This IS the Avid L2: 6/20/21

Thursday, June 24, 2021

Re: [Avid-L2] OT: No Traces on Tektronix WFM-7020?

I got a hold of Tektronix service today after 20 minutes on hold. They will take a day or two to send me a quote. Apparently they do a calibration with every service. I didn't think the newer digital LED screen wave forms needed any calibration as there is no analogue path accept for the NTSC input I guess. Oh well can't wait to see what the quote will be. This is worse than waiting for a Gender Reveal Party. I sure hope I don't get hit with a wild fire quote!!! ;-)

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Re: [Avid-L2] Arri Files

That seems to mirror what I have found in my limited tests quite a while back. Even if you don't have assist using reel numbers it won't link to the ama'd original clips but my tests were several years back. Perhaps now with the ability to relink to highlighted clips it's possible. I haven't tried in a while. I do now that if I do the original ama linking and transcoding in Avid when I aaf to Resolve linking to media it will link to camera originals if I've already imported the Original Camera Clips into the Resolve project. It sounds like if the offline media is created in Resolve the Avid aaf from the finished timeline still provides the necessary metadata for Resolve to relink to the original camera master clips. I just always stayed more Avid centric because it maintained more of the internal Avid metadata, like Luts, which helped in my Avid only workflows.

On Thu, Jun 24, 2021 at 12:18 AM, editbruboy wrote:

As far back as I remember, Resolve has always had this problem with creating DNX OP Atom rushes. The source file name/path metadata is missing from the exports. The reason you have a tape name in Avid is probably because you have the 'Assist using Reel Names From' option set in settings (General Options/Conform Options).

You can certainly turn this off and the corresponding 'Reel' column will disappear, but this won't make the source file name/path come back on export, and without some source identification, relinking will be difficult.

I've even tried exporting an ALE from Resolve, and although this did bring back certain other metadata (like slate/take info) the source file info was still missing.

Not tried this in V17 of Resolve, but I've not seen any evidence (from the release notes) that this has been addressed.

Bruno

On 24/06/2021 02:09, John Moore via groups.io wrote:

The one thing that always bothered me about using Resolve for making the DNx media is that it always generates some form of Tape Name that then precludes ever relinking to ama'd master clips because the Tape Name causes Avid to lose the flie path/ama meta data path. Has that behavior changed in the last couple of years? I have had success transcoding in Avid and then moving into Resolve but most of my tests were nothing more than a test to see if it worked and linked. There could be under the hood gotchas I didn't discover in my tests.

On Tue, Jun 22, 2021 at 10:53 AM, Jay Mahavier wrote:

I generally use Resolve to make the Avid media. Since we regularly do our DI finish in Resolve it makes for a easy(er) conform if it’s all set up right. And that way you can run whichever version of MC you prefer.

Jay

On Jun 22, 2021, at 11:32 AM, Mark Spano <cutandcover@gmail.com> wrote:

Keep in mind the newer the camera OS, the newer the MC version you need to be able to link them. I just ran into this myself, having had a machine set up with MC v.8.8.4 not being able to link Alexa Mini cards (ProRes 4444 XQ). I believe somewhere in 2018 they added compatibility there, as my other install of 2018.12.x saw the cards just fine.

On Mon, Jun 21, 2021 at 7:32 PM David Dodson <davaldod@gmail.com> wrote:

Oh, god, absolutely. Yes. Transcode to the DNxHD of your choice. Makes life so much easier.

davaldod@gmail.com

On Jun 21, 2021, at 4:30 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

But regardless of format you record too, if you are shooting 4k I would suggest processing to DNx, editing, and then going back to the camera masters for VFX and DI.

Jay

On Jun 21, 2021, at 6:28 PM, David Dodson <davaldod@gmail.com> wrote:

Mini records in a bunch of flavors of ProRes, as well. Depending on the nature of the show, there is an argument to be made that there is little to gain by shooting ArriRAW and to go ahead and do ProRes 4444. I’ve personally cut several features shot with the Mini using both ArriRAW and ProRes4444 — after proper grading I defy you to tell the difference.

DD

David Dodson

davidadodson@sbcglobal.net

On Jun 21, 2021, at 4:25 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

The Alexa Mini may be able to record in other formats. But we recorded to 4k ArriRAW in MXF.

Jay

On Jun 21, 2021, at 6:22 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

The mini records ArriRAW to MXF.

