the business of Alexa

[Gary Adcock]

[David Battistella] “One small correction is that Apple Color 1.5 and FCP 7 do actually handle 4K now.
“

Please tell me how you are outputting a 4K signal from Final Cut?
if you cannot output a true signal the app is not handling the content IMHO.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[David Battistella]

[gary adcock] “Please tell me how you are outputting a 4K signal from Final Cut?
if you cannot output a true signal the app is not handling the content IMHO. “

I did not say I was outputting 4K I said that the app could handle 4K (frame sizes) as they lifted the 2K limitations in the last release.

Kona 3, Decklink, etc have yet to catch up. 🙂 (that’s the half full way of looking at it).

Typically, on the last pass in Color I render (scaled from 4K) to 1080P Prores 4444 for delivery to SR.

If you want to say that the app doesn’t output 4K so it’s not a professional tool, you have every right too, but I could easily say that 4K is so new to FCP, that the “hardware” folks have not caught up. When they do, I think you will see 4K output from KONA and decklink cards, but delivery will still be 2K/1080P for a while.

To me this is semantics. It’s like arguing that you should not have filmed HD when the predominant market was SD. By this logic, no one should have acquired HD on the first HD cameras because there were few or no output options.

Your post is argumentative because all I stated was that two pieces of software in the apple suite could recognize 4K, 4K timelines are a possibility in FCP. It’s not my fault the hardware has not arrived yet.

You could export 4K DPX or Cineon files from Color (but that is not playback so maybe it does not count in your world).

David

Peace

[Gary Adcock]

[David Battistella] “Your post is argumentative because all I stated was that two pieces of software in the apple suite could recognize 4K, 4K timelines are a possibility in FCP. It’s not my fault the hardware has not arrived yet. “

It was intended to be argumentative.

You are working with a 3.5K original (on a non-MX sensor) that is being output as 1080- this is exactly what Arri is offering without hoping thru multiple still in beta apps and colorspaces that do not functionally exist outside of the RED workflow.

Arri is supporting both a raw capture and a defined ProRes workflow within the existing workflows on all platforms unlike Red’s software “bias” towards FCP and Scratch.

Once again, just because you handle the files in a standalone environment does not mean that everyone else is doing the same. I know of dozens upon dozens of companies that will never handle ANY files in RAW do to the time and hassle- but to discount or ignore that there are those facilities choose to not ever use the native format would be foolhardy in my business.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[David Battistella]

[gary adcock] “Once again, just because you handle the files in a standalone environment does not mean that everyone else is doing the same. I know of dozens upon dozens of companies that will never handle ANY files in RAW do to the time and hassle- but to discount or ignore that there are those facilities choose to not ever use the native format would be foolhardy in my business. “

OK. I get your point. But the point is that is it absolutely doable if you want to.

If people want to shoot on a format that is based on a RAW workflow and then ignore the RAW part of the workflow, then it is absolutely their choice.

I’m kinda using it as it was intended and you make that out to be a bad thing?

I’m not pushing one way or another, i’m talking about what works for me.

AVR2 can still be a codec but I never want to look at it again.

David

Peace

[Larry Young]

Seems to me this is the same precarious situation that almost all DP/Cameramen are in regarding the purchase of a HD Camera – that is, many clients and lots of different camera’s to suit their individual needs.

I have been looking at the purchase of a New HD camera – but I shoot too many formats and can’t justify the expense when compared to the rental days/Usage for each camera. To many formats being shot now and the Alexa is just another one.

NOT everyone uses FCP, thought the new version of AVID does support ProRES – and it seems we are all working towards a post flow that makes sense and saves money in the end.

The Alexa may also offer another advantage – you won’t burn your face or hands when using it because of unwarranted heat, a la the RED.

If I were shooting a lot of commercials and features – I might buy this camera, however renting seems more likely. It is business after all, and loosing money is not an option.

Lawrence S. Young
Best Shot Productions
Maine•New York•Colombia
421 Paradise Road
PO Box 110
Bethel, ME 04217
Home: 207-824-3119
Cell: 508-494-3111
Email: lsyoung@megalink.net
Link to work: https://my.media-match.com/lawrence.young1