But now, in 2013, a lot has changed. There are plenty of Alexas in India, and many have RAW recorders - Codex and Gemini. Also, scores of films shot on Alexa have been released and a few have also had commercial success.
Quite a lot of the workflow has been ironed out, but some holes remain. For a movie that will release tomorrow I did a fair bit of fire-fighting since the 'DIT' had somehow lost the source name while transcoding files for Avid. I really don't understand how these things happen.
Avid has a good set of resources on Arri Alexa workflows on the Avid site.
As usual, Oliver Peters blog is linked to.
I've put together a more detailed Avid-specific workflow guide...
For a movie shot on Arri Alex as ProRes4444 2k or ArriRAW.
On set sound mixer provides .wav files of recorded location sound.
DNxHD36 files get populated into bins by dragging the .mdb file to a bin, or
DNxHD36 files get populated into bins by copying them from the media tool to bin
Then he/she syncs each video file to the corresponding audio files.
Syncing by eye-matching with the clap on screen, or by matching timecode if sound mixer has managed to match picture timecode and audio timecode.
These are auto synced to get new autosync sub-clips.
Autosync sub clips are renamed as per shots they represent.
Editor's assistant then makes scene wise bins and populates them with auto-sync sub-clips.