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I just had an "on the record" conversation with the a canon rep today on the show floor and brought up the whole "lack of 4k across the board" issue. They told me that the Japanese corporate people just don't get it but now are seeing some serious impact from Panasonic and Sony. He said their philosophy is that people who buy 77d and t7i don't need 4k but I said the 80d is a great video camera and they should add 4k to that model. He said a 90d with 4k would make sense but not to get our hopes up. I also spoke to a Panasonic rep today who told me that he was on the airplane sitting next to a Canon rep and the Canon rep told him "you and Sony are eating our lunch in the lower end and the a9 is a serious hit to our high end." The Panasonic rep said this is the first year that Canon reps have the humility and lack of ego/ pride that they normally do. Also, I spoke to the Canon rep about the c100 mk3. He said it does exist. It's just not here and he couldn't tell me when we will see it. He couldn't confirm any specs. I'll try to dig more on them tomorrow

I belive that I made the first cooking GH5 video :-D Shot L 709, 4K 24p and 60p + 180FPS. Lenses: Samyang 12mm T2.2, Panasonic 25mm F 1.4. Edited in Vegas Pro 14. Lets see my wife's carrot cake!

A well respected member at dvxuser wrote this earlier "Just got this info about the new camera. It will have a S35 sensor and 14 stops of dynamic range. 4k up to 60fps. 1080p up to 120fps. All the usual stuff like ND, SDI/HDMI out. The body is very light weight at about 1 kg. Media used will be SDXC cards with dual slot capacity. The camera pars can be broken down and the shape of the camera is a mix of C100 and FS5. As is the price in the league of a C100 mkII." Would be pretty amazing if true

Back in December when I had to shell out cash to build a new machine to handle 4K I was in the same boat- really disappointed that the software was so slow and buggy. I slowly learned what made it crash (such as using Matte Soften in Ultra Key!), and they've slowly fixed it. I haven't gotten any nesting crashes lately, though sometimes I need to restart due to nesting bugs. Fortunately a restart fixes the bugs so far. I use Audition too, and also use Logic and Reaper (used to use SoundForge on Windows, and Pro tools long ago on OSX). For low-level waveform editing, what can Audition be replaced with? (don't say Audacity lol; not going back to Pro tools). What to replace Photoshop with? Especially what you can do with Camera Raw (I use it heavily for raw stills and also as a filter)? AE gets used from time to time too. Kinda hard to 100% bail on Adobe subscription until there are more options for replacement apps.

The Japanese market is very different. I had discussions with Panasonic at the release of the VaricamLT and there are definitely features in that that are there due to other markets' persistence that the Japanese just didn't think was important. Interesting to see what transpires. Panasonic and Sony obviously get it now, and 'got it' a lot sooner than Canon

