[Gary Adcock]

Interesting Fred, I do not see the same workflows for broadcast, but I too think that the key to Alexa is the variable nature of the workflow. This is a camera that will be able to create offline, online and RAW all at the same time, so the user can decide what their production needs and change those needs based on client whims. Offline and web video from ProResLt with final DI from ARRIRAW.
I want it all, poor bob has had to put up with my rant in person more than once. Yes I know that everyone wants to do the ProRes workflow, and that will be good enough for a good number of the people that want this camera. The real power To those users is when they need it, the 14bit RAW is available by adding a recorder, but the users are not saddled with first having to convert the files for realtime editing as is the case with most RAW formats (Viper, SI, Phantom,Red, Wiesscam etc..)

I cannot wait to get my hands on Alexa for real world testing of all of the workflows, just to show people that Native/Raw and DPX workflows are not something to be anymore afraid of than a ProRes HQ and that the high end formats are going to be a big part of the future of production and post for a while longer.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance Assistance

Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

I will be getting my Alexa tattoo in July.

Yeah, got mine last month at Cinegear.. It was more fun than the branding I got from an overheated f900

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance Assistance

Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Marlon vom Bruch] “how could I achieve this in final cut?”

https://www.videocopilot.net/blog/2009/02/anamorphic-lens-flares/

https://www.redgiantsoftware.com/products/all/knoll-light-factory-pro/

here are 2 ways, though the best effect would be to do this In Camera with real anamorphic lenses or using the Vantage Blue Filters infront of the camera – but both are expensive to rent.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance Assistance

Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

“yeah but i dont mean lens flares. I mean optical flares.”

What other kinds of flares are there? Optics = lensing.

Or are you referring to anamorphic flares ( star trek)
Or some more like chromatic aberrations (color fringing when point light sources bounce light between elements)

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance Assistance

Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

“yeah but i dont mean lens flares. I mean optical flares.”

What other kinds of flares are there? Optics = lensing.

Or are you referring to anamorphic flares ( star trek)
Or some more like chromatic aberrations (color fringing when point light sources bounce light between elements)

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance Assistance

Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[harrison Schaaf] “gary, i agree with you. could you provide a link to that article?”

JG has already taken care of that.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance Assistance

Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[harrison Schaaf] “Is there a crucial step that I missed? Thoughts would be greatly appreciated “

Uh, yeah.

The part that you are required to send the monitor an RGB signal over HDMI- the Dreamcolor THEN converts that signal into Y’Cb’Cr in the Rec709 color space.

You really need to follow Jeremy’s article here on the cow.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance Assistance

Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

Just because your consumer monitor say it supports “film” does not mean it supports 24p as a signal.

Did you try component to test? Then there is no converter in the mix- if the tv accepts 24p over analog- it is thie converter- if it does not your problem is the tv.

And you did not mention which converter you are using there, please tell us the model number.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance Assistance

Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

the issue at hand is trying to view a 23.98 sequence with a 23.98 reference on my LCD monitor. It will display an NTSC just fine. I can also get 23.98 sequences to play if the reference and payback output are set to 1080i29.97

You have 3 choices-
the converter does not support 23.98 (ha5)-( use either the hdp2 and ha5 3G)
Or the monitor does not support 23.98 wont. Uncommon with consumer displays- I see no mention of 24p on the aquous site.

Or both- neither your converted nor your display support that frame rate in 1080. (not 720p24)

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance Assistance

Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Thomas Morter-Laing] “Ok, so this may (and probably will) be a stupid question,”

Google maybe? these are really really basic questions.

“8 bit video -10 bit video “
First “Video”- is a moving image captured by a imager and recording system in the Y’Cb’Cr color space( which is called YUV in the Standard definition formats.

8bit or 10bit – the levels of grey that can be recorded 8bit is 2 to the 8 power or 256 levels of grey. 10bit is 2 to the 10th power or 1024 levels of grey that can be recorder in each channel the next is 12bit at 4096-levels.

“422, 422 HQ and 4444 “

https://en.wikipedia.org/wiki/Chroma_subsampling

422 and 4444 in this instance are defining color and sampling of the image when recorded.

4:2:2 defines color recording somewhat the same as your eye sees, where for every 4 luma samples there at 2 +2 samples of color ( or half the color info for the same number of luma samples)

444+4 – is one R /G/B/ sample for every Luma Sample- the extra 4 covers the alpha channel or mask info.

In the Apple ProRes world the terms 422, 422HQ and 4444 are merely names given to the various flavors of the ProRes codec with increasing levels of quality with decreasing levels of compression. the 422 codec is about 145mpps, the 422HQ being about 220mbps and the 4444 version being about 330mbps compressions.

“YUV and RGB “

As I said YUV is the color space for video – and it is correctly called Y’Cb’Cr’ and it functions like CIE LAB color does in print- it allowed a B&W signal to be extracted from the color broadcast long before the advent of cable and color TV.

RGB (red green and blue)- the colorspace that is defined by transmitted light and what most FILM records as.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance Assistance

Chicago, IL

https://blogs.creativecow.net/24640