We processed the 4k camera masters through Resolve to DNxHD36 for editing.

DI in Resolve in 4k.

Very traditional.

Jay

On Jun 21, 2021, at 5:28 PM, C. Hess <cfh3media@gmail.com> wrote:

May have an opportunity to work on a project
shot on an Arri Mini.

Any body here have experience with those files?

Don’t yet know the actual format. ProRes

or RAW, I think.

What machine specs would you expect,

working with 4K? May be time to upgrade.

I anticipate using proxies, I guess I am thinking

more about the final renders.

Thx!

Chip Hess
CFH3 Media

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Re: [Avid-L2] Arri Files

As far back as I remember, Resolve has always had this problem with creating DNX OP Atom rushes. The source file name/path metadata is missing from the exports. The reason you have a tape name in Avid is probably because you have the 'Assist using Reel Names From' option set in settings (General Options/Conform Options).

You can certainly turn this off and the corresponding 'Reel' column will disappear, but this won't make the source file name/path come back on export, and without some source identification, relinking will be difficult.

I've even tried exporting an ALE from Resolve, and although this did bring back certain other metadata (like slate/take info) the source file info was still missing.

Not tried this in V17 of Resolve, but I've not seen any evidence (from the release notes) that this has been addressed.

Bruno

On 24/06/2021 02:09, John Moore via groups.io wrote:

The one thing that always bothered me about using Resolve for making the DNx media is that it always generates some form of Tape Name that then precludes ever relinking to ama'd master clips because the Tape Name causes Avid to lose the flie path/ama meta data path. Has that behavior changed in the last couple of years? I have had success transcoding in Avid and then moving into Resolve but most of my tests were nothing more than a test to see if it worked and linked. There could be under the hood gotchas I didn't discover in my tests.

On Tue, Jun 22, 2021 at 10:53 AM, Jay Mahavier wrote:

I generally use Resolve to make the Avid media. Since we regularly do our DI finish in Resolve it makes for a easy(er) conform if it's all set up right. And that way you can run whichever version of MC you prefer.

Jay

On Jun 22, 2021, at 11:32 AM, Mark Spano <cutandcover@gmail.com> wrote:

Keep in mind the newer the camera OS, the newer the MC version you need to be able to link them. I just ran into this myself, having had a machine set up with MC v.8.8.4 not being able to link Alexa Mini cards (ProRes 4444 XQ). I believe somewhere in 2018 they added compatibility there, as my other install of 2018.12.x saw the cards just fine.

On Mon, Jun 21, 2021 at 7:32 PM David Dodson <davaldod@gmail.com> wrote:

Oh, god, absolutely. Yes. Transcode to the DNxHD of your choice. Makes life so much easier.

davaldod@gmail.com

On Jun 21, 2021, at 4:30 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

But regardless of format you record too, if you are shooting 4k I would suggest processing to DNx, editing, and then going back to the camera masters for VFX and DI.

Jay

On Jun 21, 2021, at 6:28 PM, David Dodson <davaldod@gmail.com> wrote:

Mini records in a bunch of flavors of ProRes, as well. Depending on the nature of the show, there is an argument to be made that there is little to gain by shooting ArriRAW and to go ahead and do ProRes 4444. I've personally cut several features shot with the Mini using both ArriRAW and ProRes4444 — after proper grading I defy you to tell the difference.

DD

David Dodson

davidadodson@sbcglobal.net

On Jun 21, 2021, at 4:25 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

The Alexa Mini may be able to record in other formats. But we recorded to 4k ArriRAW in MXF.

Jay

On Jun 21, 2021, at 6:22 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

The mini records ArriRAW to MXF.

We processed the 4k camera masters through Resolve to DNxHD36 for editing.

DI in Resolve in 4k.

Very traditional.

Jay

On Jun 21, 2021, at 5:28 PM, C. Hess <cfh3media@gmail.com> wrote:

May have an opportunity to work on a project
shot on an Arri Mini.

Any body here have experience with those files?

Don't yet know the actual format. ProRes

or RAW, I think.

What machine specs would you expect,

working with 4K? May be time to upgrade.

I anticipate using proxies, I guess I am thinking

more about the final renders.

Thx!

Chip Hess
CFH3 Media

Wednesday, June 23, 2021

Re: [Avid-L2] OT: No Traces on Tektronix WFM-7020?

