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Author Topic: Scarlet  (Read 78059 times)

bcooter

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Re: Scarlet
« Reply #100 on: November 26, 2011, 02:54:13 pm »

I am missing the point of the last 1/3 of this conversation.

If you really want a pro rezz 422 file out of camera ready to cut, with no transcoding, then Arriflex has it.

If you want a raw file, then it's basically just the RED.

Don't think though that you won't do some color grading on the arriflex file or any baked in video because you will, everybody does, except the 11 pm news.

We cut primarily in FCP 7, might move to avid, doubt if we'll ever move to premier, though have hope for FCP X if Apple lights a fire under their _____ and makes it RED raw compatible and fixes a whole bunch of little things.

Anyway, we shoot raw for different reasons.   First is the ability to grade and match multiple cameras, secondly is the ability to crop and third is you can pull some stills if needed out of the RED footage.  

Actually, let me amend that, first is the look of the RED file.  I personally love it, but I know it well . . .  Anyway.

In regards to cropping, don't underestimate that need.

All of us view "content" differently than we did even 5 years ago.  Watch a 5 year old movie or TV show and notice how slow it is compared to today.

Try to watch a old commercial or longer form web spot and you'll yawn most of the way through it.  (yes I know there are exceptions to every rule).

Today viewers consume imagery in partial seconds, not minutes and we get bored very quickly.  

Recently we finished a large project with 4-4 minute dialog videos.  When we did the edit it was good, the client was happy, we followed the script, but honestly it was getting boring and redundant.  

I could tell the response was "ok thanks, that's good" and I wanted a response of "Holy _____ that's great", so I cut a new style piece, gave it to our in house editor and we recut and styled all the videos.

They went from 4 minutes to 1, every image sequence moves, freezes, turns and crops, every title has meaning, everything is faster and the graphics much bolder.

It went from standard 3 point editing video to a multimedia piece and the result was the client went "Holy_____, that's great".

Doing that with standard 2k footage is much more difficult and I don't care how well you plan everything, when it comes to working in post everything is going to change, so though I don't advocate just shooting and cropping, it's nice to have that option . . . sometimes is mandatory to have that option.

As far as processing out RED files, I do think they are like processing out stills, especially in cine-x.  It's easy, it's now stable, it's also easy to put out a prorezz file and a smaller h264 for web gallery view and do it all at once, but you'll need the RED rocket card if you going to work any volume of data.

I know it's 5 to 6 grand, but it's the best 5 to 6 grand you'll ever spend and you can run it portable in a box, or in almost any desktop mac and the machine doesn't slow it down, as the card is doing most of the heavy lifting.

If you decide you want to come in on an image you can quickly locate it, add your look and process out it out, drop it in the NLE and do it in minutes.  It may not be elegant but it works.

I may be wrong about this, but IMO I don't think RED cares if you want a prorezz file out of camera or not.  I think RED looks at the raw file like a negative, ready to go to telecine, first in one light, later in three light and that's the traditional way to work and honestly until you've done terabytes of footage and hundreds of hours of editing from RED files you won't understand it.

I also think we're just at the start of NLE's evolution, or better put revolution.  FCP X is loathed by most traditional editors, but FCP X has the basis on what it takes to work in a modern world.  It's not there yet, but it could be and if/when it gets there it will be just as revolutionary as the original Final Cut.

IMO

BC
« Last Edit: November 26, 2011, 02:55:53 pm by bcooter »
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fredjeang

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Re: Scarlet
« Reply #101 on: November 26, 2011, 03:21:45 pm »

I also think we're just at the start of NLE's evolution, or better put revolution.  FCP X is loathed by most traditional editors, but FCP X has the basis on what it takes to work in a modern world.  It's not there yet, but it could be and if/when it gets there it will be just as revolutionary as the original Final Cut.

IMO

BC

That's also what I was thinking,

But more and more I have the feeling that this FCP X # _ will be a dead end.

But RCX, if RED smells it, if they really want to see the potential, could fast be a sort of Lightroom of motion or a mini-nuke with a timeline and no nodes  ;). If they could implement a proper timeline and file/bin management as powefull as Avid, resolution and format independance, this would simply be the end of all the NLE, FCPX included and the workflow we know it. And a all new generation of newcomers like me will go to the church and light a candle, I promisse, Haleluia.

Now, have you seen this new Media Composer, done in a hurry? It smells they wanted to react to Apple but it also smells it's not really ready yet. It's funny how sometimes this industry tend to repeat itself...
 
