[Fred Jodry]

There`s of course the broad not individual signatures of the vits (vertical interval test signal) crowd starting at RCA/ NBC and later the vitc (vertical interval time code) and closed captioning ABC crowds. These top of the picture lines and blinking ants appear brightly at or near the top of the tube of every single black and white and color tv in my house.

[Fred Jodry]

If a file is limited to a 2 GB size in FAT 32 then this is no problem. File linking, unfortunately one of the more hidden things in a PC, which is regular practice, still accesses you to nearly all of the theoretical 128 GB limit of a volume. NTFS with it`s excessive heaploads of security is less error recoverable and less user friendly. The metadata often attached to the ends of filenames or often links too, is the real problem. Like Jason said though, stepping out of a Mac setup soon enough is often the cheap and dirty fix. Since between us, we probably don`t write enough new computer code to stack on paper underneath a coffee cup, look for the right software and practices. Spend a little more business time with your client.

[Fred Jodry]

At NAB 2010 the coolest thing I`ll see will be an e- mail from the salesman who actually tries to sell me something I will buy because I`m 3,000 miles away. I really wish these guys would find a way to panic in a good way. (As far as I`m concerned that`s called please listen and say).

[Fred Jodry]

Pat, do this:
buy all the cables and software you need to use and edit the digital Arri. Now, (optionally) buy all the cables and software you need to use and edit a Red. (I say optionally, I`m a little prejudiced on this one.)
do this:
Look- at- the- stuff. You don`t have to ask many more questions. If you can`t get one or the other, you already have your answer for the present months. You have just spent less than $5,000 and already have the answer within pretty good reasons, mostly better reasons than we can give you. You haven`t bought the big expensive thing, the camera, and you haven`t bought the littlest things, so no distraction.
now look at this:
CreativeCow.Net…RedCamera…”THE END OF THE WORLD (as we know it) IS HERE!” (https://www.blackmagic-design.com/davinci/resolve/) Here we are looking at a beautiful new Resolve, DaVinci color corrector console. Just what a RED needs. I wouldn`t mind if someone put one in my hands, you neither. But do you know what? A RED needs one, it lives on one, it can`t do without one. You can`t take your hands off it! Computers (machines) are cheap, people are cheap, but when you put them together and make them editors, they`re expensive. [Michael Aranyshev] said you`d be in a pinch if you have to edit 40 GB of original takes into 2 GB of sendoff. He also considered this his and your average. If you are recording the mating habits of a Humming Bird, or maybe your usual nightmare wedding job, you`d starve to death in your own business. That`s why I wouldn`t be caught dead using an Arri digital nor my own equipment for this. Nor would I do these for a living. Just to make fun of that inefficiency I`ll remind us all of the days when we used to put some shows on the air by multiplaning a single camera and having a stage, a black curtain, and lighting in front of us, another stage and black curtain and lighting behind us, and a titles- roller too. Shows or acts had to set up or break down behind the curtains with the lights still off, the audience if any had to turn their chairs around at the change, but it worked “real time”, on time. When I started working in post- production it nauseated me a little that it averaged 3 hours of logged time to make 1 hour of sendoff time. Employees used to moan when they had to use more VPR2B VTRs and fewer VPR3 VTRs in the suites because some heads or a capstan belt went down and the VPR2Bs slowed the flow to worse than 3 hours per. Then I had to laugh at myself when I had to edit on my own equipment and it took me 8 hours to make one sendoff hour. One of my definitions of my own business is that I`d (in theory) fling and fire any of my employees or talent who`d be poorer and slower at making video than at making audio or Radio. Basically this was true. My TV production equipment almost never let me down, nor did it work as poorly as my Radio shows making equipment. I really don`t know how the Radio- only people make a get- by living on the junk. Now look at the color corrector again. One doesn`t mind having one, but I`ve never used one myself. When I shoot on my own cameras, whether the portable which can be run by just me, or the “studio”, where the Camera Operator can drop the brightness control on the viewfinder then push red, green, and blue push buttons while observing the threshhold on the viewfinder tube while the camera is aimed at reference white, the results have been that I never brought back an approved take from a shoot that needed color or brightness correction at all, except for a little black level touch- up, which was not exactly hard to mix into an edit. Audio was harder than video. Naturally the man on the setup box would always say a few unwelcome words in the headphones of the man on the “studio” camera but we brought back perfection. I wish you the same luck. That`s why the colorimetry and halftones (and mixed results) of the Arri seem importantly better to me than the RED. In regular TV we think of it as good color versus unsatisfactory color, which requires re-do time, whether at the take, or whether in the edit.
now write down software, flow, and cabling/ storage notes that are presently available before going on:
Michael Brevin said, “There is now real- time Arriraw playback, and debayer in Gpu Assimilate, Invidia, and Glue tools have new products No hardware acceleration needed. We announced ProRes DTE Direct- to- edit proxy and edit recording.” “Workflow is real- time.” Oops, Michael, some of this ignores editing for playback. Personally I never put playback software on my editing computer. It gets in the way of the editing software, still we`ll take notes from a friendly salesman and go on. (Michael Aranyshev: “Playback isn`t workflow.”)
Gary Adcock said,
“I have to disagree with Michael (Aranyshev).
With the D-21 you are able to handle the RAW content output of the camera into a variety of devices, Stwo, Codex and Clipster with many of the finishing tools all handle ARRIRAW and with the GlueTools plug- in on the Mac in my humble opinion I believe the workflow to be simpler than handling R3D files for many people.” (etc)
Gary too:
“[Michael Aranyshev] “R3D fits into the existing DPX workflow just fine.”
Never said that it didn’t.
But at the time that the originial D20 was announced and shipping Red was not yet a product so it was designed with the existing tools at hand. That world has changed in 5 years.

