Re: ALEXA vs. RED?

[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

http://blogs.creativecow.net/24640