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[quote name='endlos' timestamp='1354194534' post='22628'] And where is the evidence of that? Your not referring to the tired and outdated arguments against Final Cut X are you? [/quote] Right in front of your eyes! DVD Studio Pro has been discontinued. Logic hasn't seen an update in years. Same for Aperture. There hasn't been a proper Mac Pro update in what, 3 years??? The iMac is their fastest machine at the moment! They're obviously focusing all their efforts on iPads and iPhones and consumer stuff, I don't think you need any further proof of that... The Alexa has become a favourite in film due to its amazing picture quality, and in broadcasting due to its picture quality AND prores support. The RED didn't have prores until very recently and on paper it's always been better than the Alexa, but that wasn't enough for many top cinematographers. I'm afraid these specs are more closely evaluated by people like us than actually top cinematographers, because they just hire one of each and run a bunch of test shoots, and in the end their decision is based on the image quality when they run the tests on a big screen. High fps will hardly be a deciding factor unless the film in question relies heavily on it. I've worked on films where the RED was only used because it's easier to use for stereo shoots, not because of image quality, so that has been a huge advantage for them. Sony will have to deliver in image quality too if they want to succeed, these cameras are not cheap enough for the spec sheet reading enthusiasts and for the pros it doesn't really matter if they're slightly cheaper than an Alexa or RED. If they deliver though, then it might shake things up even more, and who knows soon we'll even be able to afford one! Canon's C series cameras are great at what they do, you could almost say they're perfect for a bunch of different tasks, including indie filmmaking (maybe 60fps would make them even more perfect), but looking at what everyone else has on offer at the moment, I don't think I'm being unrealistic when I say that all their C cameras should have their prices dropped to half.

http://www.youtube.com/watch?v=elBENYDLqB0 Again, getting the hang of shooting dual focus for an upcoming Neo Western film.

As of tonight, the new iMacs are finally officially available for ordering from the Apple store. The maximum configuration looks something like this: [list] [*]3.4GHz Quad-core Intel Core i7, Turbo Boost up to 3.9GHz [*]32GB 1600MHz DDR3 SDRAM - 4X8GB [*]768GB Flash Storage [*]NVIDIA GeForce GTX 680MX 2GB GDDR5 [/list]All for about $4,500.   Opting for 8GB of RAM (to upgrade later) and a 3TB Fusion Drive instead bring the cost down to about $3000.    Also, the Cubix Xpander is an external peripheral that allows for the use of second GPU, and the 10GB/s Thunderbolt connection allows for additional drives to be hooked up externally -- including the 12TB Thunderbolt RAID.   This all sounds impressive, but how future-proof (i.e. ready for the next five years) is this setup? I suspect that it can handle 4K ProRes, but what about 4K RAW (and Davinci Resolve)?   I have also been communicating with a custom PC builder on eBay who is going to spec out a workstation specifically designed to work optimally with Adobe CS6 and Davinci Resolve 9. I'll post the results of that when I get them.

  .... and that's a fact. If you have perfected the story and screenplay is screen worthy and the audio is transparent and grading is coherent then intercut to a few shots taken through the bottom of beer bottle if you want. It's the sum of the experience that your audience takes home not individual parts. 

I love Aaton for using the "like a cat on the shoulder" as part of their marketing: http://www.aaton.com/products/film/ :lol: only in europe

[url="https://vimeo.com/54325017"]https://vimeo.com/54325017[/url] This footage looks better than anything I've seen from the FS700. But, BMC still kicking both their asses.