Odyssey7Q+ & Alexa SXT - Matching File Names

Willian Aleman

Willian Aleman

Member
I’m a DIT based in New York City.

I’m in the preproduction stage of a film project using the ARRI Alexa XT.
For fast turnaround we are going to have the editor on set. The workflow design is based on having the Alexa recording in raw, (Open Gate) while having the Odyssey7Q+ as the external monitor recorder,
recording a low resolution ProRes version for the editor to start editing immediately without waiting first for the offload of the original camera media cards, and second for transcoding the footage.

For conforming purpose in post, I would like to hear the workflow of Odyssey7Q+ users here in terms of matching ARRI standard raw name as reel-name embedded file and the accuracy of it, to avoid the nightmare associated with mismatching file names and reel counter numbers.

I have been told that optional to the XML file the Odyssey7Q+ creates, it’s possible to manually set the file names in the recorder. In this case, do the file names have to be entered per file or is it done in incremental levels? Example: A001R1K1, A002R1K1, A003R1K1, or A001C001_160424_R28L, etc.

Thanks in advance!

Kind regards,

Willian Aleman
DIT (Digital Imaging Technician)
Data Manager
NYC
 
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Dear William,

For ALEXA's that can output ARRIRAW, then when the camera is in ARRIRAW Mode, we receive and use the filename from the camera.

But the SXT does not output ARRIRAW externally, so we can't obtain ARRIRAW from this camera.

With the Odyssey, you can set the first 8 characters of the filename, this is followed by a three digit number.
Regretfully, this does not match the format of the filename created in the camera.

You can run a test on timecode to see if using timecode will work for you.

You may also call me at Seven One Nine ---- Nine Three Zero ---- One Three Seven Six, Option 1.

Respectfully,


Dan Keaton
 
Dan Keaton said:
Dear William,

For ALEXA's that can output ARRIRAW, then when the camera is in ARRIRAW Mode, we receive and use the filename from the camera.

But the SXT does not output ARRIRAW externally, so we can't obtain ARRIRAW from this camera.

With the Odyssey, you can set the first 8 characters of the filename, this is followed by a three digit number.
Regretfully, this does not match the format of the filename created in the camera.

You can run a test on timecode to see if using timecode will work for you.

You may also call me at Seven One Nine ---- Nine Three Zero ---- One Three Seven Six, Option 1.

Respectfully,


Dan Keaton
Click to expand...

Dear Dan,

Thanks for your response.

My apologies for the delay in my response.

Our task in this project is not to capture the camera raw output via the Odyssey. In our case, the Alexa SXT is going to be recording raw internally via the SXR Capture Drive. So, we already have the raw.

The solution we were/are looking for with the Odyssey is similar to that of the Panasonic, Panavision, Sony and RED new dual in-camera recordings, where both the negative and low resolution files versions share the same metadata, making transcoding computation on-set and in post unnecessary and conforming to an efficient and easy process.

The most common and efficient practice for conforming in most NLE, like AVID MC, Davinci Resolve, Scratch and Premier is by setting up the application to recognize the file "Embed Reel Name.”
A = Camera Index, 001= Index Counter, and RK1K2, Camera ID: A001RK1K2.

It would be beneficial for Odyssey users if the Embed Reel Name could be extracted or transferred via XML to the ProRes files recorded in the Odyssey in cases where the HD-SDI output of the Alexa or any camera is not used for raw. Since the camera and the Odyssey work in conjunction with the start/stop trigger, timecode sync, and the fact that the Embed Reel Name is the one taking less characters, (nine, to be exact) the workaround might be to automatically match the reel-name format of the camera to the Odyssey's. However, I believe this would be a task for the developers. For now, it’s a wish that I would like to see in a future Odyssey firmware upgrade.

Thanks for the suggestion of giving the timecode a try.
Matching timecode is more common for syncing sound to picture and multi camera workflow. Conforming using timecode, presents different metadata issues, like repeated or drifted timecode among others.
However, I will give it a try to your suggestion and report back.

Thanks once again for the support.

Respectfully,
 
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Dear William,

I will check with our team.

The last time I checked, the ARRI ALEXA provided us with the internal filename, but on when outputting ARRIRAW.

At that time, as far as I remember, the Filename did not come over HD-SDI with the video.

I will be checking with our team.

Respectfully,


Dan Keaton
Convergent Design
 
Dear William,

I have checked with our engineers. They currently believe that the filename is embedded in the HD-SDI video and data stream.

I can't promise when we might add this feature, sorry.

Respectfully,

Dan Keaton
Convergent Design
 
Dear Dan,

Thanks a lot for your prompt response. Looking forward to the implementation of the feature in the Odyssey.

Yesterday we tried the Blackmagic Design HyperDesk Studio Mini. Like the Odyssey, it receives Start/Stop Record Trigger and Free Run Timecode Sync through the HD-SDI, however, the file name is not received. Meanwhile, we are still searching for a solution.

With the exception of the new professional camera supporting dual in-camera recording, this feature seems to be an overlooked by almost all manufactures of professional external video desk and monitor recorders.

Dan, thanks once again for your support.
 
Hi William,

I completely agree with you. I've done this on set with the O7Q before, but not aiming to reconnect later. Mostly for the purposes of seeing an edit and making sure we had enough before we wrapped a location.

But when we need to reconnect to RAW files, we use Q-Take.
http://qtakehd.com
 
abreu-canedo said:
Hi William,

I completely agree with you. I've done this on set with the O7Q before, but not aiming to reconnect later. Mostly for the purposes of seeing an edit and making sure we had enough before we wrapped a location.

But when we need to reconnect to RAW files, we use Q-Take.
http://qtakehd.com
Click to expand...

Hi Rafael,

Thanks so much for the info on Q-Take. This looks like the solution not only to this particular car commercial, but to the transcoding issue on-set, near-set and postproduction. Issue that producers, cinematographers, and DITs don't want to hear about it.

I'm taking a look at it. I'll report back after the trial version of the application.

Thanks once again for sharing your finding in the forum.
 
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Hi William,

Yeah, no problem. It's a great tool! Very helpful for setting up on set LUTs, making proxies with those LUTs, as well as on set editing and compositing. Super helpful for DPs to be working with the log image on camera, and have the DIT sending a LUTed image to director/client. This way the client gets used to seeing the desired final product in the proxies all through editorial, so when they get to the DI, that is the look they push for. Also, for directors it's such a powerful tool to have a rough cut of your scene right on set! Specially if you are doing green screen work, you can have plates composited right on set. Even if they aren't the final plates, it really helps!
 
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