Looks like my scope is going to get a vacation to Tektronix Service. Here's what I heard back from Telestream, which I guess now owns Tektronix.

Here's the two responses I got from Telestream Support"

1st Response:
"I suspect that the WFM may have lost its internal "identity.

To confirm - please reply with the screen shots that you have captured.

Of particular interest will be screen shots of...

CONFIG -> Utilities -> View HW/SW Version

CONFIG -> Utilities -> View Options."

2nd Response:

"Thanks for the pictures.

Verified. The WVR has lost its internal identity.

In the "Versions" view, you should see something quite similar to the

attached pictures from my sample WVR7120.

If you take a quick look at the instrument ID - in the lower right corner -

you should see an instrument name - followed by 5-6 characters.

This is also visible under Network Settings - as the instrument name.

"UNKNOWN" indicates that the applicable e4xtra 5-6 characters have

been lost or corrupted.

Commonly - this is caused by a failure of the NVRAM device in this

area of the CPU circuitry.

To get the proper ID cod installed will require a trip to Tektronix Service.

(This is installed with a special test fixture at the Tek service office.)

While at Tek Service, thy may also replace the NVRAM device.

You will need to give them a call - to start an RMA."

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Re: [Avid-L2] Arri Files

The one thing that always bothered me about using Resolve for making the DNx media is that it always generates some form of Tape Name that then precludes ever relinking to ama'd master clips because the Tape Name causes Avid to lose the flie path/ama meta data path. Has that behavior changed in the last couple of years? I have had success transcoding in Avid and then moving into Resolve but most of my tests were nothing more than a test to see if it worked and linked. There could be under the hood gotchas I didn't discover in my tests.

On Tue, Jun 22, 2021 at 10:53 AM, Jay Mahavier wrote:

I generally use Resolve to make the Avid media. Since we regularly do our DI finish in Resolve it makes for a easy(er) conform if it’s all set up right. And that way you can run whichever version of MC you prefer.

Jay

On Jun 22, 2021, at 11:32 AM, Mark Spano <cutandcover@gmail.com> wrote:

Keep in mind the newer the camera OS, the newer the MC version you need to be able to link them. I just ran into this myself, having had a machine set up with MC v.8.8.4 not being able to link Alexa Mini cards (ProRes 4444 XQ). I believe somewhere in 2018 they added compatibility there, as my other install of 2018.12.x saw the cards just fine.

On Mon, Jun 21, 2021 at 7:32 PM David Dodson <davaldod@gmail.com> wrote:

Oh, god, absolutely. Yes. Transcode to the DNxHD of your choice. Makes life so much easier.

davaldod@gmail.com

On Jun 21, 2021, at 4:30 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

But regardless of format you record too, if you are shooting 4k I would suggest processing to DNx, editing, and then going back to the camera masters for VFX and DI.

Jay

On Jun 21, 2021, at 6:28 PM, David Dodson <davaldod@gmail.com> wrote:

Mini records in a bunch of flavors of ProRes, as well. Depending on the nature of the show, there is an argument to be made that there is little to gain by shooting ArriRAW and to go ahead and do ProRes 4444. I’ve personally cut several features shot with the Mini using both ArriRAW and ProRes4444 — after proper grading I defy you to tell the difference.

DD

David Dodson

davidadodson@sbcglobal.net

On Jun 21, 2021, at 4:25 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

The Alexa Mini may be able to record in other formats. But we recorded to 4k ArriRAW in MXF.

Jay

On Jun 21, 2021, at 6:22 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

The mini records ArriRAW to MXF.

We processed the 4k camera masters through Resolve to DNxHD36 for editing.

DI in Resolve in 4k.

Very traditional.

Jay

On Jun 21, 2021, at 5:28 PM, C. Hess <cfh3media@gmail.com> wrote:

May have an opportunity to work on a project
shot on an Arri Mini.

Any body here have experience with those files?

Don’t yet know the actual format. ProRes

or RAW, I think.

What machine specs would you expect,

working with 4K? May be time to upgrade.

I anticipate using proxies, I guess I am thinking

more about the final renders.

Thx!

Chip Hess
CFH3 Media

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Tuesday, June 22, 2021

Re: [Avid-L2] Arri Files

I generally use Resolve to make the Avid media. Since we regularly do our DI finish in Resolve it makes for a easy(er) conform if it's all set up right. And that way you can run whichever version of MC you prefer.

