera deBayer and scale to 1080p output first instead. Certainly a practical choice to fit well established industry work flows.

Congratulations to Red and Arri for achieving the next milestone in the digital revolution: better than film low light performance.
 
If demosaic is done in camera for a 1080p output, it makes the quality of the in-camera demosaic and downsample vitally important.

Graeme
 
I'm sorry HD resolution just really doesn't give you the flexibility or the archival value you need if you are truely going to eliminate film.
An interesting side note, we met with a major advertiser this week that was very interested in the Red to shoot both motion and still work during the same studio session. He told us, because of a number of factors, they could save $400-500K on a single project. He also said the agencies and directors were dragging their feet.
Resolution rules!
 
Keith Neff said:
I'm sorry HD resolution just really doesn't give you the flexibility or the archival value you need if you are truely going to eliminate film.
An interesting side note, we met with a major advertiser this week that was very interested in the Red to shoot both motion and still work during the same studio session. He told us, because of a number of factors, they could save $400-500K on a single project. He also said the agencies and directors were dragging their feet.
Resolution rules!
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True, but a good HDSDI solution will make the camera more usable and efficient for general video production where the archival issue is of little importance. Nice to have the choice on a project by project basis.
 
Even film's "rating" is just a suggestion by Kodak or Fuji. After designing a stock, and testing it, they settle on a speed that produces the "best" image, in their opinion.
However, individual DPs are free to choose to rate the film differently and put the picture information on a different part of the curve, for artistic effect or convenience.
Testing and experience lets us all be comfortable with any tool. In the case of Red's MX (or Alexa) some people may choose ISO 400, some ISO 800, and some ISO 1000 or even higher.
Looking forward to my upgrade, and to start playing with ALEXA as well!
Cheers,
Harry
 
Or very complex asics....

Graeme
 
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