Clayton Moore

I think that Apple's entry into the world of Hollywood content creation is part of what this is about. Adobe, Black Magic, and AVID are already to release versions that run on this. When you think about it, for Apple to be in the movie business and not be able to market Apple pro-video technology in their usual sexy way would be lost opportunity. I predict that in time the "consumer" iMac will fade as their mid-level market will hollow out and leave the high end like this and mobile / portable market and thats pretty much it.

One would almost think Canon was saying .... "OK FINE here is a full frame mirrorless system now shut up and go away." Then price it so it never really catches on, but at least they could say they released it. Crazy I know ........ but those are crazy prices.

It cannot be argued that when technically they do what they want and don't, that its a marketing / political decision. Canon today could have dominated the LSS camera space at $1000-$3000 but the simply chose not to. Every year they keep passing on it. I do feel there is one element to it, camera manufactures (across the board) are struggling to move product right now. The market is moving so fast that people are to some extent sitting on their wallets.

I got a late 2013 MBP i7 with NVIDIA off eBay recently - both FCPX and the new Resolve 14 Studio run just fine! We got Resolve and its dongle with the purchase of our original BM Cinema camera. I have both a Thunderbolt and USB 3.0 Raid and its all humming along fine. I use Adobe for Photoshop and Premiere only if I have to.

For what its worth. Some cut and paste from a Larry Jordon Blog on NAB: "While Apple released a minor bug-fix update two weeks before NAB, the more interesting news came from an announcement and two employment “leaks.” The announcement, occurring during NAB, was that Apple Final Cut Pro X now has more than 2 million users. This equals the number of Final Cut users during they heyday of Final Cut Pro 6/7. This is a significant number and not to be minimized. But, to me, the really exciting news from Apple wasn’t an announcement, it was a “leak.” As NAB started it was discovered that the Final Cut team had added Wes Plate and Tim Dashwood to their ranks............ ....................It is impossible to overstate the impact these two people could have on FCP X. Wes Plate ran Automatic Duck for years, specializing in moving projects between applications. A few years ago, he was hired by Adobe for the Premiere team, where he helped redesign how Premiere imports media; basically integrating most of the features of Prelude into Premiere. Now that he is working with Final Cut, my expectation is that the application will start to improve how it moves media and projects between applications. FCP X has always been weak on this score, relying on a host of third-party plugins. Tim Dashwood also ran his own development company – Dashwood Cinema Solutions – for a long while. I first became aware of him with his utilities to allow Final Cut Pro X to sync and edit Stereoscopic 3D video. Since then, he’s been working with virtual reality and related media. While Stereo 3D is still relevant, my guess is that Tim will be looking at how to improve Final Cut’s ability to handle 360-VR, ambisonic audio and extend that into AR (Augmented Reality). Especially since, when it comes to VR, Final Cut is running a distant third behind Adobe and Avid. It is now a four horse race: Adobe, Apple, Avid and Blackmagic Design." https://larryjordan.com/blog/thoughts-and-highlights-from-the-2017-nab-show/

Not only did Resolve 14 Studio see my GH5 10-bit files but it played them back, smoothly (from the freeking SD card) !!! C4k and UHD.

The way it always worked at Apple was that the engineers were always tasked with what I call new software bling (new cool features) those always had to work out of the box. Bugs always took a back seat, even though that had already been around for a while. It could easily be end of the year before any of this gets fixed.

Did anyone see the post on SONY releasing a firmware upgrade for the FS5 and PXW Z150 that will enable Hybrid Log Gamma (HLG) later this summer? I wonder if other then the announced HLG upgrade for GH5 that Panasonic may be planning that kind of thing for their existing large single chip lens integrated camcorders as well.

Wow this is exciting for sure! If you read between the lines, its a shot across the bow to the main mirrorless competitor (SONY) - who knows what Panasonic may have in mind. Id bet that even their camcorder lines will benefit as they become more lean and focused as a company. This is not likely a decision that was made in the last few months (of course) so they may even be more interesting things in store update wise for the GH5 then was previously announced publicly. Either way a GH6 down the road and who knows what all? By doing this, they are clearly in a place to raise the bar in the market. VERY interesting and not negative news at all for us.

