jgharding

this is an interesting point. it depends on your definition of "technologies". Sony certainly innovate, and are always coming up with variations in technology, image processing, sensor and memory architecture, absolutely ingenious things every single year that definitely push the boundary of what's possible technologically in terms of size and speed... in terms of innovation, I don't think anyone matches them. But people don't watch innovation on a screen, and they don't want it getting in the way of a production. Each new Sony camera is full of bizarre processing with crazy acronyms, layers and layers of menus and so on, and the colour is still never very good, it usually feels cool and sharp and a little soul-less. Even the top line and indeed innovative f65 had a very cold and sharp look to it. Check out Oblivion, that's all i Know was shot on it. And they only used it because clinical detail was part of the brief. Arri may not have reinvented the wheel, but they made a beautiful sensor designed to have grain and response as close as possible to film. They focussed on beating film and making a direct digital replacement for it. Sure, around that sensor is a tank-like box that eats giant batteries like M&Ms, but once you get the footage back you don't care. That dual-gain architecture makes it SO clean and gives it insane range. You can pull in Log ProRes 422 from an Amira and you'll probably prefer it to your Red footage, raw or no raw, as I always did. It seemed to have more usable skintone range and nicer colour even when very compressed. And controlling it is so easy. They focused on a simple interface and the image that ends up on screen, not on the spec sheet, and not on selling you a new one every year. http://www.arri.com/camera/alexa/tools/alexa_camera_simulator/ I've just realised I'm on the verge of sounding like an unbearable Arri fanboi but really I'm only loyal to a great image. I wouldn't want to run around all day with one too often, though i have... the GH5 is my new fave

I think the main thing holding this back from an Arri is the same thing that stops McLaren making a competitor to the Mazda MX5, for example: the company live at the edge of top-end technology, that is what they're know for and what (in Arri's case) they dominate. They thrive in the pro sector, hold some great patents (like the dual-gain channel sensor architecture in Alexa family cameras) that set them ahead, and they would only open themselves up to un-necessary risk by producing a high-volume consumer/prosumer piece. as volume goes up, quality control becomes increasingly difficult, your equipment reaches the hands of those prone to user error, sometimes even total beginners. you have tighter profit margins, have to deal with distribution and sales channels on a far larger scale, along with all the attendant legal and logistic expenses and staffing costs. the personal touch you have when dealing with higher-end clients simply disappears. It's very expensive and time-consuming to bring a product like that to market. Think of just how many mis-steps Blackmagic Design had with their cameras along the way... if you don't know about that, i wouldn't waste time reading up, but a lot of models had problems at launch. I mean I love em, and they did an amazing job coming from nowhere in that market, but they learned in public and as a result a lot of pros won't touch their prosumer line. And they already has a vast distribution and manufacturing network and so on. TBH I don't think Arri need to. I feel RED may be another question... talking to hire companies, Arri and Canon dominate, with a smattering of GH5 and Sony for budget high speed. Technology companies have to react to the market quickly, or else it's curtains. Disclosure: I used to have a Red and sold it for a C200. Convenience won! If we don't use that, we hire Arri.

I do wonder what sector this is aimed at. 10,000 is way more than a GH5, which is more than enough for your average Joe and great on professional shoots as is. We are about to buy one as a C-Cam, since nothing I've seen touches it in the price range, though the new Fuji announcement looks interesting. If you're renting, an Alexa Mini or current Red can be pretty stripped down and inexpensive in budget terms. If you don't have the money to rent for shoots, well the 10,000 camera is probably too expensive for you to buy! so it goes round in circles. Maybe crash cam? Abit much for that too... TBH I think Red had to seriously rethink, since at the top end they're being wiped out by Arri. In fact even in the mid range now, we've hired Arri Amira for web videos. After the Alexa mini came out a lot of people just stopped flying Reds on steadicam/gimabl settups overnight. Now Arri have a "genuine" 4K acquisition camera in the Alexa LF, that protectionist excuse used by Netflix and so on to stop people from using Arri, that is "it has to be native 4K regardless of how it looks, the number is king" is dead in the water. Don't get me wrong, r3D is still the best raw codec ever, and I think this will be undeniably cool if it ever happens... I just sort of question... what it's for... and thus where i'd find a use for it. I think if it doesn't have full IBIS and so on like GH5, I can't conjure up a use case off the top of my head. I think RED should start licensing R3D now TBH, instead of holding onto it forever while other people overtake in other areas. Don't become SEGA.