@Neumann Films I spent over $5K on a new computer to edit C300 II 4K footage smoothly in PP CC. I knew back then (December) that the 'old' 2010 12-Core Mac Pro with GTX 980ti was more than powerful enough (way more than powerful enough) to easily edit multiple 4K streams in real-time, let alone just one. I knew it was Adobe's software holding back performance since FCPX ran rings around PP CC for 4K footage in real-time on the same hardware. Now four months later, PP CC can edit 1-2 4K streams well enough that the new machine purchase could have been avoided, saving $5+K. The new machine is still useful, as it is much faster, however it's no longer required to do basic 4K edits. The latest release may have also increased rendering export speed (didn't notice until recently, 2x real-time 1080p on the old machine). It also looks like they may have improved Ultra Key (fine hair detail seems to look better). @SuperSet since the GH5 footage edits fine when rewrapped into MXF (don't transcode! waste of time and quality loss; solution posted on this site for PC users), the GH5 fix for Adobe is trivial as far as code changes. However, the QA process takes a long time for something as big, monolithic, and ancient as Adobe's code base. I've done everything in software from development to executive management. It's absolutely not up to developers what gets done. It's up to executive management (who are typically given filtered info from middle management). Unless the executives are code-savvy and technical (surprisingly rare in tech companies, believe it or not), getting things fixed and the right features added is sometimes very difficult for large companies. What other large company is doing better? Apple? Microsoft? Google's software is terrible, lol, not even a contender. Why? Internal politics and they are making so much money from Big Data sales it doesn't really matter. I too used to get into a 'rant state' with software vendors (probably the most with Microsoft in the past), now I just figure out (and share) solutions to work around the issues since there really aren't any other options. Adobe's code base is so old it's very hard to work on it. They really need an all-new ground up rewrite (as was done with FCPX). The challenges are many. First, great software architects are very few. Most of them aren't working for big companies, being smart enough to know they can make way more money in a startup (of which they are part or sole owner). Only when there's a truly drop-in replacement which can compete with Premiere will Adobe be forced to make big changes due to lost revenue. Resolve could do that someday, but they are currently far away in performance let alone feature parity. FCPX on OSX is decent, but still a ways off in features (especially color grading without add-ons; even so still prefer Lumetri in PP CC). For now, use the MXF rewrap tools for GH5 footage- no loss in quality and as fast as a file copy. The issue is with Adobe's format importer. The MXF code path can handle the GH5's (industry standard, nothing new here) 10-bit H.264 (the MP4/MOV importer code path cannot; probably a simple 'one-liner' code change to fix it by the way (perhaps as simple as a switch to handle the FOURCC format type for the video stream). It might even be possible to drop on the appropriate DLL (and perhaps a config file) from the prior release to fix it...

That's tech, man. Nothing is an investment anymore. Looks like some awesome updates to what was already a solid editing platform. Audio and performance on sub-par machines were my main complaints, so this is like someone read my letters.

Dave "Fake News" Altizer

Not bashing Sony. Just think they should live up to the expectations that they have set. I switched to Sony because of the innovation and the ridiculous amount of features they jam into a body. We live with the quarks because of this. But now, they are leaving good features on the table.

Why not include something that it almost every camera they make? At first I thought how Canon. Then I thought this is worse. Canon cripple lower level cameras by leaving features out. Sony's self claimed first truly "pro" camera, leaves useful features out that are found in lower level cameras. Wtf? The cannibalizes other models theory is the only one that makes sense.

LOL, I meant the old fashion way where you just let the shutter run, it can do up to 15fps, is that not enough?

@Kisaha, to start working with Ambisonics, get http://www.reaper.tv/ and http://www.ambisonictoolkit.net/. You can place mono and stereo recordings in 3D space, then render them out to stereo, binaural 3D (for use with headphones, using an HRTF to convert to stereo will localize the sound in 3D- left/right/up/down/front/back vs. simple stereo or 5.1/7.1 etc. (which are planar 3D- no elevation)). Putting together single full-sized mics to get an Ambisonic recording might be challenging (physically). The best way at the moment is with 4 bare mic capsules arranged in a tetrahedron. This will capture "A" format (4 channels). The Sennheiser plugin converts this A format to "B" format (still 4 channels) which can then be manipulated by Ambisonic processing- placing the recorded source in any 3D location, simulate any kind of mic and mic direction, etc. You can also get pretty cool 3D like results with a mid-side recording. This is typically a shotgun/hypercardioid and a figure 8 mic. Use http://www.voxengo.com/product/msed/ to adjust the sound field of a mid-side recording in post. With speakers and headphones, some of my mid-side recordings sound ultra-real in 3D, meaning you'll turn around thinking something recorded just happened in real life. I experimented with mid-side using directional mics and a cheap ribbon mic (figure 8) and it sounded really good, so I purchased an Audio Technica BP-4029 which works well on camera too. In post you can get a tight shotgun, wide stereo, or anything in-between, and it can sound very 3D/real. The Ambeo and all tetrahedral mics (4 capsules) are the 3D extension of mid-side mics with two capsules. More info here: https://en.wikipedia.org/wiki/Ambisonics

Bollocks. Not only they have Picture Profiles in RX100, but they made a big deal about 6K-->4K video during the A9 release FFS. They simply don't want video oriented people to get this camera. Had they included PP there would be very little point in getting the A7sii anymore. On the fun side, I just found the best feature of the A9 camera: They have an actual bar that indicates the buffer capacity. It feels like a (very expensive) first person shooter game: EDIT: It would be really funny if they had a temperature bar as well :D

Have you tried using Transform for getting motion blur in your Premiere animations? It's worked well enough for me recently.

anyone know if it's a 1080 screen like the 502? or is it 720 maybe?