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Hywel

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Re: Scarlet
« Reply #102 on: November 26, 2011, 03:24:54 pm »

LOL I see fredjeang doesn't think I have much of a hope!

To explain, I like FCP X because it edits the way I think. Stuff like overlapping sections of clips labelled by keywords just happens to be the way I think about things in my own head. I always prefer to work with software whose designers seem to have been on my wavelength. Apple's usually are; Adobe's never are. This is why I much prefer Aperture to Lightroom and FCP X to Premiere Pro. It isn't just familiarity- I learned to edit on Premiere back on the PC almost a decade ago, switched to FCP 6 about three years ago, and FCP X earlier this year. I just find myself banging heads with Adobe's UI design and workflow decisions over and over again.

I know right now FCP X is missing a heap of features, but as a micro production house with only me full time (and three others part time) on the production team, all-in-one workflow is a selling point. We simply do not have a separate person to cut, grade and audio edit, we have to do it all ourselves. We shoot on a single camera, with location sound, on file-based cameras and FCP X actually supports that workflow pretty damn well.

But the main reason we switched over was that my technophobe actor girlfriend, who co-writes and co-directs a lot of our work, was previously reduced to the screaming meamies at the very sight of FCP 6 or PPro. She got the hang of FCP X in a single weekend and now puts together about half our rough cuts, and does it with quite some flair. So it supports the way she thinks better than the older programs, too.

I should not have used "stepping up" when referring to AVCHD -> ProRes, I mis-spoke. Clearly going from REDcode down to ProRes is stepping down, but you can't bring information back once it has been thrown away, so the very best ProRes can be is no significant extra degradation cf the AVCHD originals. We edit with the AVCHD files natively, grade in FCP X - another advantage is its floating point colour science, meaning we don't need to finish in After Effects any more (* I am doing some grading externally right now because Magic Bullet and Colorista aren't available for FCP X yet). ProRes is merely our archival format for the finished product, our "Master" copy, if you like. I'm just going to be interested to see how the RED footage and the AF100 footage captured at the same time in the same set with the same lights compare by the time they've been through the whole chain and we have a "like vs like" comparison of two ProRes files to compare, if you see what I mean.

The "bang for the buck" and "time to get there" comments were meant to refer to "compared with shooting everything on our AF100 in AVCHD as we do now". How much longer WILL this infamous Red workflow take, if I do the grade before the edit and export everything to ProRes overnight? Will I get any significant advantage taking it all into Resolve Lite afterwards via XML, for example?
How cumbersome ARE these REDraw files? And what is the bottom line- when it is all squashed down into horrid 3000kbps H.264 720p for the web, can you even tell which file was which?

I know what other people's answers to these questions are, I want to know what the answers are as they pertain to our films, our shooting conditions, our preferred editing workflows, and our final destination media for our customers. Should be a fun and interesting shoot!

  Cheers, Hywel.

 
« Last Edit: November 26, 2011, 03:40:22 pm by Hywel »
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bcooter

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Re: Scarlet
« Reply #103 on: November 26, 2011, 03:26:46 pm »

That's also what I was thinking,

But more and more I have the feeling that this FCP X # _ will be a dead end.

But RCX, if RED smells it, if they really want to see the potential, could fast be a sort of Lightroom of motion or a mini-nuke with a timeline and no nodes  ;). If they could implement a proper timeline and file/bin management as powefull as Avid, resolution and format independance, this would simply be the end of all the NLE, FCPX included and the workflow we know it. And a all new generation of newcomers like me will go to the church and light a candle, I promisse, Haleluia.

Now, have you seen this new Media Composer, done in a hurry? It smells they wanted to react to Apple but it also smells it's not really ready yet. It's funny how sometimes this industry tend to repeat itself...
 

Not to take this off topic, though a NLE regardless of brand has a lot of reference to the cameras and obviously the final output.

Fred, as you know a NLE is not thought of as a color grading suite, a compositor, though more and more most NLE's have moved that way and I think FCP X has more than the potential to be a suite that once you enter it you don't leave it until you push the finish out button.

The problem is every editor I talk to loathes it, though everyone of them has not really used it.

If FCP X goes no further it will be because nobody is pushing for it.

I'll admit I'm not 100% up on FCP X though I know FCP 7 up and down and FCP X is perfect for a clear mind because the people I know that knew nothing of editorial work it flawlessly in a few days, where ever other NLE takes months, years to master.