*WHOOPS, HIGH-FIVES, GETS ANOTHER TRIBAL TATTOO AND NEW SNAPBACK CAP*

Tiny fanless camera with ProRes and RAW to SD cards, released in 2013:

yeah it is only if your directly working with them to produce a piece or series, It stills seems oddly political though

Not allowing the Amira and standard Alexa is straight up moronic. The upscaled 4K in it thrashes the pants of plenty of native 4K sensors in terms of look and detail. I've had them side by side plenty of times. Looking through the list and numbers and so on, the word that comes to mind is "arbitrary" Also demanding Alexa 65 with Arriraw as the only acceptable Arri format when nearly every feature film is shot on Arri... and plenty on Alexa ProRes... it seems more like a political alliance with other manufacturers against Arri dominance than much else. Which is silly, they're dominant because their product is the best. Thought the Varicam is arguablly as good if it gets the uptake.

Seems like it's a sort of "thought leader" product, in that they're heading for holographic and so on. They have a bit of a market issue in that most Red owners are very protective of the notion of "professionalism" so they can't really make this into a "proper" cinema camera. So for that reason I think you're right, it won't become a proper camera, as it were. One interesting aspect of it is the inlusion of Red's proprietary formats. This sort of thing can backfire if the formats aren't open enough. Sony were obsessed with controlling media, formats and so on and their history is littered with expensive failed experiments: ATRAC3 players (instead of MP3), UMD, Sony Memeory Stick, and so on... even the new wireless headphones I have include some proprietary codec support that only works with Sony phones, though at least that's not all they do. So it's kinda interesting to watch, but if holographic does take off, the format with the low-fee or totally open license will win! I also question the ability of any current battery to run this stuff for a long time.

10pts for this brilliant new insult :D

Yeah... I'm gonna be offloading the Red cos it doesn't get enough use. If I need something like that I'll just hire in future. It's too big heavy and clumsy to be fun. I miss when I started out hacking the 550D

We got the XC10 for this... but no nuts. the fuzzy-motion noise reduction, not great low-light, all kinds of little quirks and issues... they do need a dedicated b-cam, but they're too afraid of losing sale. A litlle half-size C50 with C100 sensor and so on would do it Of course you'd want internal stabilisation, and they'll never give it to us due to wanting to flog stabilised lenses.

But yeah, back on topic! I'm with a few of the others here. I think if you use a LUT at 100% right over your work it tends to be a bit cartoonish or derivative. I've bought most LUT packs going, and I'll put them on to inspire an idea, or at a lower percentage over a whole piece to tie it together a bit. Also I think it's always good to start by neutralising the footage (unless you're shooting baked in) so you're working from a middle ground outwards.

https://artybollocks.com/ Instant salad!

Haha! Brilliant. At least irony is alive in art!

Art-world texts are always so try-hard. There's a few interesting points in there, but they're drowned in post-modern word salad, obscurantism designed to hide the self-evident nature of most of the ideas being espoused behind a flurry of pointless syllables. I know a few people who have been on art doctorate courses, and have been told to start using more invented words and obscuring their meaning more. Can you imagine? Make it more "exclusive". I suppose when acceptance onto a course is primarily down to whether you can pay the fee or not though, in the end you HAVE to do away with objectivity in order to give people a pass LOL

This is just about as late as they can leave it. Having been on C100 MK1 for years for the standard budget level work where Amira can't be hired in, it's annoying not to have anything over 30p and no 4K. It absolutely needs 4k/30p at least, and 1080/100p wouldn't go amiss. Otherwise I'm off to get a GH5 to cover those needs. Money is waiting, Canon!