Doesn't sound that likely to find.

800 nits is very good. The average computer monitor is only 300. The BM video assist 4k has poor viewability outside from what ive heard

I've been pushing for that now for years. Would be awesome. They've actually come a long way in incorporating features from AE. Other than motion tracking, the only feature that keeps me going into AE is motion blur.

Check out Affinity Designer to replace Illustrator: https://affinity.serif.com/en-us/designer/

Just tried the demo for Reolve 14, think it's spectacular and I'll be migrating from Premiere, after a decade or so of using it. It's MORE forward thinking than FCP-X, as it actually has a real NLE for audio and proper grading that makes sense. $299 has made the decision easy. At $999 I'd have left it to be honest, so I think it's a great idea. With regard to depreciation: that's part of the system. Sounds harsh but you have to suck it up. It's all going to keep getting cheaper and that's a good thing. Try buying a Sony camera, you'll lose a few grand in a year. Don't mention a new car! RE: Avid, AMA is cancer and for me Media Composer is as backward looking as it gets, IMHO.

Avid publish recommended specs: http://www.avid.com/media-composer/specifications But you could get away with less. I've personally never had much issue. Given you can get a (admittedly crippled) version for free, I'd definitely recommend anyone download it and give it a go. There is a learning curve, but stick with it... Avid also tend to listen to their users (for the most part), which is a good thing. Unfortunately, I don't think the market for NLEs provides enough money to make it as most would want....

Bought a book for Affinity. Found, that almost everything is covered. No one should subscribe to PS if he doesn't already know it, he should start with Affinity. Some things work better (for me) like refining masks. However, there is one thing I don't like: updating changes is slow. I mainly use PS for raw stills. ACR has a page with HSL sliders (don't know the name off the cuff) where I practically "grade" my whole image. Didn't find that particular tool in Affinity Develop. But who knows, perhaps this is just the famous quest for the blue button ...

It's not so simple to say good bye to Premiere CC because of two simple facts: There is a bunch of very useful and well done third party plugins for Premiere, not existing for another kind of software than Premiere Familiarity - most people are already used to the GUIs and workflows. Getting the same abilities for another software takes time and efforts (and at the end of the day, every piece of software has its weeknesses and flaws) In my eyes, there is no "holy grail" in this market...

I am quite sure when the A7R m3 / A7S m3 (or A9R / A9S) will be announced with improved ergonomics and features will cost 3.900 - 4.500 USD... there will not be 4.2.2 10bit internal recording (4.2.0 8bit only) Improvements I wish: Battery life, PDAF on the A7S-version, touch screen (tiltable), usable LCD-Display in daylight, improved IBIS. But hey guys, let's await the cameras - at the end of the day all of us (mostly) already have decent devices to shoot with at the moment and nowadays are great times for shooters, as there are many camera options from 500 USD to 70.000 USD (and of course more) on the market, already covering all requirements, needs and wishes...

12mpx, 4K60fps, PDAF, A9 body (battery, dual card slot, extra controls) etc., electronic shutter, but artificially limited FPS to something less than 20, possibly a full size HDMI and some other port instead of ethernet and flash ports on the A9

The swivel mount is a brilliant addition. Can't believe nobody else thought of that before. This looks mighty interesting...

I like the size and the fact that it boosts your whole systems power capacity is cool.. but for that price Id be looking at a Used BM 4k Assist.

Johnny do you work for Moza? I remember dealing with a Johnny from Moza during the Moza lite pre order debacle and wondering if your the same guy.