Outstanding point.

Andrew your past comments about what Canon could have done but did not make me think that for SONY to enter the GH5 arms race presents more of a marketing challenge then a technical one. if SONY makes as significant an improvement in things like image and rolling shutter and all of that (in a full frame camera) how is it that --- (given the right glass) the image would not now become indistinguishable from SONYs own way more expensive super 35mm LSS camera line. As we have seen, Canon would never do that, certainly not for a line of cameras that already starts at under 3k. We all know what canon could have done but did not. What now will SONY be willing to do that Canon has not and how does this not present a challenge for them? Panasonic still has the difference between a M 4/3s sensor and a super 35mm sensor but a FULL FRAME camera is a whole other deal. Your thoughts.

Thats actually a good point that Id forgotten.

It does not in fact make sense for BMD to hurt their professional market. BUT they could easily do a mirrorless sized camera with some upgrades without going all the way there. Or they may choose to go the Canon route (at the consumer price point) and instead put ALL their camera resources to slowly ramping up their professional line to eventually go head to head with people like Canon but at a fraction of the cost. Professionals in the industry may not see the Ursa the same was as they see Canon C300/C700 right now, (for whatever reason) but Id guess its just a matter of time and maybe not much time at that.

Indeed, for web delivery all this testing is pretty much nonsensical. In fact I find the whole idea of these tests zoomed in by 400% or whatever a bit absurd as well.

I never thought of it that way, I would say that they do tend to favor SONY quite a bit from what Ive seen.

At the very least don't you need to wait for the 400 Mb firmware update before you can make and observation on what the camera is capable of? And yes Andrew as it pertains to comparing a $2000 camera to camera costing $28,000 is a bit .... er .... absurd, I'll quote a friend who made some observations on a few flaws in the test: "Canon freely admits they go to great lengths to make fleshtones look good no matter what. Their entire color science is oriented towards that. " He also said: "The "vertical aliasing test" is a actually a test of *horizontal* resolving power and aliasing." He said much more to me but I wont quote that here.

I'm sure that full size was all they had -- which of course means of they were forced to, they could figure it out. Ha!!

Ive been living with Mini HDMI and MICRO HDMI and yes I know about the physical constraints but still - my little Canon HV30 had a built in lens, a tape drive & a full size HDMI port. Just sayin……… ;-) C

Ive been living with Mini HDMI and MICRO HDMI and yes I know about the physical constraints but still - my little Canon HV30 had a built in lens, a tape drive & a full size HDMI port. Just sayin……… C

I understand Canon is saving the real video muscle for "Cinema" line, at least as far as large single sensor interchangeable lens cameras. But, I'd love to have a nice compact ENG style camera in my arsenal. RIght now its either SONY or Panasonic in terms of new 1" and micro 4/3 sensors. Canon has the nice color and good glass, they just need to decide to update their standard camcorders. Could they be super competitive in the $3,000-$4,000 of course, if they actually wanted to. All the XC10 does is make me wish they had a camera, they don't yet have. A (4K) 13 stop, C-log, version of an XF-200.

This is one of those - lets see what this looks like. After all "life" goes by faster then 24fps.

I appreciate the comments!!!! Thanks. This guy .... http://dslrvideoshooter.com/guides/ .......says in his GH4 and G7 guides he shares what he has found for less cost, but you have to buy the guides to find out which one he recommends.

Im familiar with the Metabones speed booster but have heard of other somewhat less expensive versions. Does anyone have one they use and like?

I cant possibly see how they can engineer a 6k10 bit codec into a camera with a small form factor. Also is there any SD form factor storage that could handle a file like that? Nope!

Enough CPU/GPU grunt plus a fast enough and wide enough bus to process uncompressed video at 1.5–6 Gb/sec. That's asking a lot of a mobile phone/tablet.