Welcome to our community

Be a part of something great, join today!

Log in
  • 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 in-camera recording using AVID’s DNxHD MXF file format

O

Oliver Koeppel

Well-known member
Joined
Oct 1, 2007
Messages
221
Reaction score
0
Points
16
Age
57
Website
www.oliverkoeppel.de
Arri offers an update on ALEXA. Directly recording on DDxHD up to 440mBit.
As much I like Red and their rawworkflow, I would like to get the opportunity to decide which format I will need. A module on Epic/Scarlet which records parallel to R3D, DNxHD and/or ProRes would be very helpful imho.
I know, it has been dicussed several times. I know, there is additional hardware to get those codecs. But I would prefer a red built-in solution...

http://www.arri.com/press/press_english/press_release.html?tx_ttnews[tt_news]=880&tx_ttnews[backPid]=1781&cHash=bae70849d5
 
I believe the upcoming "Proxy Module" for Epic/Scarlet will do just that.
 
Gary Stone said:
I believe the upcoming "Proxy Module" for Epic/Scarlet will do just that.
Click to expand...

The judge (that's Jim) have been out on that for a while...
He is a knight of 4k, and I think he fears epic shoots being onlined at prores 422. Thus the procy module was meant to be h264 for dailies.

That said, I and many more have been lobbying for that module to be prores/DNx for offlines.

And the judge and the Jury is out...

:)

G
 
That would be consistent with RED's decision to not do anything prosumer. Sounds like 3rd party is the way to go.
 
I am so happy that the REDs shoot 444 Raw, that is what Digital Cinema is abou,t 422 is just Video, Once you go 444 Raw there is not going back.
 
With gear like the pix240 and the kipro mini and a ton more coming I'm not sure it behooves RED to make their own proxy recorder (module) but rather make as much metadata avail to those 3rd part devices as possible thru HANC data, etc over HDSDI.

its all possible now, everyone get shooting
 
Craig Weeding said:
I am so happy that the REDs shoot 444 Raw, that is what Digital Cinema is abou,t 422 is just Video, Once you go 444 Raw there is not going back.
Click to expand...

I totally agree. As I wrote before I absolutely love raw! But there are some situation, where I need fast and "HD is good enough" solutions
 
Thing in my case is that it would be great to have offlines directly without transcoding...

Don't say Premiere... I work with shows with 100-200 shootingdays. Offlne/Online is really quite rational in those contexts...

I think we have made the KiProMini stable now... BTW
 
Why everyone assumes this would just be used as the shoot to finish format I am not sure. It would be fantastic to have some sort of module that automatically creates lower res edit proxies for your editing tool of choice, you know, for editing. It is simply a question of time/workflow, has nothing to do with sacrificing image quality and image flexibility, it is very simple to reconnect to your original R3D's and happily grade away.
 
There are a few that have advocated prores 444 redlogfilm as an end to end format who have impressive prores results to show for them... eh... Him.

Mark Toia

And he is an excellent shooter and gets what he wants...

But te sexyness of mounting such a module directly on-cam without any cables, is significant...

Anyhow. We'll know when they have made it - whatever it is.
 
It´s not only a question if it´s needed or not. It´s also a question of what the costumer wants. I don´t mean us red costumers - I mean productioncompanys. Sometimes hard to argue with them, why Arris technology should be not good enough...
I don´t wann handle with additional adapters and cables. I want it built in. A module, which appears and feels like a part of my cam. Recording raw and "proxy quality". And if they want "1080 440mBit proxys", they should get it.
I don´t wanna shoot on Alexa, I want Epic. And I hate it, if they decide to shoot Arri, only because they think red´s workflow seems to be to complicated and the alltime-blah-statement: "...Alexa is easier to grade, especially for skintones...."
I know they´re wrong. But that does not matter anytime
 
Last edited:
all the third party tools cant make proxies of slo motion shots. and they are ergonomicly a nightmare.plus, i
would love not to hear christmas tree jokes again :)
 
and i would vote for a combinated battery and i/o module with a couple of
d-tap's, all the standard connectors, 2 hd sdi outs (adjustable with different overlays, a second monitor port.
 
I´m shure, Red will push out some modules, as soon, as they´re on track with backorders.
And I´m also shure, they will have some module surprises also.
But I´m not shure about ProRes or DNxHD modules. I´m still hoping for it and trying to make them believe in that solution.
 
+1 for a DnxHD Module, this would be so sweet.
I love RAW too, but as said there are sometimes moments when DnxHD 185 10bit is good enough.
A module of my dreams would be one where you can choose between H264, Prores 422 and 444 as well as different DNxHD flavors.
 
What is wrong with using soundevice's pix or atomos samurai? I preordered a samurai for my epic, it triggers by camera and records timecode and filenames and at the same price it serves as a second monitor to the epic. When playback is enabled on epics you could probably play 300fps clips to the samurai. Am i wrong on something? Please let me know. It is really easier to add a samurai to an epic than to add arri raw codec to the alexa, that's for sure.

Santiago Marti.
RED ONE M-X #4215, RPPs, EPIC X on its way.
 
The other problem with Alexa is that there is no metadata color information like with Red.
Meaning DnxHd sounds great for Alexa, and I'm excited to find out more, but dropping Log-C footage into Avid still sucks, and I'm still gonna have editors tell me to give them colored footage as apposed to Log-C dnxHd files.

As for Red, I could see it being good, but maybe not practical for them to concentrate on.

I'm pitching Red to a T V show right now, and they don't want Raw, they want 1080 masters. So the question for me is, can I take the footage, color, and then transcode to DnxHd 36, and transcode to DnxHd 175, on all 3 cameras, everyday?
In this case, recording straight to an Avid codec would actually be pretty sweet.
 
You must log in or register to reply here.
Back
Top