Of these, Blackmagic's really the only company that has traditionally announces camera slates at NAB. Usually these companies prefer their own event or IBC. The new Panny looks good but perhaps they're not ready and/or are after an audience a little more in-line with who they're but targeting. Also, most of these companies already have relatively new cameras, and usually camera manufacturers don't supersede or replace particularly quickly anymore (unless you're BM), especially when there's not all that much more to offer in the grand scheme. And btw, Arri did release a new camera. And Sony released the A9. I think there's heaps of exciting stuff from NAB this year, and I'm looking forward to seeing Panasonic's new cam. I wouldn't call it a bust at all. Sure, there are significantly fewer new cameras announced, but you just can't have a slate of new cameras every single year.... Took them long enough! Seems they're finally hitting their stride. Hoping for good things. They've always made really good cameras, they just went through a weird and incredibly slow-to-adapt 5ish-year phase...

Expecting the color science we got to know from A7s and A6300 Gee, FS700 graded SLOG with internal 28mbit 8bit codec, if fed with enough light, looks by miles better than what I´ve seen from consumer range SLOGs.

Bummed?! This is amazing news for us poor people. My adobe student version I got together with a friend who was in college a year ago ended and she does not want to continue sharing as she has gone into script supervising. So me saving 600 a year on a suite plan. Great time to head into a fully DaVinci workflow!

Must get one of those Nocticron's..

This is capitalism.... You weighed up your options and decided it was worth x amount.... That value to you has not changed.

For me, Premiere Pro is rock solid. Resolve is a crashfest. I guess it just depends what each of is trying to do with it. I just can't move to Resolve for editing until they figure out another way around database-based project management. For those with multiple systems or offices, it's a complete non-starter

On the whole I like Premiere as an NLE and se it daily, the native grading is much better than FCPX's, but Adobe's atitude to bugs is terrible. There are still horrendous bugs in audio, the mixer and automation, if using a mixture of high DPI and standard displays and so on... The same bugs reported endlessley, thread after thread, year after year, no solutions. The same simple feature requests over and over, completely ignored... BUT WAIT! NEW MAGIC EDIT BUTON (or some similar gimmick)

Interesting they put a full frame lens like the 24-35mm on there, what are they trying to say? If it were Super 35mm they'd put the 18-35mm on it, surely.

Hypothetical question to pass the time: Would you buy this? C100iii with the c300ii sensor, but 1080p only (10 bit 4:2:2 internal) 1-120fps. Maybe 4K to external. This would suit most C100 shooters needs far more than giving 4K 8 bit 4:2:0

Seems the LUT makes everything... Orange.

You can read about it here: https://www.pugetsystems.com/labs/articles/Premiere-Pro-CC-2017-AMD-Ryzen-7-1700X-1800X-Performance-909/

Yes. There was a leak. I am not saying anything and I didn't post this. I may or may not have heard something tonight at a party It may or may not have been a reputable source but from what I was told it sounds like the perfect camera. We will see tomorrow

In this VLOG, Casey explains why he's shooting with a GH5. He also provides pros/cons of the GH5 vs A6500.

A great option, except for people like me that don't own a Mac

Adobe is very slow to upgrade things. I hate how you have to nest when adding some fx (stabilize and twixtor) to non native res files. Fit to fill sucks, max motion effect sucks. Ame has room to improve too. It should have pass through for audio (especially when you can only relink to files with same amount of audio channels DUH), same as source frame rate, and ability to add pre/suffix to file names. Edit ready is much better. The fan boys ruin it for those who want to improve the software. Customers need to be more demanding.

I know it uses GPU more, but it still relies heavily on CPU for rendering. I just switched from a GTX 570 1.2gb to a GTX 1060 6gb and my render times with HD pocket raw footage increased exactly 0%.

Maybe he means the Tascam DR-10CS? (or DR-10X) I've mentioned it a few times. Doesn't have a mic built in however. Tascam have a few models kinda like the H1 as well, like the Tascam DR-22WL. Saramonic is bringing out a recorder as well: http://ironfilm.co.nz/saramonic-sr-vrm1-new-xlr-sound-recorder-coming-soon/