Jay

On Jun 22, 2021, at 11:32 AM, Mark Spano <cutandcover@gmail.com> wrote:

Keep in mind the newer the camera OS, the newer the MC version you need to be able to link them. I just ran into this myself, having had a machine set up with MC v.8.8.4 not being able to link Alexa Mini cards (ProRes 4444 XQ). I believe somewhere in 2018 they added compatibility there, as my other install of 2018.12.x saw the cards just fine.

On Mon, Jun 21, 2021 at 7:32 PM David Dodson <davaldod@gmail.com> wrote:
Oh, god, absolutely. Yes. Transcode to the DNxHD of your choice. Makes life so much easier.

davaldod@gmail.com

On Jun 21, 2021, at 4:30 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

But regardless of format you record too, if you are shooting 4k I would suggest processing to DNx, editing, and then going back to the camera masters for VFX and DI.

Jay

On Jun 21, 2021, at 6:28 PM, David Dodson <davaldod@gmail.com> wrote:

Mini records in a bunch of flavors of ProRes, as well. Depending on the nature of the show, there is an argument to be made that there is little to gain by shooting ArriRAW and to go ahead and do ProRes 4444. I've personally cut several features shot with the Mini using both ArriRAW and ProRes4444 — after proper grading I defy you to tell the difference.

DD

David Dodson
davidadodson@sbcglobal.net

On Jun 21, 2021, at 4:25 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

The Alexa Mini may be able to record in other formats. But we recorded to 4k ArriRAW in MXF.

Jay

On Jun 21, 2021, at 6:22 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

The mini records ArriRAW to MXF.

We processed the 4k camera masters through Resolve to DNxHD36 for editing.

DI in Resolve in 4k.

Very traditional.

Jay

On Jun 21, 2021, at 5:28 PM, C. Hess <cfh3media@gmail.com> wrote:

May have an opportunity to work on a project
shot on an Arri Mini.

Any body here have experience with those files?
Don't yet know the actual format. ProRes
or RAW, I think.

What machine specs would you expect,
working with 4K? May be time to upgrade.

I anticipate using proxies, I guess I am thinking
more about the final renders.

Thx!

Chip Hess
CFH3 Media

Re: [Avid-L2] Arri Files

Keep in mind the newer the camera OS, the newer the MC version you need to be able to link them. I just ran into this myself, having had a machine set up with MC v.8.8.4 not being able to link Alexa Mini cards (ProRes 4444 XQ). I believe somewhere in 2018 they added compatibility there, as my other install of 2018.12.x saw the cards just fine.

On Mon, Jun 21, 2021 at 7:32 PM David Dodson <davaldod@gmail.com> wrote:

Oh, god, absolutely. Yes. Transcode to the DNxHD of your choice. Makes life so much easier.

davaldod@gmail.com

On Jun 21, 2021, at 4:30 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

But regardless of format you record too, if you are shooting 4k I would suggest processing to DNx, editing, and then going back to the camera masters for VFX and DI.

Jay

On Jun 21, 2021, at 6:28 PM, David Dodson <davaldod@gmail.com> wrote:

Mini records in a bunch of flavors of ProRes, as well. Depending on the nature of the show, there is an argument to be made that there is little to gain by shooting ArriRAW and to go ahead and do ProRes 4444. I've personally cut several features shot with the Mini using both ArriRAW and ProRes4444 — after proper grading I defy you to tell the difference.

DD

David Dodson
davidadodson@sbcglobal.net

On Jun 21, 2021, at 4:25 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

The Alexa Mini may be able to record in other formats. But we recorded to 4k ArriRAW in MXF.

Jay

On Jun 21, 2021, at 6:22 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

The mini records ArriRAW to MXF.

We processed the 4k camera masters through Resolve to DNxHD36 for editing.

DI in Resolve in 4k.

Very traditional.

Jay

On Jun 21, 2021, at 5:28 PM, C. Hess <cfh3media@gmail.com> wrote:

May have an opportunity to work on a project
shot on an Arri Mini.

Any body here have experience with those files?
Don't yet know the actual format. ProRes
or RAW, I think.

What machine specs would you expect,
working with 4K? May be time to upgrade.

I anticipate using proxies, I guess I am thinking
more about the final renders.

Thx!