No post noise reduction on any of these? If so I'd happily use any ISO listed.

As they say where I'm from, you legend! True, audio isn't quite working. The panner, for example, does nothing. My praise is based on it being a beta, if they don't fix all this for release, it would hastily be withdrawn :D

I've played a bit with some notation apps in Vive. At the moment resolution is just too low, unfortunately! Soon though....

I've sort of gone off these 1:1 modes after using red... the noise become massive, as each pixel is taking up more of the frame but yeah they can be useful in a pinch

Cheers for posting this, i learned a lot! It confirms what I thought... they're just building up around old code. It's a bit like the Kowloon walled city, there's only so long you can keep adding to it until you have to start again for the sake of everyone's sanity... RESOLVE QUESTION: One of my favorite things in Lumetri in Premiere is to add a LUT and using say 40% blend of it. How would I do this in Resolve? It's one of the few things I've not worked out yet.

This is in line with what is floating about and seems reasonable given their standard release schedules. I'm gonna take a stab and say they'll probably price it around 6-7000 mark, so more than the C100 mk ii was at release. Either that or they'll actually make it a C100 Mkiii with a small step up in spec as before. Maybe 1080p100 and 4kp30 Canon seem to have some kind of aversion to high speed so I wouldn't expect more than 100fps. They could also make a mildly upgraded C100 MK iii AND a C200 and not cannibalise the line, this would make some sense and keep the core C100 format profitable, a bit like the constant upgrades of the 550D ad nauseum. TBH it's the one I've been waiting for, but we all know pinning hopes on Canon these days is a bit like waiting for Father Christmas and seeing your dodgy uncle walk in wearing just a beard and novelty boxers.

You can also now access text tools in the second tab of "Essential Grpahics", but these don't appear in the bins, confusingly enough. You also wont be able to use these without first selecting the type tool and typing on the frame. Also, in essential graphics, you can't type the name of a font you want, only the first letter, so if you have lots you have to scroll for days to get the one you want. It's just all a bit... shit. It's just really disappointing. Lumetri panel was a breath of fresh air, great accelerated grading in the timeline, this new update feel like some kind of mess. My only hope is that theyre leaning towards integrating the whole production workflow, but the suite is now spread out across so many different programmes, betas, tools and even some abandonware (Speedgrade) that something as contained as Resolve makes it look like a bit of a bad joke. Once resolve editing is as swift as Prem, it'll be a no-contest. It may well be for all I know. But I'm now a decade-long user, who has started learning a rival piece of software... The question is: do i really to give them £500 a year to give me occasioanl beta updates? I'm not sure I do.

I found today that "Title" has disappeared from the "New" menu in Premiere. So i found this tutorial in trying to hunt for it: https://helpx.adobe.com/premiere-pro/how-to/add-titles-graphics-video-project.html Except that none of the menus mentioned exist as described. On PC here, there is no "Title Tools" under Window. What there is, is an unfinished entry that says (no title) at the top, if you click on (no title) you get a "Legacy Title" window. After searching in the keyboard shortcuts I found "New Title" bound to Ctlr+T. That's the only way to access it, otherwise it appears it has been hidden. You can also now access text tools in the second tab of "Essential Grpahics", but these don't appear in the bins, confusingly enough. You also wont be able to use these without first selecting the type tool and typing on the frame. Also, in essential graphics, you can't type the name of a font you want, only the first letter, so if you have lots you have to scroll for days to get the one you want. It's just all a bit... shit. This feels like beta. I mean literally not finishing typing the names of the menu entries before releasing... I dunno what to say.

I have a feeling it is the Cuda thing... I'm on PC with a powerful card, when I'm docked it's a Titan X. I think this is a great FCPX style thing for PC users. On Mac I hear it's more temperamental. I have to agree it's not as fast in terms of control at the moment, I'll have to do a lot of key rebinding i think.