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Addendum, I got my keypad working with some custom software to enable macros and it's a great compliment to the Speed Editor.. Post here:

WINNING! TLDR; The combo of a eBay keypad and the USB Overdrive utility (for Mac) is a winner with Resolve, and likely other NLEs too. Longer version.... My portable editing setup now includes the BM Speed Editor, the Beatstep controller and Beatstep Resolve Edition software, and now this little custom keypad. The keypad and USBOverdrive allows macros, so you hit one key and it sends the computer a string of keyboard commands. In combination with the keyboard shortcuts in your NLE, you can make it do pretty cool stuff. In the Cut page, the Speed Editor works in a certain way which creates limitations, and Resolve has a few bugs (in my version at least) that also limit things. I have set keys that highlight the current clip, trim start/end to playhead, then unselect all clips. Or similar but splitting the clip. Or similar but ripple deleting the clip. These are mostly workarounds to the peculiarities of Resolve and the Cut page and Speed Editor, but I think it's an excellent addition to using it. I can navigate using the wheel on the Speed Editor, hit a key and trigger a macro, and then fine-tune on the Speed Editor if further refinement is required, and then keep going. I had some, let's say, distracting, workarounds that I had to do in order to perform these functions involving not only having to take my hands off the controller, but also triggering my frustration with BM at not building things in more flexible ways, which really took me out of the zone!

I'd suggest that you investigate controller options for FCPX. I say this because: You tried Resolve before and it didn't take The Speed Editor is designed for the Cut page, and while certain things work in the Edit page a lot (most?) functions don't work there, or don't work in the way you'd predict / want The Cut page seems to do rather odd things sometimes (maybe this will be fixed in future versions, but I'll believe it when I see it) I have a love/annoyance relationship with Resolve and with BM. On the one hand, the power of the colour page is unquestionable and the sheer quantity of features in the other pages is undeniable. On the other hand, BM are a very take-it-or-leave-it company: they have a way they expect you to work and even though they could alter features to let you work a different way they keep the features so they work their way and make zero sense any other way they are a hardware company first and "cripple" Resolve to push you down the path of buying their hardware they are focused on the big studios and the "little guys" are the poor cousin who isn't well catered for I'm starting to really get acquainted with the controller and my work workflows and editing style now and I'm actually contemplating starting to hack together a controller setup of my own to "bypass" some of the Resolve restrictions. Specifically, Resolve has a number of UI features that can't be assigned to Keyboard Shortcuts, or are usable in one page but not the other (eg, Cut page vs Edit page). I'm pondering if it's worth my time to look into developing custom macros or whatever to get around these.

Sony shooter checking in - and I love zooms. I shoot the a7sIII, a7III (though that will the the IV soon, hopefully LOL!) and the a6300 for a small/light/cheap backup or tiny walkabout cam. Though I love fast, sharp primes and I'm a shallow DOF/creamy bokeh junkie, most of my work is with the zoom trinity for its versatility, and most of that is the 24-70. I can't imaging being an all prime shooter and all the lens changes LOL! But I've always tried to keep my kit mobile in one medium size backpack - so I can carry 2 or 3 bodies with lenses and a prime or two, plus my drone in something like a Lowepro 450 size bag. I've always worked best with the holy trinity - that's been a UWA somewhere in the 16-35 range (most recently the 12-24/4) and the standard which is the Sigma 24-70/2.8 right now. For the last year the long end of that trifecta has been the Tamron 70-180, which replaced the Sony GM and has been brilliant thanks to its size and great IQ. I use it a lot more than the GM since it's pretty much always in my bag. But Tamron has thrown a major wrench in the works with the new 35-150/f2-2.8 that has me seriously thinking about running a mostly 2-lens kit of the 16-35 GM/35-150 with 2-3 fast primes sprinkled in for smaller/faster stuff indoors or just for bokeh fun. The Tammy is faster than my 2.8 zoom through 60mm, but I'd lose a lot on the wide end and would need to carry a UWA - but realistically this could replace my 35/85 f/1.8's and the 24-70/70-180 with another lens on the wide end. I think LOL! There's definitely a mental barrier consolidating four lenses into one and workflow changes since I use the 24-70 on the wide end a lot. And with my first baby on the way, I want a fast prime or two for indoor low light shooting and some super bokeh shots of her little hands and feet and such. I've always been a 24/35/85 shooter, but there are just too many options to fill in primes around that 35-150 that I can decide, plus change is hard since I've had the trinity for more than a decade. One E-mount outlier is the tiny a7c 28-60 kit lens. Its ridiculously small, really sharp and makes for a great gimbal lens or just a fun, small walkabout lens. For a $250 lens used, its amazing. Cheers Chris

The main reason why your blog has become more and more obsolete is in my mind that the revolution with affordable cameras to shoot “cinematic” pictures with is over. It doesn’t really matter which one you buy these days, and that’s why the reviewers have changed to influencers pushing products. They’re all more than good enough to shoot films that can easily be accepted on to film festivals and streaming platforms. I usually shoot on Alexa mini LF, I’m familiar with the camera, it’s rock solid, easy to navigate, works with my ac’s WCU-4 follow focus, all that stuff. But that’s on commercials and the latest studio feature I’ve been fortunate enough to DP. I bought the pocket 6 pro this spring to use for personal projects and apart from less dynamic range in the highlights I’ve been able to match with my colorist to the Alexa 95%. That’s a 2500 $ camera. I’ve shot a no budget feature over the last 2 months on that camera. 25 shooting days, in all conditions, using only available light sources. It’s looking amazing. Can people outside of the industry tell a difference? Absolutely not. So - we’re in a situation where the gear doesn’t really matter anymore. Reliability, durability and support is still much better on the 60k+ camera systems, but the gear is not the obstacle anymore. Now - the advertising jobs still has clients and agencies that needs to feel like they’re money is well spent and love to see a big camera and wireless monitors on set. Big lights and stands and 12x12 frames and lots of assistants working. “We make real movie” attitudes. Depending on the client I sometimes ask the gaffer to put up extra lights and just turn them away so it looks more “professional”. But all that unnecessary performance doesn’t bother me. I get to try out new lenses, new support systems, new lamps, and I never went to film school so I use any and every opportunity to learn and develop new skills. And when someone pays me 2500$ a day I’ll put on a smile and try to make them as happy as possible. Which leeds to my final point. I can understand bitterness, it runs in my fathers family so I’m prone to it. But working with bitter people only makes me avoid any future relations. It’s destroying creative energy and closing doors to potential collaborators. Eoshd felt like it came from the heart, from true joy. Hasn’t felt like that for years. Whatever you need to sell, close down, pass on to move to a new place with joy and passion - go for it. Life’s too short bro.