Chip Hess
CFH3 Media

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Re: [Avid-L2] Is the Z8 G4 a solid/stable performer?

I've had the Z8G4 for a couple of years--it's solid. I do mostly HD broadcast work, but we shoot UHD, and it handles the material smoothly. I picked mine up through HP Remarketing at an excellent price, which also allowed me to get the 3/3/3 support. One thing I have appreciated is the expandability. That allowed me to stay on budget for the initial purchase, and keep building out as necessary down the line. I've added more RAM each year.

On Tue, Jun 22, 2021 at 8:53 AM Secret HQ <Greg@secrethq.com> wrote:

I watched The HP remarketing list for a couple months, and the z8s were either sold immediately or were so loaded that the price was still out of my budget.

eventually bought a Lenovo p620 to replace my trusty but forced-to-retire Mac Pro cheesgrater. No 'huge' projects yet, but so far, amazingly fast, quiet, and reliable.

________________________
Greg Huson
Secret Headquarters, Inc
GK Huson, LLC
Greg (at) SecretHQ.com
www.SecretHQ.com

> On Jun 22, 2021, at 05:15, JBeck via groups.io <jb30343=windstream.net@groups.io> wrote:
>
> Just changed from a Z820 to a z8. It's a little hard for me to make a
> direct comparison since the workstation swap was accompanied by a change
> from Nitris DX to Artist DNxIQ and a big jump in MC versions. I've
> found nothing to hate about the Z8. It's fast and I think it's a little
> quieter than the Z820. Might take a while to get used to the way it
> looks but the same could be said about me. --J.B.
>
> Karl Knowles wrote:
>>
>> Lately most of the work I've been doing is corporate long-form HD. A
>> recent influx of projects requiring a lot of post-processing reminded
>> me of how dated the Z820 is.
>>
>> I've been pondering an upgrade to a Z8 G4, mildly tuned for 4K work.
>> They've been out long enough for lease returns to be available at
>> reasonable prices, and even ordering a moderately spec'd new unit from
>> HP is within the budget.
>>
>> HP workstations have been reliable workhorses for me since the first
>> days of Adrenaline. However, I'm not adverse to considering a Dell
>> workstation, I just don't have any experience with the desktops, only
>> their portable workstations (which has been good).
>>
>> I'm curious to hear if anyone has gone with the Z8 and if so what your
>> thoughts and experiences were.
>>
>> If anyone found Dell desktop workstations to be exceptionally solid
>> performers please chime in.
>>
>> Cheers and TIA!
>>
>> Karl Knowles
>>
>> Tallahassee, FL
>>
>
>
>
>
>
>

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Re: [Avid-L2] Is the Z8 G4 a solid/stable performer?

I watched The HP remarketing list for a couple months, and the z8s were either sold immediately or were so loaded that the price was still out of my budget.

eventually bought a Lenovo p620 to replace my trusty but forced-to-retire Mac Pro cheesgrater. No 'huge' projects yet, but so far, amazingly fast, quiet, and reliable.

________________________
Greg Huson
Secret Headquarters, Inc
GK Huson, LLC
Greg (at) SecretHQ.com
www.SecretHQ.com

> On Jun 22, 2021, at 05:15, JBeck via groups.io <jb30343=windstream.net@groups.io> wrote:
>
> Just changed from a Z820 to a z8. It's a little hard for me to make a
> direct comparison since the workstation swap was accompanied by a change
> from Nitris DX to Artist DNxIQ and a big jump in MC versions. I've
> found nothing to hate about the Z8. It's fast and I think it's a little
> quieter than the Z820. Might take a while to get used to the way it
> looks but the same could be said about me. --J.B.
>
> Karl Knowles wrote:
>>
>> Lately most of the work I've been doing is corporate long-form HD. A
>> recent influx of projects requiring a lot of post-processing reminded
>> me of how dated the Z820 is.
>>
>> I've been pondering an upgrade to a Z8 G4, mildly tuned for 4K work.
>> They've been out long enough for lease returns to be available at
>> reasonable prices, and even ordering a moderately spec'd new unit from
>> HP is within the budget.
>>
>> HP workstations have been reliable workhorses for me since the first
>> days of Adrenaline. However, I'm not adverse to considering a Dell
>> workstation, I just don't have any experience with the desktops, only
>> their portable workstations (which has been good).
>>
>> I'm curious to hear if anyone has gone with the Z8 and if so what your
>> thoughts and experiences were.
>>
>> If anyone found Dell desktop workstations to be exceptionally solid
>> performers please chime in.
>>
>> Cheers and TIA!
>>
>> Karl Knowles
>>
>> Tallahassee, FL
>>
>
>
>
>
>
>

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Re: [Avid-L2] Is the Z8 G4 a solid/stable performer?

