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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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Scott Crawley said:
Pardon my ignorance, but if they don't have Reds in production why would they have to know how to service them?

If they are not in the camera manufacturing business, and don't have more of the same cameras in the field why would they attempt to reasearch and develop them to that degree? This isn't like an old mechanical film camera that they would be salvaging parts from one mfg's cam to service another brand camera either.

It still sounds like unlikely speculation. The entire notion that they wouldn't use them is ridiculous since they already have Red productions in their library. I have read that they were slow to adopt them, but they have since been embraced by some BBC brass.
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I know the BBC has REDs in engineering. The BBC doesnt work like any other corporation in the world, buying two to rip apart would not even begin to be the weirdest thing to happen inside those walls. They are accepted for externally produced content but not internally produced.
 
Tim Morten said:
PS - Having not seen released cameras from either company, you officially fall in the "Brand Loyalist" category for assuming that Alexa will be better than Epic with regard to build quality/reliability. I understand that's based on your past experience with these brands, so it's absolutely your prerogative - just amusing that you wound up squarely in one of my categories. :)
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You're right. I'm a brand loyalist for ARRI, posting on REDUSER, yet I can't even afford to buy, let alone rent, either camera.

Way to be rational. I'm glad you're such a quick read of people.
 
Feel the love...

Sorry to "misread" you there Chuck. If your criticism of Red's reliability wasn't meant to show your preference for Arri as a brand, then I guess you're right - I must not be very good at reading people (or words for that matter).

By your response, I see that what I really should have concluded was that you can't afford either camera (and I suppose by extension that you're an impartial observer)... right, got it. Thanks for clearing that up!

Your Irrational Friend,
Tim
 
Thanks Sanjin for posting. Wonder if RED is applying what they do with the "HDR" parallel signals from each CMOS pixel to obtain the 13.5 stop latitude. Lim
 
I watched the Arri NAB video and while the camera is impressive, the technical
aspects of the presentation where not as impressive. The Alexa does not have
HDR, yet they keep saying it does. 13.5 Stops of DR is normal. If it were not
we could say that film has HDR, and it does not. Also, the presenter says 13.5
stops of latitude, which is also an incorrect way to talk about DR.

Hey, this is just my opinion on the matter. I think the Alexa would be a mind
blowing camera if it were not for the EPIC blowing it away. My how science and
technology progress so quickly.
 
Martin, that is the difference between listening to marketing and speaking to the actual camera engineers. At least with Arri at a trade show you can speak to the engineers if you know who to ask for. Needless to say, at RED you are pretty much always speaking to the people writing the code / designing the cameras.

Graeme
 
I recall seeing a video where they indicated starting price around $75K I want to say, with packages going up over $100K.
 
Martin Stevens said:
I watched the Arri NAB video and while the camera is impressive, the technical
aspects of the presentation where not as impressive. The Alexa does not have
HDR, yet they keep saying it does. 13.5 Stops of DR is normal. If it were not
we could say that film has HDR, and it does not. Also, the presenter says 13.5
stops of latitude, which is also an incorrect way to talk about DR.

Hey, this is just my opinion on the matter. I think the Alexa would be a mind
blowing camera if it were not for the EPIC blowing it away. My how science and
technology progress so quickly.
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Alexa does have what would be characterized as HDR.
 
Steve G said:
...They have a couple of reds so that the engineering dept will be able to test the workflow, and look at the engineering side of things. They have spent the last 15 years getting rid of staff crews and in house "top spec" camera kit.
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This is and has been true for a while.
A few years after f900 hit the streets BBC did a two day introduction to HD course for 120 staff producers and directors, demonstrating post, home TVs and shooting.
I conducted the camera and lighting course using my kit and a borrowed Panasonic camera and a range of lenses. Believe it or not at the time they did not own a HD camcorder, so I had more HD kit they did!

Cameras for their first big HD doc, Planet Earth were donated by Panasonic.
They did buy around 100? HDV cameras to be used by producer directors.
these cameras cropped up everywhere and led to a demise of craft cameramen and DPs.
However their use in programms was restricted to X% due to the engineering bods saying they were sub standard.

With camera scarlet scarlet in the wings, where there won't be a restriction in its use, it will be interesting if this will lead to a further demise in the use of craft DPs and operators if BBC buy them by the 100s and put them in the hands of producers directors and interns.

A case of higher quality cameras being used in greater numbers by the less skilled operators.

Mike Brennan
 
hdcrew said:
How so? could you please explain why you think that an H264 proxy module is more useful than Prores as a capture codec, I feel I may have missed your point.
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I think the larger point is that Red can add ANY TYPE of CODEC Module
now, or in the future. So perhaps a Prores or an even better REDRES "TM"
codec module is in the works.
:emote_popcorn::emote_popcorn::emote_popcorn:
 
Avid's direct support for R3D makes ProRes irrelevant anyway.
 
Michael Brennan said:
This is and has been true for a while.

Cameras for their first big HD doc, Planet Earth were donated by Panasonic.
They did buy around 100? HDV cameras to be used by producer directors.
these cameras cropped up everywhere and led to a demise of craft cameramen and DPs.

With camera scarlet scarlet in the wings, where there won't be a restriction in its use, it will be interesting if this will lead to a further demise in the use of craft DPs and operators if BBC buy them by the 100s and put them in the hands of producers directors and interns.

A case of higher quality cameras being used in greater numbers by the less skilled operators.
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The marketing notion that with the right camera anyone can make great images isn't just for consumers anymore. :-(

I think we've seen a lot of the same here in the U.S.. I can't tell you now many poorly shot interviews I've seen in the last few years. You know the signs; misplaced auto-focus, incorrect auto white balance and auto expsures set for backgrounds at the expense of subject exposure, etc. ...
 
Michael Bravin said:
By whom?

We feature an extended range of 13.5 stops.

HDR is not that.

Do we need to keep going on about this?...Really?
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Thank you very much Michael. It's a bit sad that so many people
don't quite understand what HDR is.

Bye the way, I LOVE Arri, as do almost all of the
film/digital cinema people I know.
:grouphug::grouphug::grouphug:
 
LOL

Myopia rules.

Michael, I'm getting used to Red's irreverent manner when dealing with the public, but is such sarcasm meant to be part of the new Arri business plan? My image of them has been more... Well, more dignified than that.

I can understand why you might be frustrated but remember that you are in the heart of Red country. It's a zany place.:emote_hippie:
 
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