Apple ProRes 4444 or Apple ProRes 422 (HQ) codecs which will emerge as the standard
I don't know. I'm sure there are plenty of DPs who will always prefer RAW over any form of "baked in" compression, no matter how good that compression may be.
True, but you're not going to be editing in RAW. You still need to down convert to something and one of the best somethings out there right now is ProRes. Even their Proxy format is still a high quality, easy to edit file that takes up minimal disk space.
I have no idea what Windows plans to do, but it would be nice to see it adopt ProRes.
There are no problems editing ProRes in Premiere Pro CS5.5 on either platform.
Only difference is you can not export ProRes from a Window System NLE and that is not an issue.
True, but you're not going to be editing in RAW.
Why not? PP handles RED's RAW files just fine, no conversions necessary. And there are advantages of doing so, such as being able to adjust color temp, ISO and other settings after you record the image.
Yes, you can use RED footage native, but I think the discussion is regarding ARRIRAW, which is overkill unless you're working on a feature. And, if you're cutting a feature, nine times out of ten you are working in an offline to online workflow.
When you drop R3D files into a timeline, do you get smooth, green playback without any rendering whatsoever?
I do, at half res which for 4k files is still 2k. AND in the Source settings there is a GUI that is very similar to Redcine X. Which means I can do 1 lights and the clip still plays in real time.
Avid DS / PrP / After Effects Editor
Mac Pro 3,1
2 x 3.2 ghz Quad Core Intel Xeon
Nvidia Quadro 4000
24 gigs ram
Maxx Digital / Areca 8tb. raid
Nice. For some reason, every R3D clip I use, regardless of sequence or playback settings, skips during playback. I'm sure it's a combination of my hardware (no NVIDIA or RED ROCKET card) and certain settings being mismatched. But, I feel this is a conversation for another thread and I feel bad jacking this one to discuss RED files...
Also affecting your play back is read and write speeds of your media drives. I have a Maxx Digital raid array with an Areca controller that give me sustained speeds of 745 MBPS. Its another elemnt that assists the Adobe Mercury Engine deal with large Red files.
I think the discussion is regarding ARRIRAW
No. I'm the one who originally brought up the advantage of using RAW files over baked in files. The brand of RAW isn't relevant.
Now it may be true that at the moment, PP may not natively handle ARRIRAW files. (Or maybe it does, I just don't know.) My original point was that I suspect ProRes will not take over the image acquisition market the way CDs replaced the LP, as Tomas was hinting at, because there will for a while be plenty of DPs who prefer to shoot RAW.
And with the whole FCPX issue, there are now more and more editors moving away from FCP and towards Premiere Pro, which largely obviates the need for ProRes in the first place.
Then that was my own misunderstanding. You highlighted ALEXA specifically so that's where my brain went.
I agree on it not taking over dramatically. Just imagine what will happen when the ALEXA starts shooting DNxHD natively. But in ARRI's defense, the post world as we knew it when the Alexa was introduced/being developed was very FCP-friendly. It would probably be a much different story if Apple released the 64-bit Final Cut Pro 8 that was rumored to exist at one point. We probably wouldn't be having this conversation.
And you are correct that it doesn't support ARRIRAW. If you're interested, here's the list of tools that do: http://www.arri.com/camera/digital_cameras/technology/recording_formats/arriraw.html?no_ca che=1&product=10&subsection=arriraw_processing&cHash=e37c77a92b234def5655a1b62de72996