ARRIRAW Questions

[Fredrik Harreschou]

The kind of techy answer I love! Hope you don´t take my critical questions personal or as an attack. But it´s important to technically go deeper than the sales brochure… 😉

I have great respect and little technical understanding of the color science involved in debayer. But I have seen what better algorithms can do to a raw file. The difference between a RED R3D developed with build 16 two years ago and todays color science is like a completely new sensor.

I believe that RED has changed the R3D file format from 12 to 16 bit because the new sensor (MX) is 14 bit (the original M sensor is 12 bit). Makes sense. Not sure if I´m convinced that the 12 bit raw output from the 14 bit Alev III is a perfect solution.

Cheers,
Fred

[Fred Jodry]

Bear in mind it`s always curious just how many f stops or how much log of greyscale brightness is described by the 12 or 14 or so- on bits as it is in the camera, as it is in the encoding and it`s (matching?) decoding and as it is in or on the display, on the display being of course, projection, compared to direct lighting. Wanted curves or unwanted distortions can come in from almost anywhere. Subtle is subtle, wide scale is not as subtle. And when tolerances of binary digital to analog or analog to digital converters gets poor enough to get noticeable, hold on to your hat. Minor noise or nice greyscales can turn into digital sandpaper. Fortunately these problems should be more likely to go on the Fritz on your everyday sound card (unless the camera men keep bringing back tests undermodulating the video every time with light you can hardly see your hand with). Do I have to remind the guys, for their good habits, that the definition of an ASA speed is the, full therefore maximum, amount of light needed to produce best results?

[Zak Ray]

Thanks all for your responses. I wanted to put ARRIRAW in my codec chart, I think I got it all in there: https://worldwide-studios.com/Worldwide_Studios/Resources_files/Digital%20Video%20Formats.pdf

Let me know if it’s inaccurate…

[John Heagy]

Nice list Zac! I ike your proper use of 29.97i for frame rate instead of 59.94i.

A few things I noticed:

I think your giving the Quicktime Animation codec to much credit. I’ve always found it limited to 8bits. It can be intra or inter.

You should ad the open standard VC-2 aka Dirac from the BBC
https://en.wikipedia.org/wiki/Dirac_(video_compression_format)

Also Avid’s DNX is an open standard aka VC-3

Apple’s “NONE” codec is still used. It’s basically an uncompressed Animation.

John Heagy

[Zak Ray]

Thanks for the tips, John! I’ve updated the list accordingly.

[Paul Schilens]

[Zak Ray] “Thanks all for your responses. I wanted to put ARRIRAW in my codec chart, I think I got it all in there: https://worldwide-studios.com/Worldwide_Studios/Resources_files/Digital%20Vi...

Let me know if it’s inaccurate…
“

WOW, thanks Zak! Where can I find your most recent updated chart? Does it include ProRes 2K specs for Alexa?

Thanks!

…Always learning

[Zak Ray]

Thanks Paul! The most recent version can be found here:
https://zak-ray.com/resources/

It’s not so much device-based as codec-based, so ProRes isn’t defined by it’s specific use in the Alexa. I am thinking about making an iOS version however, which might have the ability to cycle through based on codec OR device… we’ll see if my time allows it!

[Ichsan Rachmaditta]

Hallo everyone..i have some question about arri alexa xt plus.
I am shooting with this camera, and sending the audio to the input..but the result seems to be that the sound only recorded on the pro res file, but not on the raw file ( arriraw )
Why is this happening?, anyone can help?
Thank you very much

[Gary Adcock]

[Ichsan Rachmaditta] “Why is this happening?, anyone can help?
“

the .ari fil sequence does not allow for the audio recording internally because there is no provision for the audio file to be included with a sequence of still frames. This is the correct recording procedure and the reason for using dual system sound.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

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