IMO

BC
« Last Edit: November 26, 2011, 03:30:12 pm by bcooter »
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Hywel

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Re: Scarlet
« Reply #104 on: November 26, 2011, 03:48:13 pm »


Actually, let me amend that, first is the look of the RED file.  I personally love it, but I know it well . . .  Anyway.


Yeh, it is the look that I really want. I love the way the stills from my Hasselblad look with my "fave" set of adjustments in Phocus.

But I've NEVER had a "Holy crap how awesome does that look?" moment from any of my video cameras to date.

I've had some "hey that look pretty damn good" moments from Canon dSLRs and the AF100, but taking that footage the last 10% of the way to awesome always seems to elude me. I know it is a combination of things, not just the camera (lens, lighting and production design, most notably) but the camera is a significant part of the jigsaw. I've liked a lot of stuff I've seen from the RED, so I'm shooting for a "Holy crap!" moment :) :)

  Cheers, Hywel.

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fredjeang

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Re: Scarlet
« Reply #105 on: November 26, 2011, 03:50:26 pm »

James,

Don't get me wrong about FCP X. When I started to watch some tutos after the first Tsunami complains, I was blowned by some of the workflow.
Then, because of that, I started to read more and watch more and more material about FCPX editing capabilities, and I can't do other thing than to recognise that you are right.
There is a great potential, or at least a glimpse of what could be the modern editing.
Yes, I have zero doubt on that.

Apple as often, open a door of usabilit and break patterns, but you also know very well, actually you say it, that they opened a door that didn't fit completly and it became a black hole where you can enter into it but you never go out.
What's the utility of an editor that can not be used for serious assignements, or, in the best case, solving youth issues with plug-ins and third-party mini software bombing, softwares that have to be
reseached, tested and downloaded over the internet, as if there were not enough more serious problems to deal with in motion.

Do we imagine buying a Porshe and you sit in the leather seat, there is no windowns button: "oh, this manufacturer on the corner will provide it", then there is no steering wheel: "no, prob, if you walk 1 km to the _ supplyer you'll get a brand new adaptable steering wheel", then it doesn't take the standard gazoline but kerozene: "easy, say the vendor, go to the airport and fill the tank" ...?

This wasn't serious from Apple. Yes, FCPX didn't deserve such a hate, but Apple did deserved a serious warning from their users.

----

About the NLE, yes, to my desperation, they are not thought to be a proper color grade or compositing. Now...orthodoxy has to be broken no? It's not because they are not yet completly merged, that it wouldn't be desirable it happened. In fact, in some systems the "convergence" is already advanced. I'm sure the tech is already there, the only difficulty would be to reach a really good usability and intuitivity to take advantage of all the capabilities in one software. But after all, engineers are paid to solve those things and make them evolve to more powerfull and simple.

I think FCPX has the potential, but I do think that RCX does have it even more. I'm sure within a few years, raw workflow will be the standard, in any Ks, 2,3,4,5 or more. Won't be surprise if tomorrow we will edit from A to Z in something that will look very closed to RCX.

« Last Edit: November 26, 2011, 04:05:12 pm by fredjeang »
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Morgan_Moore

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Re: Scarlet
« Reply #106 on: November 26, 2011, 04:15:11 pm »

I am missing the point of the last 1/3 of this conversation.

If you really want a pro rezz 422 file out of camera ready to cut, with no transcoding, then Arriflex has it.


I did not intend it to become 1/3 of the conversation !

Now wanting 1080 straight from the camera

Well I do Bcam for other production companies who just want to be able to hoover up my card at the end of the day and then be able to deal with it on thier machines/workflow

I want to just dump my data and collect my cash

they would love edit ready ProRes even if it is not the best image the camera can deliver

Of course I want RAW for my own work

Also there is the speed element - you mention cutting your 4 mins to one - also there is IMO increasing desire for speed of delivery

I dont know if you were 'watching' the product announcements on nov3rd (as a consumer) - but the critical info was pretty much being published real time, blogs and films released on the 4th of novemver seemed.. dated

I can see an increasing need for speed in terms of delivery of some projects

Its a different world - I took some pictures of a rock festival in the summer (for the sponsoring beer client) and they were all about how many like the images got on facebook, not if they got in the press etc

I have also worked for clients that are flying bloggers around the world - bloggers - not the heavy hitters from the newspapers that I am used to seeing on such 'jolly' sponsored junketts

Again they wanted the (stills) real quick

S



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Sam Morgan Moore Bristol UK

fredjeang

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Re: Scarlet
« Reply #107 on: November 26, 2011, 04:21:53 pm »

LOL I see fredjeang doesn't think I have much of a hope!

