[John-michael Seng-wheeler]

Then how’s this for a solution to #2: Don’t have audio assignments be a property of the master clip, make them a property of each instance of the clip anywhere in the project, like the way in/out point are; when you bring a clip from the project panel to the timeline or the viewer it opens with the current audio assignments, but when you change them in the project panel it doesn’t affect any clips already in the timeline.

So, say, you bring in your clips as dual mono, and you stick a bunch on the timeline. Then, you modify the channels on any of them and any future clips added to the timeline will come in with the new assignments, but everything already in the timeline remains the same.

As an added bonus, add the ability to change the audio assignments of a clip already in the timeline. You’d just need the appropriate warning boxes about possibly overwriting stuff.

As a bonus, this would solve one of my biggest peeves… that there is no way to bring back the audio to a clip once the audio has been unlinked and deleted. You’d just right click the clip and select “Audio Assignments” or something like that and a window would come up and all the audio track would be turned off. You could then turn the audio back on and you’d have your audio back. No need to match frame back to the bin to get the audio back.

You could even do the same thing with audio that’s lost it’s video… just turn the video “track” back on.

While you’re at it, do the same thing to “source settings” for Red footage. I’ve often had to duplicate Red clips in the bin to apply two different color corrections to them.

[John-michael Seng-wheeler]

Hopefully when the time comes that Alexa gets a new sensor (as indeed it must), us Alexa owners will not be as unceremoniously dropped as Red One owners.

I’m an Owner/Operatior of an Arri Alexa but last week I worked as “Additional AC” on a commercial Red Epic/One shoot. The DP/owner of the production company was talking at lunch about how when he’d bought the Red One he’d been promised it as being future proof… And then of course when the Epic came out all Red had to offer was a discount on the price of the Epic and a small sensor upgrade. He’s still sore about it.

This was of particular maning on this shoot as most of the footage was captured at 90-120fps, forcing the Red One into 2K.

Arri has already done us one better then that. For 15k (not including media) I can upgrade to the XR recording module and have 120fps ARRIRAW or ProRes4444.

To answer your original question though, Arri has made no comment about sensor upgrades except a small hint that upgrading 16:9 sensors to 4:3 may become possible in the future.

[John-michael Seng-wheeler]

This was in January of 2013… I’d hope that Jason (my second) had the latest drivers.

[John-michael Seng-wheeler]

I would love to get my hands on a 23.976 DV clip made by compressor. Just 10 frames would be enough.

JM

[John-michael Seng-wheeler]

He should just install the Avid codecs: https://avid.force.com/pkb/articles/en_US/download/en423319

That would be your best compressed option.

Since you shot this on consumer gear there probably ins’t any point to sending him an uncompressed version, but that’s something for you and he to decide. The one advantage to sending an uncompressed file is to avoid generation loss since it’s possible he’ll need to render your DNxHD file to ProRes depending on his workflow.

JM

[John-michael Seng-wheeler]

I’m assuming you tried rebooting the computer?

I had a similar problem a few years ago with Red One footage. The problem was corrupted frames in the source files and anytime I tried to render it would crash premiere.

JM

[John-michael Seng-wheeler]

As far as I know, DV doesn’t technically support frame-rates other then 50i and 60i

If someone here has the ability to check, it would be interesting to see what exactly is in the 23.976 DV files that AME and Compressor are producing. The diference may just be in the metadata. I don’t have compressor so I can’t dig into this.

[John-michael Seng-wheeler]

I used on a shoot with the Alexa in Jan. I had to unplug and replug it a few times when it didn’t mount the card at first, but other then that it worked great.

JM

[John-michael Seng-wheeler]

In my case the Dailies were transferred to the director’s iPad, so H.264 was the only option.

If you’re planing to edit with the dallies you should make ProRes or DNxHD files although Premiere and FCPX can handel H.264 just fine as well.

The quality doesn’t mater. You conform back to the ProRes444 for the online, you never color or finish using the dailies. This is why the Timecode and Filenames need to match, so that the dailies can be replaced by the original files. As long as the quality is good enough for the director/editor to see the shot properly that’s all you want (otherwise they might not be able to see that a shot is slightly out of focus for example).

Also, you don’t have to be locked into one format for dailies. Two formats (one for editing [ie. ProRes LT], and one for lightweight viewing [H.264]) may suit your workflow better.

[John-michael Seng-wheeler]

On a recent project we shot ProRes444 in camera and made H.264 dailies in Resolve on a Retina Mac on set.

The Retina Mac was able to render medium quality full res H.264 Quicktimes at about 21fps, or slightly less then real time. At the end of the day we usually had all the dailies made for the director to take home.

The Dailies were frame accurate with matching TC and file names. We also had sync audio since the sound mixer fed a scratch track to the Alexa wirelessly during the shoot.