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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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Rodney always told me he liked the RED One, but thought it as a bit big and a bit heavy. I think he's right, and we tried very hard to keep the weight down on the original RED, and now with Epic and Scarlet we're putting much more power in a smaller, lighter package.

Graeme
 
Jannard said:
Not a new sensor and it will be a fairly simple procedure.

Jim
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holy crap! That's BIG news! Any idea what sort of procedure? Is this a cleanroom procedure or something I can do out on the field? So sunny exterior I'm using the iso 25-200 then we lose the light and kick it to the high iso mode.
 
Ethan Cooper said:
Hey, another MII fan! One of the best overlooked formats of it's day. I always liked it better than BetaSP.

Maybe you can develop a 4K MII.
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And M was significantly better than regular Betacam. I have you all beat - still have about 40 tapes I shot in the Philippines on M-format in my library.
 
As old high band analogue formats go, MII was lovely, but BetaSP always got the sales. It did mean we managed to pick up the MII cheaply though! Still, considering how little cash us students were back then, it was still an utter fortune!

Graeme
 
Graeme Nattress said:
RANT: "Good enough" - to me "good enough" is never "good enough". If you're going to put a year of your life into a making a movie, why would you use "good enough".

Graeme
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I can only guess a therapist would call this "channeled perfectionism." :yesnod: Gotta love it! Graeme, you're a man after my own heart. Can't wait for Scarlet!!!
 
>>>AC's are the unsung heroes who have to prep, manage and work hands-on with hundreds of ludicrously expensive pieces of gear that go into the average camera package. When that industry sets several standards, that are genuinely good ideas, and AC's are forced to make a camera, that doesn't adhere to those standards, work... then yeah, they're gonna be a little pissed at it and they'll drag their feet a bit. It's their ass if the camera's not setup correctly or performing correctly. If the lenses are off, it's their fault. If the camera's battery components seem to be falling apart, it's their fault. They get their asses chewed out because of these kinds of issues. It's really hard work and there is definitely a lot of resentment towards RED for some of its faultiness & sometimes unmotivated resistance of standards. (BNC's, XLR's, dovetails, base plates, etc.) Without some of these "standards", Element Technica wouldn't be so popular.

Personally, if I were to make a camera, one group I'd invite and really listen to are AC's. They're going to have the most hands-on experience with it. Make it a smart camera, well designed and they'll push it for you. They've got a lot of ears.<<<

CJ Roy is right.
Cheers,
Harry
 
I am wondering what this modification will entail...?? Semi-fixed ND? Seriously doubt it. This is way over my head... what the heck could it be that it requires a little time? Can't be a different card, could it?

Sanjin Jukic said:
Roberto,

I was thinking in a way that if George Lucas who now preparing one of his latest

productions for TV or Broadcast is going to use some of Canon DSLRs for it.

That means for TV HD DSLR quality is good enough.
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As far as I understand the reason why Lucas is using 7D/5D's is because they want cameras mounted in the cockpits of old airplanes. If they fall of who cares, and since they are light and small they won't add too much weight, affect aerodynamics as much, and fit into tight spots. That's my guess anyway, I am imagining 5 of them strapped to an old plane at once. But no matter the resolved detail, if moire can pop out of nowhere the camera is dangerous. Perhaps they modified theirs with a custom OLPF that allows ~720p detail and effectively cuts off the moire... or they did extensive testing with the best softening filters to match each lens... so in that case, sure, 7D could be "good enough", but for me "good enough" isn't good enough for my projects. I know you feel the same way.
 
5D rolling shutter + Vibrating old airplane = useless footage.

I doubt that's what they're intending to use them for.

And then there's shooting with propellers about: http://vimeo.com/5934808

And all the fine paneling and rivetting... oh what a nightmare. I could be proven wrong. but I wouldn't imagine it would be anywhere near "good enough" for anything around airplanes. I got bad moire on paper. PAPER! Yesterday from a 5D.

It's only "good enough" when it's actually "Good enough" and there are a lot of sand traps to fall into with those little buggers.
 
Gavin Greenwalt said:
5D rolling shutter + Vibrating old airplane = useless footage.

I doubt that's what they're intending to use them for.

And then there's shooting with propellers about: http://vimeo.com/5934808

And all the fine paneling and rivetting... oh what a nightmare. I could be proven wrong. but I wouldn't imagine it would be anywhere near "good enough" for anything around airplanes. I got bad moire on paper. PAPER! Yesterday from a 5D.

It's only "good enough" when it's actually "Good enough" and there are a lot of sand traps to fall into with those little buggers.
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All that was assuming a modification or softening filters. But you make a great point on vibrations. However, let's not litter Jim's thread with these tangents. I am sorry I replied to your post SJ.

Graeme Nattress said:
to me "good enough" is never "good enough".
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:iagree:

And THAT'S how I know you work at Red.
 
I must be missing something. If Alexa and Epic are close in dynamic range but Epic downsamples from 5k to 4k and Alexa downsamples from 3.3k to 1080P, Epic shoots 100fps and Alexa shoots 60fps, Epic is smaller, lighter and has onboard recording, plus it is about 40% of the price, it doesn't seem like a fair fight.
 