To explain, I like FCP X because it edits the way I think. Stuff like overlapping sections of clips labelled by keywords just happens to be the way I think about things in my own head. I always prefer to work with software whose designers seem to have been on my wavelength. Apple's usually are; Adobe's never are. This is why I much prefer Aperture to Lightroom and FCP X to Premiere Pro. It isn't just familiarity- I learned to edit on Premiere back on the PC almost a decade ago, switched to FCP 6 about three years ago, and FCP X earlier this year. I just find myself banging heads with Adobe's UI design and workflow decisions over and over again.

I know right now FCP X is missing a heap of features, but as a micro production house with only me full time (and three others part time) on the production team, all-in-one workflow is a selling point. We simply do not have a separate person to cut, grade and audio edit, we have to do it all ourselves. We shoot on a single camera, with location sound, on file-based cameras and FCP X actually supports that workflow pretty damn well.

But the main reason we switched over was that my technophobe actor girlfriend, who co-writes and co-directs a lot of our work, was previously reduced to the screaming meamies at the very sight of FCP 6 or PPro. She got the hang of FCP X in a single weekend and now puts together about half our rough cuts, and does it with quite some flair. So it supports the way she thinks better than the older programs, too.

I should not have used "stepping up" when referring to AVCHD -> ProRes, I mis-spoke. Clearly going from REDcode down to ProRes is stepping down, but you can't bring information back once it has been thrown away, so the very best ProRes can be is no significant extra degradation cf the AVCHD originals. We edit with the AVCHD files natively, grade in FCP X - another advantage is its floating point colour science, meaning we don't need to finish in After Effects any more (* I am doing some grading externally right now because Magic Bullet and Colorista aren't available for FCP X yet). ProRes is merely our archival format for the finished product, our "Master" copy, if you like. I'm just going to be interested to see how the RED footage and the AF100 footage captured at the same time in the same set with the same lights compare by the time they've been through the whole chain and we have a "like vs like" comparison of two ProRes files to compare, if you see what I mean.

The "bang for the buck" and "time to get there" comments were meant to refer to "compared with shooting everything on our AF100 in AVCHD as we do now". How much longer WILL this infamous Red workflow take, if I do the grade before the edit and export everything to ProRes overnight? Will I get any significant advantage taking it all into Resolve Lite afterwards via XML, for example?
How cumbersome ARE these REDraw files? And what is the bottom line- when it is all squashed down into horrid 3000kbps H.264 720p for the web, can you even tell which file was which?

I know what other people's answers to these questions are, I want to know what the answers are as they pertain to our films, our shooting conditions, our preferred editing workflows, and our final destination media for our customers. Should be a fun and interesting shoot!

  Cheers, Hywel.

 
I was teasing you Hymel, glad you understood it with humor.

But seriously and again.

I understand what you are saying about the fact that the editor respond to the thoughts and allows a more lively and organic editing. Yes and triple yes!

Now, FC, FC...7, or X, red blue or yellow.

I don't like Premiere either.
But if you had an Avid, all you just wrote in your lines would have be solved and you wouldn't worry abut it.

I'm really going to start an anti-FC campaign ! It's incredible. Everybody's working with FCP and then you have tons of issues but the worst part is that it is almost impossible to make FCP users admit that they are much better NLEs that would solve a lot of your problems and speed-up the workflow. It became integrism. If Apple did it, it's god sent.

How can fcp users talk all the time about intuitiveness and usability when it's 3 time more tedious to do anything in FCP compared to any modern NLE, then the new FCPx appears like super-intuitive...no doubt it is, but it is also so much more intuitive because FCP7 is actually an outdated NLE. From there, everything looks like gold.

But it's simply impossible to make FCP users recognise it, and at the minimum criticsm they put the Apple Joker: it's Apple, it's good anyway.

I give-up. I wish I where a known, famous editor and you would beleive me at least a little.

Is there on this forum an Avid user that also know FCP to help me and see if I'm saying stupidities or am I saying something right somewhere?
Please...any Avid user?
« Last Edit: November 26, 2011, 04:28:17 pm by fredjeang »
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Morgan_Moore

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Re: Scarlet
« Reply #108 on: November 26, 2011, 04:23:51 pm »

Fred : Im going to start that FCP thread if that is OK ?

http://www.luminous-landscape.com/forum/index.php?topic=59763.0
« Last Edit: November 26, 2011, 04:32:18 pm by Morgan_Moore »
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Sam Morgan Moore Bristol UK

bcooter

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Re: Scarlet
« Reply #109 on: November 26, 2011, 04:50:42 pm »

Morgan,

I like you and know you've shared a lot.  That I admire and I can understand your business model.

