[Gary Adcock]

[Pat McGowan] “which begs the question as to how many other vendors will be able to licence the Pro Res codec moving forward? Does ARRI have exclusivity? “

AJA has been doing ProRes with apple for years now.
Matrox and DVS’s Clipster now support ProRes capture and playback in hardware now also.

So no Arri does not have an exclusive.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Nigel Thompson] “And you can easily rent a codex portable if your clients ask for that level of acquisition”

Nigel,
One note, currently the only Stwo’s OB1 and Kg’s UDR100 are supporting ArriRaw capture, the Codex handles all of the UC and DPX so those formats are OK.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Shawn Larkin] “You HAVE TO DeBayer with RED. You do not with Alexa since the camera is doing this on the fly to ProRes. “

Shawn.
you HAVE to debayer your image with Alexa also, just because Arri is doing it for you to record ProRes does not mean that the process is not happening. Just because it is not slapping you in the face does not mean that it is not happening somewhere in the process.

ALL CMOS imagers require some type of debayering to allow you to even see the image even DSLR’s

“To me Alexa just makes more sense in post. But that’s me.”

I am a ProRes guy and have been from the beginning, I could not agree more.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Shawn Larkin] “Why DeBayer at all? “

because you have too. ALL data on a CMOS sensor must be debayered so you can look at it.

“The offline cutting of ProRes 4444 and linking back / onlining to Arri Raw is perhaps even easier and more efficient than how you must work with RED now.”

I would not consider the 12bit 4444 ProRes codec to be used as offline material for most people working in episodic, now if you need to access the larger image that is captured in ArriRaw that would be different.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[David Battistella] “It has obviously made ARRI rethink the D21 and present an offering that is more in line with what RED ONE customers got.”

Note that Arri’s D20 camera was a working camera with ArriRaw output and a 3.5K sensor a full year before the RedOne was announced.

“the ALEXA will be rolled out in june and I am guessing that many TV series will go with a PRORES 4444 workflow, knowing they get all the film style goodies, with a direct to edit, no transcoding, workflow.”

That would be great if the vast majority of Episodic is cut on Avids not FCP. I can assure you that the Avid world in LA is all but stuck in the stone age when it comes to upgrades that may allow ProRes to function in that environment. At the Alexa Launch event, the whining about the lack of DnxHD support was deafening.

“ARRI has pointed this camera at the largest and growing section of the marketplace with “options” to shoot feature film. “

One other thing, other than Panasonic- what other camera company is delivering a professional level tapeless camera that does NOT rely on long GOP processing?
All of the cameras from Sony, JVC and even all of the DSLR’s use long GOP encodes when compressing in camera.

IMHO Arri has placed Alexa squarely where old school workflows and tapeless intersect, a mainstream workhorse that fills a huge gap in the camera marketplace.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Roberto Serrini] “What YOU failed to see was what I actually said. If I saw on a TV what I saw in the quicktime I would notice. Thats what I said champ. “

Roberto.
I guess I am with Shane on this. These are really basic concepts regarding video production that have been covered a couple of dozen times this week alone.

I did not see Shane’s response as anything expecting you to have a certain knowledge based on the level of gear you are commenting on working with.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

I ask because this the aja cards work alone and with virtually all NLE’s.

What is wrong with the aja kona3 easy setup for 1920x 1080 ProRes 422 29.97i or something similar?

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

https://blogs.creativecow.net/24640

[Gary Adcock]

Dave, showscan is recorded at 72fps not 60.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Marco Cardenas] “Ok so I am trying to capture 2 tapes into my final cut with the Canon XLH1.”

what hardware are you working with? aja makes over a dozen capture products.
What format are you shooting?
What are you posting in.?

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Gustavo Mendes] “Forgot to write that, everything is up to date, and I reinstalled the drivers”

DID YOU UPDATE THE FIRMWARE ???

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

https://blogs.creativecow.net/24640