Just changed from a Z820 to a z8. It's a little hard for me to make a
direct comparison since the workstation swap was accompanied by a change
from Nitris DX to Artist DNxIQ and a big jump in MC versions. I've
found nothing to hate about the Z8. It's fast and I think it's a little
quieter than the Z820. Might take a while to get used to the way it
looks but the same could be said about me. --J.B.

Karl Knowles wrote:
>
> Lately most of the work I've been doing is corporate long-form HD. A
> recent influx of projects requiring a lot of post-processing reminded
> me of how dated the Z820 is.
>
> I've been pondering an upgrade to a Z8 G4, mildly tuned for 4K work.
> They've been out long enough for lease returns to be available at
> reasonable prices, and even ordering a moderately spec'd new unit from
> HP is within the budget.
>
> HP workstations have been reliable workhorses for me since the first
> days of Adrenaline. However, I'm not adverse to considering a Dell
> workstation, I just don't have any experience with the desktops, only
> their portable workstations (which has been good).
>
> I'm curious to hear if anyone has gone with the Z8 and if so what your
> thoughts and experiences were.
>
> If anyone found Dell desktop workstations to be exceptionally solid
> performers please chime in.
>
> Cheers and TIA!
>
> Karl Knowles
>
> Tallahassee, FL
>
>

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[Avid-L2] Is the Z8 G4 a solid/stable performer?

Lately most of the work I've been doing is corporate long-form HD. A recent influx of projects requiring a lot of post-processing reminded me of how dated the Z820 is.

I've been pondering an upgrade to a Z8 G4, mildly tuned for 4K work. They've been out long enough for lease returns to be available at reasonable prices, and even ordering a moderately spec'd new unit from HP is within the budget.

HP workstations have been reliable workhorses for me since the first days of Adrenaline. However, I'm not adverse to considering a Dell workstation, I just don't have any experience with the desktops, only their portable workstations (which has been good).

I'm curious to hear if anyone has gone with the Z8 and if so what your thoughts and experiences were.

If anyone found Dell desktop workstations to be exceptionally solid performers please chime in.

Cheers and TIA!

Karl Knowles

Tallahassee, FL

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Monday, June 21, 2021

Re: [Avid-L2] Arri Files

Oh, god, absolutely. Yes. Transcode to the DNxHD of your choice. Makes life so much easier.

davaldod@gmail.com

On Jun 21, 2021, at 4:30 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

But regardless of format you record too, if you are shooting 4k I would suggest processing to DNx, editing, and then going back to the camera masters for VFX and DI.

Jay

On Jun 21, 2021, at 6:28 PM, David Dodson <davaldod@gmail.com> wrote:

Mini records in a bunch of flavors of ProRes, as well. Depending on the nature of the show, there is an argument to be made that there is little to gain by shooting ArriRAW and to go ahead and do ProRes 4444. I've personally cut several features shot with the Mini using both ArriRAW and ProRes4444 — after proper grading I defy you to tell the difference.

DD

David Dodson
davidadodson@sbcglobal.net

On Jun 21, 2021, at 4:25 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

The Alexa Mini may be able to record in other formats. But we recorded to 4k ArriRAW in MXF.

Jay

On Jun 21, 2021, at 6:22 PM, Jay Mahavier via groups.io <jay_mahavier=icloud.com@groups.io> wrote:

The mini records ArriRAW to MXF.

We processed the 4k camera masters through Resolve to DNxHD36 for editing.

DI in Resolve in 4k.

Very traditional.

Jay

On Jun 21, 2021, at 5:28 PM, C. Hess <cfh3media@gmail.com> wrote:

May have an opportunity to work on a project
shot on an Arri Mini.

Any body here have experience with those files?
Don't yet know the actual format. ProRes
or RAW, I think.

What machine specs would you expect,
working with 4K? May be time to upgrade.

I anticipate using proxies, I guess I am thinking
more about the final renders.

Thx!

Chip Hess
CFH3 Media

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