Arri Alefa Workflow
Arriflex Alexa Digital Camera System Digital Workflow Options
Alexa takes the revolutionary step of recording Apple QuickTime files containing Apple ProRes 4444 or Apple 422 (HQ) encoded images onto on-board SxS memory cards. These files can then be edited immediately, greatly speeding up the production process. ALEXA can record 15 minutes of Apple ProRes 4444 or 20 minutes of Apple 422 (HQ) as Apple QuickTime files onto a 32GB card.
No other broadcast or motion picture camera bridges the gap between production and post as simply and elegantly as ALEXA. By utilizing Apple ProRes codecs, which are the same high quality codecs used natively by Apple's Final Cut Pro editing software, ALEXA offers the most streamlined and cost effective workflow possible.
Footage from ALEXA is transferred directly into the editing software in full resolution, faster than real time. To begin editing, the memory card simply needs to be removed from the camera and plugged into a laptop. It couldn't be easier.
Direct to Edit: straight on-line workflow
( Used when footage is captured direct on SxS cards and edited by FCP or AVID )
Productions that need to get HD images as quickly as possible from the camera into post can record QuickTime/ProRes files to the on-board SxS cards, pop the cards into a laptop and start editing. This is the fastest and simplest method for increasing production efficiency through tapeless, file-based recording.
Although footage can be immediately edited, it is suggested that a primary and backup copy be made on set before returning the SxS card to the camera for re-use.
The high performance of the Apple ProRes 4444 and Apple ProRes 422 (HQ) codecs gives productions utilizing an HD workflow the freedom to transfer final quality images from the camera into post without even leaving the set. Recording in the exact format used by Apple Final Cut Pro removes the hassle of transcoding and takes full advantage of the speed and power of the editing software; there is no waiting for ingestion; no file conversion; no rendering and no confusion. This is the fastest and simplest method of increasing production efficiency through tapeless, file based recording.
Recording with the same codec that is natively used by Final Cut Pro removes the hassle of transcoding and takes full advantage of the speed and power of the editing software. Furthermore, the extremely high quality of Apple's ProRes 422 (HQ) and ProRes 4444 codecs means that the edited result can be immediately distributed.
Direct to Edit: off-line/on-line workflow
Productions that choose the highest possible image quality by recording uncompressed HD or ARRIRAW for an off-line/on-line workflow still benefit from the efficiencies of DTE. The Apple Quick Time off-line
Editing files, which carry the same images, audio and timecode as the on-line HD or ARRIRAW material, are created directly in the camera. This makes them instantly available and removes the time-consuming extra steps of generating and ingesting an off-line copy, while ensuring complete congruency between off-line and on-line material.
Productions recorded in uncompressed HD or ARRIRAW for an off-line/on-line workflow gain another benefit: the QuickTime/ProRes off-line editing proxy is created directly in camera, carrying the exact same images, audio, timecode and metadata as the on-line HD or ARRIRAW material. This removes the time-consuming extra step of ingesting and creating an off-line copy, plus it ensures complete congruency between off-line and on-line material.
The ability to apply “Look Files” in ALEXA provides the option of instant dailies straight out of the camera in a directly accessible format – a major time and cost saving feature. An SD card slot is provided in the ALEXA to exchange Look Files. These Look Files can be applied to the output signals for baking the look in, or can be passed on as metadata in files on the SD card.
Besides the integration of the DTE functionality, ARRI enhanced the HD-SDI output capability through the use of embedded metadata. Whereas previously it was necessary to choose LUTs (Lookup Tables) or set ARRIRAW parameters manually, now with the development of the new ARRIRAW v3 Header, ARRI has extended the “.ari “ file format to facilitate a better communication between camera, recorder and postproduction systems. As a result of long term development collaborations within the ARRIRAW Partner Program, auto-selection of LUTs or processing parameters for ARRIRAW are possible.
This enables simple offline-to-online conforming from compressed or uncompressed HD to uncompromised, highest quality ARRIRAW. ARRIRAW is the only way to access the full potential of the ALEV III sensor, which has color and dynamic range capabilities far beyond standard HD. Metadata that will be embedded in the HD-SDI output will also enable remote start and stop functions as well as an auto-selection of conversion LUTs when shooting Log C HD on compatible recording systems.