Phil Jordan said:
I must be missing something. If Alexa and Epic are close in dynamic range but Epic downsamples from 5k to 4k and Alexa downsamples from 3.3k to 1080P, Epic shoots 100fps and Alexa shoots 60fps, Epic is smaller, lighter and has onboard recording, plus it is about 40% of the price, it doesn't seem like a fair fight.
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The weight has a big impact for steadicam work. I don't have to have the larger steadicam if it comes in at half the weight of the alexa.

If one can buy almost multiple Epics for one Alexa and get twice as much resolution, it's leaving me scracthing my head and wondering if Arri will be able to survive with an outdated business model.

Is Arri the IBM of the camera world?
 
Phil Jordan said:
I must be missing something. If Alexa and Epic are close in dynamic range but Epic downsamples from 5k to 4k and Alexa downsamples from 3.3k to 1080P, Epic shoots 100fps and Alexa shoots 60fps, Epic is smaller, lighter and has onboard recording, plus it is about 40% of the price, it doesn't seem like a fair fight.
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Phil I do not think people are comparing the Alexa to the Epic. Epic is in a whole different league. Alexa is a contender for the original RED ONE which is almost a fair fight until you compare the RED ONE's less than 1/3rd the price (and a ton more resolution).

I keep hearing rumbling from Germany that Arri has a 4k Epic contender called the "LOSEN" ( I think that means "resolution" in german ) that they will announce at NAB for 60,000 Euro. That is the camera that everyone should be comparing to the Epic.

I feel a bit sorry for the Alexa, I am sure they pulled the trigger 4 years ago when 2K seemed like all anyone would need. If it came out 4 years ago, it would of done pretty well. Unfortunately 2k is going to be much like SD is looked at now 2 years from now. I think the Alexa is going to have a very short life before the LOSEN hits the market a few months later, and I am sure if that happens everyone who bought the Alexa will be pissed off, very much like the Sony F23 / F35 debacle. ( If I remember correctly the F23 was actually shipping for a whole 6 months before Sony announced the F35. )
 
Grady Wilson said:
Phil I do not think people are comparing the Alexa to the Epic. Epic is in a whole different league. Alexa is a contender for the original RED ONE which is almost a fair fight until you compare the RED ONE's less than 1/3rd the price (and a ton more resolution).

I keep hearing rumbling from Germany that Arri has a 4k Epic contender called the "LOSEN" ( I think that means "resolution" in german ) that they will announce at NAB for 60,000 Euro. That is the camera that everyone should be comparing to the Epic.

I feel a bit sorry for the Alexa, I am sure they pulled the trigger 4 years ago when 2K seemed like all anyone would need. If it came out 4 years ago, it would of done pretty well. Unfortunately 2k is going to be much like SD is looked at now 2 years from now. I think the Alexa is going to have a very short life before the LOSEN hits the market a few months later, and I am sure if that happens everyone who bought the Alexa will be pissed off, very much like the Sony F23 / F35 debacle. ( If I remember correctly the F23 was actually shipping for a whole 6 months before Sony announced the F35. )
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The "LOSEN" but we heard about 4K ARRI's "old rumor" before.
 
Jason Sinclair said:
I know what i want.
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One of the famous camera maker still say:

We protect you from what you want take this GIRL and have a lot of fun with her....

and of course in that case you loose your money very fast....

Maybe you couldn't resist but you knew from early beginning that she was a bitch...
 
Jochen Schmidt-Hambrock said:
No.

The nearest thing would be the schwitzerdütsch verb "lose". It means "listen".

Cheers, Jochen
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Or we can ask Google translate

losen.jpg


Can be to draw lots or maybe even TO LOOSE !!!!!
 
Hi!

I sincerelly don't think that Alexa would be a "debacle". I think that It's a great camera. May be the greatest in 2k. EPIC it's revolutionary and could be as good as film stock in most scenarios, and almost better in some conditions. That's incredible, but Alexa is close to it. It's a really good job as Jim says, and it's comes from a long faith cinema company...

2K It's not the resolution of the future, but it's more measure than a theater distribution print, or the same as 2K digital cinema proyectors. The same as Avatar or The Curious Case of Benjamin Button... And sure it could be "good enought" from DPs that had been several years working with ARRI, and beleve that "expensive is better". Some of the Big Boys only have started to work on RED, EPIC will expand RED more and more... But to places where ARRI is now.

I'm sure that in 2020 there will be a lot of people still filming in EPIC, even in RED-X, and maybe nobody on Alexa or F35. But in 2010 and for 2 or 3 years it will be a great camera from a great company. Not revolutionary, but it is something that a lot of DPs will trust.

Unless Alexa may has a bit of less noise, for me RED is far the winner for res, fps, workflow, concept, price... REDMOTE PRO! ;) And the ISO 25-250/200-2000 option! It's a whole new revolution itself.

Sorry for my english!
Luis Melgar
 
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