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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 DR Test...

I always thought that one of the reasons Arri film cameras etc. were so expensive
was because they made and sold so few of them.

The Arri Alexa systems seems priced high for the same reason.

Red Systems will be priced lower because they plan (and will)
sell a great many of them.

Also, I always thought that Panavision could get away with
not selling their cameras because Arri prices were so high.

Red's paradigm changes almost everything.
 
No, the Camera Operator operates the cam, the Camera Assistant typically sets it up, as well as pulls focus, but that also misses the point. The DP, Director and Producers determine which camera will be used. An operator or AC who wants to be marketable, will be familiar with many tools.

I do seem to be missing your point though.

Pertaining to the Scarlet's DR... My understanding is that both Scarlet and Epic will be running the same chip; the Mysterium X. Unless the Scarlet is unable to process the signal, there is good reason to expect that the two will have the same DR. How will it compare with Alexa? We will have to see.

I'm sure you didn't mean to be disrespectful, and I don't mean to be a curmudgeon.
 
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David Mullen ASC said:
Your points about value for money are valid, but you are also confusing things somewhat when you mix the two issues up -- i.e. whether the S35 Scarlet and the Alex are better or worse than each other is a separate issue as to whether one is a better value financially than the other.


I suspect that the much lower price of the Scarlet S35 will make it much more popular for the private owner/operator, especially those on a budget, whereas the ARRI will sell well to rental houses. For those people with deep pockets, the bigger question is Alexa versus Epic.
Click to expand...
I know everyone is anxiously awaiting Scarlet. I think that it is good though,that Red is bringing Epic to NAB (Hoping anyways) so that there can be a more apple to apple comparison of the two sensors, ASIC's, codes, cameras, and workflows. The price points must be closer to compare bang for your buck.
 
Scott Crawley said:
No, the Camera Operator operates the cam, the Camera Assistant typically sets it up, as well as pulls focus, but that also misses the point. The DP, Director and Producers determine which camera will be used. An operator or AC who wants to be marketable, will be familiar with many tools.

I do seem to be missing your point though.

Pertaining to the Scarlet's DR... My understanding is that both Scarlet and Epic will be running the same chip; the Mysterium X. Unless the Scarlet is unable to process the signal, there is good reason to expect that the two will have the same DR. How will it compare with Alexa? We will have to see.

I'm sure you didn't mean to be disrespectful, and I don't mean to be a curmudgeon.
Click to expand...


:) I forgot what my point was. sigh :)

Well, if both Scarlet and Epic have the same DR... i mean.. so now we are comparing a $4000 camera to an Arri.. which I forget how much it costs... but...

Basically, there will be guys running around with scarlets shooting weddings. And now they're going to have the same or very close DR as the big boy cameras...

And yet we are sitting here trying to compare the DR of the sensors...

Although this chart is going to be great to spread marketing and options, whether DR is important to you or not, I don't think it will be a major deciding factor if the DR of Arri and MystX are close at all.

Why choose on DR when there are so many other factors that have a much broader range of differences?

Budget conscious: Red = less expensive

I don't know much about Arri so I can't continue the list but if many specs are similar, (IE: resolution, framerate variability, etc) then wouldn't a director or DP choose based on factors that pertain more specifically to its application in the production?

But then I suppose in the end, most choose based off of what they are familiar and used to... I don't know but something tells me it is often like that in the film world. Of course, if you are reading these posts... you probably like trying new cameras.
 
Scott Crawley said:
Maybe I'm in the minority, but I'm an indie who gives a crap about DR.
Click to expand...

For indies, this should be even more important, as it is harder on a small budget to control light as much as one would like, and a nice picture can compensate for a lack of stars, SFX, etc..
 
Martin Stevens said:
I always thought that one of the reasons Arri film cameras etc. were so expensive
was because they made and sold so few of them.

The Arri Alexa systems seems priced high for the same reason.

Red Systems will be priced lower because they plan (and will)
sell a great many of them.

Also, I always thought that Panavision could get away with
not selling their cameras because Arri prices were so high.

Red's paradigm changes almost everything.
Click to expand...

yes that is 100% true - same reason why the first plasma TVs were so expensive and anything also sold to consumers is dirt cheap - too bad few consumers want a "9 battery operated 1080p LCD TV - you could then get them for $200.
 
Jannard said:
As many have pointed out before... DR is not the only criteria that should be used to judge the overall performance of a camera. We include price, convenience, service, resolution, color, post workflow, and reliability... among other things. But it is nice to know that the M-X sensor is right up there with the best of the newest.

Jim
Click to expand...

Is there a tech way to measure sensor color definition? I've never seen this measurement as a spec.
 
ARRI announced new alexa Apple ProRes codecs native support

ARRI announced new alexa Apple ProRes codecs native support

Hello RED colleagues
news from our friend competitors:


(Los Angeles - April 6, 2010) - ARRI today announced that its new ALEXA digital camera now includes native support for Apple ProRes codecs used in Final Cut Studio. The ALEXA camera supports Apple ProRes 422 (HQ) and ProRes 4444, and allows stunning HD images to be captured and recorded onto commercially available removable storage media. These unique recording and workflow capabilities, combined with the unparalleled image quality of ARRI's new CMOS sensor, create an ergonomic, lightweight and portable camera ideally suited to both high fidelity studio and location production.

"Combining our digital imaging technology directly with ProRes makes the ALEXA camera the highest quality digital camera system available," says Adrian Widera, ARRI Strategic and Business Development. "The simple, immediate access to ProRes brings a whole new level of productivity to the professional motion picture and broadcast market."

"Final Cut is already the first choice of professional video editors," says Richard Townhill, Apple's director of Video Applications Marketing. "By recording directly to ProRes, the new ALEXA camera gives editors the most efficient workflow possible."

The ALEXA camera's workflow solution offers native recording of ProRes compressed HD images onto high performance SxS cards and provides instant access, viewing and editing of images in Apple's Final Cut Pro on Mac desktop and notebook computers. No ingestion or transcoding step is required.

The ARRI ALEXA will be shipping to customers worldwide in June, and is currently being used to shoot the new motion picture "Anonymous" for acclaimed director Roland Emmerich.
 
Recording to ProRes from the camera is not a new idea... trick is to do it in combination with the high-res RAW so you have dailies AND a real cinema deliverable. :-)

Jim
 
Jannard said:
Recording to ProRes from the camera is not a new idea... trick is to do it in combination with the high-res RAW so you have dailies AND a real cinema deliverable. :-)

Jim
Click to expand...

And also having control over the LUT's that'll get baked into the Pro-Res. We'd need to make sure that what we're seeing on the monitors is what we're truly getting.

The pro-res is a nice idea and would be a lot simpler to deal with than proxies. I hope Red considers this as an option as well.
 
That's exactly the option I would choose when shooting Alexa. I always opt for the least compressed or altered image as my master "negative" giving me the most range for color correction. Hard baking a quick look into pro res dailies helps maintain my intent and is certainly quicker/easier than transcoding all day long.

As of right now I'm not considering using and pro res file as my master.
 
Does Alexa burn in white balance like the D21 does?

Graeme
 
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