[Gary Adcock]

[Pat McGowan] “makes the case for choosing the ARRI solution given that RED has the dominant market position and is releasing a 5K sensor whereas ARRI is releasing a 2K sensor.”

Well lets start there,
the Alexa sensor is 3.5K, thought that frame size in the first release of the camera will be limited to the Arriraw format. Currently on high end disk recorders can handle that format, but changes will come quickly to the others.

I am confident that there will be many side by side comparisons now that the camera has been launched and access to working models will be less stringent than the pre-release versions.

Having seen both Alexa and Epic models (don’t forget Phantom Flex and Penelope) in the Last 2 days in my role as Tech Chair for the Dir. of Photography Conf. at NAB, I can assure you that I will be hands on with both.

Alexa is built and designed with the ergonomics considered as much as the imaging tools needed for mainstream production with diligence given to placement of camera controls for both the operator and camera assistant. The update to ArriRaw will be impressive, I have worked in Arri Raw from the D21 and the dynamic debayer that they will do incamera to output to ProRes internally.

I have seen and held the Epic Prototype and RED too has quite the camera, but i will not say more until the Wed announcement.

I am just as interested in the Alura Zooms announced. I am a big fan of Fujinon glass and I cannot wait to get my hands on one of those.

Its going to be a fun summer.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

Since Alexa is not shipping yet don’t you think this a little premature?

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

https://blogs.creativecow.net/24640

[Gary Adcock]

“All of them hold the same 8b RGB.”

I don’t understand where people get this stuff.

the Tagged Image File Format (tiff) supports up to 32bit CMYK and 24Bit RGB imagery.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[walter biscardi] “For the last time, I was NOT stalking……. “

so your paparazzi??

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Shane Ross] “Working the AJA booth. Not letting you know where I am staying. I don’t want stalkers to be able to find me. “

funny but true.

same here.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Michael Aranyshev] “Targa is 8-bit codec. TIFF can be 16-bit.”

Not my experience.

the .tga format can carry up to 32bits, I have found it to only be 8bit when using more than one alpha channel.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Shane Ross] “ell, the CC people don’t need anything pretty, just 29.97 timecode. I just exported the 23.98 file, reimported, dropped it into a 29.97 sequence, added TC, rendered, and exported again.”

Shane
remind me while you are at NAB and I will show you a Hardware way to do this without rendering.

for everyone else=
Open AJA’s VTR Exchange app, then use it to open your 23.98 clips, in the Output window, check the “output as 29.97” checkbox at the bottom and then turn on the TC burn in the Kona Control Panel.

all happens in one step direct to tape.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Daniel Doherty] “I actually laughed out loud when I read this…”

I’m glad, that was the point.

One more note for your battle here, Tell me you have seen that ARRI has announced that ProRes will be the default internal recording medium for their New Top of the Line Alexa Camera model.

So if ProRes is good enough for the premier name in FILM Cameras, maybe those people tell you that ProRes is not good enough need to re-thing their bias towards that codec. Arri could have done anything even create a new compression standard, but they chose ProRes.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Paul Harb] “should I use Compressor to create 29.97 versions of my video, bring that into FC and create a TC reader on top of that? Is there a better way? “

Paul you got lucky, its NAB time and I am not going to be replying to too many posts over the next 10 days.

NO not compressor. Compressor was not designed to deliver broadcast corrected pulldown IMHO.

I would have used my Kona to add the pulldown + TC so that it is done in hardware for SMPTE accurate conversion.

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

https://blogs.creativecow.net/24640

[Gary Adcock]

[Drew Kilcoin] “Meaning literally pop out ram and then pop back in??”

YES.

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

https://blogs.creativecow.net/24640