Issue link: https://digital.copcomm.com/i/82522
CAMERA ROUNDTABLE online, realtime editing and color correction; as an example, Adobe Premiere Pro CS6 now deals with native Arri Raw files." WESTFALL: "Because our cameras use widely supported recording media such as CF and/or SD cards, hardware is not an issue; edit houses usually don't incur any extra hardware expenses when using our cameras. On the software side Canon offers various plug-ins as free downloads from our Website along with full online tutorials." BERGERON: "They shouldn't have to, no. Eldorado: A demo reel that Curtis Clark, ASC, helped Sony put together to show off its F65 camera. be out at the end of this year." BERGERON: "It took a lot of sweat to get our files working natively on all of the major manufacturers' systems, whether that's in a broadcast workflow, a shared storage net- work in a post facility or on an individual's desktop. But there will still be a need for transcoding in some environments. We've made transcoding very easy — any H.264 decoder will decode AVC-Intra files. And we're working with companies to produce toolkits and plug-ins that support Panasonic products: MainConcept, Drastic Technologies and Calibrated Software all have plug-ins which support our infrastructure." WESTFALL: "We like to allow people to make choices. For example, our cameras provide many 'custom picture style' settings that create a finished look in-camera for those who don't want to grade during post processing. The Final Cut Pro plug-in lets edi- tors work natively if they have a time sensitive project and need finished footage as quickly as possible. But we also recognize that other editors prefer to grade in post, so cameras like the EOS C300 can be set up to record in Canon Log gamma for maximum grading flexibility. Additionally, once the original image data has been imported to a compatible NLE, it can easily be transcoded into other codecs that are supported by that editing system, such as ProRes HQ for Apple's Final Cut Pro or the DNxHD codecs from Avid. This gives editors a tremendous range of options." Are post houses required to buy addi- tional hardware or software to work with your cameras? MARSH: "A lot of post is moving to near set, so the only purchase they may want to make is transfer stations for the memory cards; we make three relatively low-cost models. So far, every F65 we've sold has 26 Post • September 2012 been in a package with a memory card, transfer station, viewfinder and recorder so practically every camera available in the market comes with our SRPC4 transfer sta- tion. We just began shipping the SRD1, a low-cost memory reader, that also fits into the workflow." SCHILOWITZ: "They can work without additional specific hardware, but we don't recommend working without hardware acceleration or nothing will happen in real- time. Every DI system supports our Red Rocket card, and it's so inexpensive that it's not a talking point. "Almost every post house uses Red Rockets on a regular basis, and many post facilities are 'taking their show on the road,' per se, and doing dailies prep and initial first light grading right on the set as productions are shooting Red. "Do we see a Rocket-less future? Sure. Computers will eventually be powerful enough to do on their own what Rocket is designed to do with the files." FANTHOM: "Post houses are not required to purchase additional hardware or software to work with Apple ProRes or Avid DNxHD files, as these are industry standard formats which are natively supported in all popular NLEs. "In some cases, post production of Alexa's highest-quality output format — Arri Raw — can be throughput-optimized by using faster computing platforms with increased networked storage and/or graphics process- ing power. Looking at the immediate future, the processing and graphics power of mid- range desktop computing systems has increased to the point where direct ingest, realtime viewing and even editing of Arri Raw is now possible. Going forward, more and more post platforms and tools will sup- port Arri Raw as a native working format for www.postmagazine.com DVCPRO HD has been around forever, and AVC-Intra has been out for a while. There's been plenty of time [for manufacturers] to catch up with them. So if editors are using Final Cut, Edius, Premiere or Media Com- poser [the ability to work natively] is in there. In most cases, when a plug-in is necessary we put it on our Website as a free download. "We also offer a migration path if we change codecs. Next year we'll introduce AVC-Ultra. AVC-Intra will be at its core, but it will expand to include additional data rates and formats — 2K, 4K, 4:4:4, 1080/60p and some smaller date rates necessary for send- ing via data or wireless links." Indie filmmaker Justin Weinstein shoots An Honest Liar with Panasonic's AG-HPX250. YANAGI: "No." Is the role of the DIT changing as the link between image acquisition and post production? SCHILOWITZ: "In the Red world I like to call the DIT the digital technician (DT) because the imaging responsibility has been continued on page 46