older computer settings for Alexa

ARRI

older computer settings for Alexa

Posted by Denis Bosnjakovic on June 20, 2011 at 2:43 am

Hello,

I am shooting a short film on the Alexa and am data managing the clips myself and editing as well.

We would be shooting on SxS Cards in ProRes 4444 and I wanted to know since I have never used the Alexa before or handled the footage, if anyone has some advice as to what settings in FCP 7 I should put the system settings to, so the clips can run on my laptop while on set so I can check to see if the clips transferred correctly. We’re most likely shooting in Log-C.

I’ve been reading up on the FAQ on the Arri website and it seems pretty straight forward but I wanted to ask some people on here who have worked with it to see what they think as well.

I am working on a MacBook Pro from 2008 (silver body). These are my specifications on my laptop.

Processor Name: Intel Core 2 Duo
Processor Speed: 2.5 GHz
Number Of Processors: 1
Total Number Of Cores: 2
L2 Cache: 6 MB
Memory: 4 GB

OSX Snow Leopard: 10.6.7

Is there an Easy Set up already in FCP that would be best for this footage or does anyone have a specific set of settings that will make the footage run smoothly on my machine? Also, can the LUT generator on Arri’s site be applied to the footage in FCP to see a decent working image while I edit, instead of the bland Log-C?

Thank you.

Gary Adcock replied 14 years, 11 months ago 3 Members · 5 Replies
5 Replies

Gary Adcock
June 20, 2011 at 1:16 pm

[Denis Bosnjakovic] “I am working on a MacBook Pro from 2008 (silver body).”

Unless you are working with an esata raid for storage, your system will NOT be able to handle PR4444 material without stuttering. The data rate for that content is over what can be done with a FW connection.

gary adcock
Studio37

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

https://blogs.creativecow.net/24640
Illya Laney
June 20, 2011 at 5:13 pm

Change your timeline to unlimited and dynamic quality for everything but frame rate to make it run smoother.

Unless they changed something recently, ARRI LUTs won’t work in FCP. If you don’t have a means to transcode the material with a LUT baked in, you can throw on a basic 3 way color correction to get the LOG image looking decent. Just push and pull the lift/gamma/gain and adjust saturation until it looks appropriate then save that as a preset. Standard rendering issues apply.

twitter.com/illyalaney

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Gary Adcock
June 20, 2011 at 5:34 pm

[illya laney] “Change your timeline to unlimited and dynamic quality for everything but frame rate to make it run smoother.
“

nah
its about the data rate for PR4444 being higher than what can be played over the FW buss.

gary adcock
Studio37

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

https://blogs.creativecow.net/24640
Illya Laney
June 20, 2011 at 7:29 pm

So dynamic and unlimited won’t help timeline playback when a color correction or LUT filter is applied?

twitter.com/illyalaney

nextLAB Mobile
SpeedGrade DI
Resolve
da Vinci 8:8:8 Renaissance
Color
Truelight
Gary Adcock
June 20, 2011 at 9:28 pm

[illya laney] “So dynamic and unlimited won’t help timeline playback when a color correction or LUT filter is applied?”

They can, but the poster is working with PR4444 media on a 2008 powerbook, unless they are working on an Esata array- the content will never playback in realtime- the disc speed is not fast enough to handle that data stream-

it has nothing to do with RT if the disks are not fast enough.

gary adcock
Studio37

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

https://blogs.creativecow.net/24640

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