“Just calculate how long will it take to load 40TB of ARRIRAW’s to your grading suite array vs. how long will it take to load 4TB of R3D.”
I think a 10-1 difference between the Raw formats is a bit much, my numbers indicate the it is closer to a 3:1 size difference between the 2, but yes the older format is larger, but if we are talking Scratch, Nucoda, Baselight those tools are geared to be handling that much data regularly.

With tools from Stwo, Codex, Cilpster or Rave HD you take the ARRIRAW capture directly into the grading suite and use the device as ONLINE and there is no loading as you are accessing the material in the same manner as it was shot.

I am Acquisition Agnostic,

There is not just one way to do these workflows, but I am here at NAB and I see the buzz around Alexa and Epic ( which will be shown on Wed) I will be in the 3Ds room at the RedUser Event Wed because I was part of a Technology demo shoot with some of the first MX models that OffHollywood has.

Its all about the tools, and like many RED users, ARRIRAW users will have to suffer some pain somewhere but I am not worried.

gary adcock”

Pat, I think of data size the way a Broadcaster does. One gets accustomed to taking a reel off a machine, sticking it all the way up one`s arm to the shoulder, and walking to the next machine or the storage box. There`s also loading some of the data directly. To repeat Gary yet again, WITH TOOLS FROM stwo, codex, clipster OR rave hd YOU CAN TAKE THE arriraw CAPTURE DIRECTLY INTO THE THE GRADING SUITE AND USE THE DEVICE AS online AND THERE IS NO LOADING AS YOU ARE ACCESSING THE MATERIAL IN THE SAME MANNER AS IT WAS SHOT. Personally, Raw Audio Video Editing sounds like an improvement when you`re reaching for “effects quality”, even though I haven`t tried it. Storage isn`t no cost but it looks like lunch dimes compared to editing corrections. Albert Einstein said, “Technicians (Engineers- sic?) fix problems, Geniuses prevent them.” If your color corrections and levels are harder and more common to fix than your audio problems, then your production workflow has certainly failed the Fred test.

[Fred Jodry]

Mark, why don`t you take the shortcut? Buy, build, or borrow, another PCIe- capable motherboard and computer and use it to make “takes” and “burns” from the Intensity Pro. Then sneakernet the DVD takes to your Asus as an editing machine.
Otherwise, don`t be afraid to interchange your video card and Intensity Pro slots (if it works). You don`t think you`ll really run out of enough good video horsepower using your video card in a SouthBridge “x 4” slot do you? Just be sure to adjust the setup bios or any jumpers to actually enable available speeds.

[Fred Jodry]

Had you tried my guess fix of interchanging the video card and Intensity Pro slots?

[Fred Jodry]

Pat, both cameras have plenty of resolution and at least reasonable sensitivity. After that, one`s a Panasonic and the other`s an Arri. The Arri Alexa attempts to take in colorimetry and half tones as close to film`s quality as possible. The Panasonic Red does not. Other than that, the differences between the cameras will mostly be dependent upon how your camera operators and parts suppliers and builders handle your business. For instance, I haven`t reviewed the viewfinders, you`ll have to, and in my case, my custom lenses builder guy won`t offer to make lenses with coatings matched to the colorimetry of the Red. “Film” or “high efficiency HEC” is more predictable and less odd, and he certainly doesn`t have to take extra orders from me!

[Fred Jodry]

There are two types of “AGP aperture” settings found in most PC computer bioses. Adjust and try them. That`ll make a regular GE Force do handsprings. If you have an old computer that doesn`t use memory sticks in pairs, sometimes putting the best (usually biggest) memory stick in the slot closest or furthest from the CPU might be needed too. In between your composite projects, you can find that the Intensity Pro can handle many “studio” cameras awfully well.

[Fred Jodry]

That wi-fi card may have already installed tons of unwanted play- maedia- only software and could turn off software installs midstream in order to wobble about the internet looking for different drivers. Check for these types of “viruses” by doing a fresh install on a borrowed hard drive, and the wireless unit either turned off or well- grounded in aluminum foil. Trying to turn a computer into a production computer while it`s on the internet can cause problems.

[Fred Jodry]

Any previous software conflicting? Is the OS getting the right set of drivers for it?
Try going to the setup bios with someone with a computer brain next to you. Check speeds of the busses (and what their limits are if they`re all set too fast).
Here`s an odd guess of mine to try: try putting the Intensity Pro card on the wrong side of the video card.
It seems like the MB, the Intensity Pro, and the software don`t see each other at the same time, whether right at the install or at a reboot. Borrow a small “guinea pig” hard drive and do test installs. You may bust through. These are all guesses of mine but nothing like trying something different enough the easy way.