I guess it's me, but I'd ask your client's if they can wait 30 minutes or an hour for you to drop your files into a computer and process out any format they wish, with the backup of 4k?

But that's me and I can understand when they might want a more immediate file, but transcoding mg2 or h264 files takes time and the original footage still has to be backed up.

IMO

BC
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Morgan_Moore

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Re: Scarlet
« Reply #110 on: November 26, 2011, 04:57:09 pm »

I may just be ignorant to the speed of the 'Rocket'

If it really is 1/2 hour thats great, my old clunker computer can be bogged down for the night by 5d files so I am working on the (mis) assumption that doing the same with a fie myabe 10X larger would really gum up the works

maybe thats wrong beacuse the rocket does the lifting - I am very happy to be wrong !

Even DL a few 16gb CFs to the a camera person lappy at the end of the Day (H264) can make for a late evening - we dont have a DIT, but might do a couple of cards at lunch !


S
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Sam Morgan Moore Bristol UK

fredjeang

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Re: Scarlet
« Reply #111 on: November 26, 2011, 05:44:06 pm »

Morgan,

I think I understand your needs.

I am also NLE agnostic. But I encourage you to have a deep look in Premiere Pro or Avid's lands.

IMO, Avid would be a great tool for your needs, fast deliveries, personal 4K, whatever.

It is not an intuitive NLE to learn at first, no, but then, it's the most powerfull, stable and reliable.

If you decide to go that route, feel free to ask me publicaly or in my mail, questions about the workflow, I'd answer as far as my current knowledge
allows me.
There are a few Avid editors here, all long time pro editors and they generally answer if you directly post an Avid question. They have been quite usefull and helped me more than once.

My favorite NLE is Edius, it's actually recognized as the faster of this industry. But it's windows only. Being american, Edius is curiously not that muched used in the US, but in Germany for ex it is vastly used by pros, specially in the documentary area for its speed-efficiency. The Edius editing capabilities are impressive and it's intuitive and it's a 4K editor. But the most complete (but the most complex) is Avid.
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Sareesh Sudhakaran

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Re: Scarlet
« Reply #112 on: November 26, 2011, 11:14:27 pm »

If you really want a pro rezz 422 file out of camera ready to cut, with no transcoding, then Arriflex has it.
If you want a raw file, then it's basically just the RED.

The Alexa shoots RAW - the Arri RAW is closer to the still camera RAW 'idea' than Red's version. In fact, I consider the Alexa the most Leica-like of video cameras - beautiful form factor, simple and fast workflow, and the best PL lenses.

The only negative is Alexa's dependence on Prores - which was really lazy of them - they should have build their own transport stream.

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Sareesh Sudhakaran

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Re: Scarlet
« Reply #113 on: November 26, 2011, 11:39:24 pm »

Apple's usually are; Adobe's never are. This is why I much prefer Aperture to Lightroom and FCP X to Premiere Pro. It isn't just familiarity- I learned to edit on Premiere back on the PC almost a decade ago, switched to FCP 6 about three years ago, and FCP X earlier this year. I just find myself banging heads with Adobe's UI design and workflow decisions over and over again.

Funny, my experience is the exact opposite! As long as FCP uses their crappy MOV wrapper and sticks to its own expensive hardware, I will stay away.

The most 'intuitive' NLE I have seen bar none is Sony Vegas Pro. But I agree with you that editing in FCP-X is a much better experience than FCS, and subsequently PPro or Avid.

For complicated workflows that involve many machines, nothing beats PPro or an Avid - basically one HAS to go PC when dealing with multiple OSs and incompatible software and hardware. Throw a mac into the mix and see how things go haywire - no wonder most vfx houses try to avoid it. Even outside the video industry, businesses run on PCs, the biggest websites run on Pcs - anything that has to deal with complexity must run on PCs. The Mac actually introduced itself as a personal computer, but today, it has taken over IBM's place. Funny how things work out.

But if you must...
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bcooter

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Re: Scarlet
« Reply #114 on: November 27, 2011, 06:42:03 am »

The Alexa shoots RAW - the Arri RAW is closer to the still camera RAW 'idea' than Red's version. In fact, I consider the Alexa the most Leica-like of video cameras - beautiful form factor, simple and fast workflow, and the best PL lenses.

The only negative is Alexa's dependence on Prores - which was really lazy of them - they should have build their own transport stream.



