Re: ALEXA vs. RED?

Great initial thread.

Getting back to the original question.

RED one changed things. It has obviously made ARRI rethink the D21 and present an offering that is more in line with what RED ONE customers got.

In terms of business, the single most interesting thing will be too see what happens this television shooting season. 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. Thanks to RED, all of the data management for this type of pipeline is worked out. This means that the ALEXA could get a jump on EPIC fore series episodical work, reality TV, MOW and a large bulk of TV production just based on their reputation and PRORES module alone.

Strangely EPIC may end up being in the (perceptively more prestigious) feature film category because their workflow is more lightweight, established and better suited to offline online that the "current" ARRI offering.

DP's are going to like the ALEXA for the optical viewfinder and the WYSIWYG monitoring and look of PRORES 4444.

It's going to be interesting for sure, but ARRI has pointed this camera at the largest and growing section of the marketplace with "options" to shoot feature film.

With RED, the (soon to be rolled out) SCARLET program may have taken a hit with DSLR sales going through the roof and major series experimenting and doing full episodes.

EPIC, with an H.264 module can not match the ARRI SHOT>EDIT claim because as we all know the H.264 is most likely going to need a transcode.

Interesting times.

Strangely, POST may have a bigger impact on the outcome than the camera performance itself.


David


Peace