Then that's the camera for you.  Will you buy or rent, because I think the raw module for the arri is the price of a RED.

From crew and people I work with in L.A., everyone that has worked with the Arri has been traditional DP's that are use the the Arri form factor, but as I said before,everyone works differently.

IMO

BC
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fredjeang

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Re: Scarlet
« Reply #115 on: November 27, 2011, 07:06:17 am »

That I know here, 99% of the Arri maniacs adicted rarely use ArriRaw because of what James said. It is much more expensive.

As the Prores 444 output is "user friendly" and maintains quality in grading, most of the guys do not feel the necesity to shoot in Raw. The module is extremely expensive IMO.

Arri generaly is expensive and not really suitable for most of us, only in rental houses.

In the high-end no prob, but I doubt many indy guys are owning an Alexa and shoot Arriraw. Here the "doctor factor" of MF doesn't work. You'd need to be a millionaire.
« Last Edit: November 27, 2011, 07:08:12 am by fredjeang »
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Sareesh Sudhakaran

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Re: Scarlet
« Reply #116 on: November 27, 2011, 11:12:59 am »

I would love to use the Alexa for everything, but, I too am in the same boat as you guys. Money matters.

However, I'm confused on whether we are comparing apples to oranges, or apples to the price of oranges. Maybe it's just me.
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bcooter

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Re: Scarlet
« Reply #117 on: November 27, 2011, 02:20:08 pm »

I would love to use the Alexa for everything, but, I too am in the same boat as you guys. Money matters.

However, I'm confused on whether we are comparing apples to oranges, or apples to the price of oranges. Maybe it's just me.

This is just another internet thing where the only only point that matters is would you buy it and use it? 

RED seems to enjoy throwing a grenade in the room and then everyone reacts, but if the Scarlet comes out semi bug free, comes out semi on time at 14 grand in the cinema world is almost free.

DP's that like film cameras seem to like the Arri because the one's I know say they get a better look onset than with the RED, though most DP's are not that heavily involved in the post production process.   In final output, depending on who you talk to it's a different matter, but I don't really care as even if the Arri wasn't 70 thousand, and only twenty two thousand, for a 13.5 lb. camera that shoots 2k footage I'm not interested.

In fact I'm happy with my Red Ones MXs  and only ordered a Scarlet for the size and the upgrade path to the dragon sensor, that and the fact we generally run two and three cameras on set.

I do know that as a small creative house that owns it's own equipment, the REDs have made a world of difference in what we can shoot and what we offer a client.

That's really all I care about.

BC

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Re: Scarlet
« Reply #118 on: November 30, 2011, 05:18:41 pm »

Quote
DP's that like film cameras seem to like the Arri because the one's I know say they get a better look onset than with the RED, though most DP's are not that heavily involved in the post production process.   In final output, depending on who you talk to it's a different matter, but I don't really care as even if the Arri wasn't 70 thousand, and only twenty two thousand, for a 13.5 lb. camera that shoots 2k footage I'm not interested.

The Alexa is in a different market, it's purely professional. It's 1080p with massive oversampling (that's why RED is not actual 4k or 5k - it has to be oversampled the same way) and unreached actual dynamic range and noise handling, it's the only camera recording actual, uncompressed Raw if necessary and it has the build quality for professional use - the camera electronics are entirely sealed, the heat management much more elaborate. The ARRI is not in the same market as Scarlet or the C300 - that's like comparing megapixels of the 5D2 and 1ds3 - it happens but it completely misses the point.
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jjj

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Re: Scarlet
« Reply #119 on: December 02, 2011, 09:11:36 pm »

I don't get the cost of space, if the cost of space has never been so low and will keep going to decrease. Computer performances are growing while costs are getting lower. What can be costly today will be the norm tomorrow. Computer engineering goes faster than gear. So 4-5 or more ks won't be any issue tomorrow at each time lower costs.
If only that were always true. I was just about to upgrade all my 2Gb drive pairs to 3Gb and prices have more than doubled here in U during last few weeks.  :(
The flooding in Thailand has been blamed for this, yet all the back stock has skyrocketed as well. I remember an earthquake, flood or fire been blamed for the annual December price rises of memory that used to occur a few years back [may still do]. Nothing to do with Christmas approaching.
Same sort of thing that happens with petrol, within hours of barrel prices going up, price per litre at the pumps rises. Yet there's a delay of months before pump price follows any downward price change.
First time I can ever recall HD storage going up in price like this.

HDs prices go up - article


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