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I'm thinking the 1DXII. Anything that helps me nail focus gets my vote, especially given that I don't want anything extra strapped to what is already supposed to be a stealthy R&G type camera. I also feel that 60fps is more accepted for feature narratives that 120fps but that's debatable. If anything, I'd miss the extra latitude of Clog but I'm willing to trade that for focus. After rocking the C100 MkII for the past 6 months full time, this is the camera I would move towards next. I want big fat files for the films I lens and I'm willing to accommodate for the storage. Like the 1DC, this camera seems to finally have put a racehorse within reach.

Exactly. And that the 1DX Mkii files are so much more robust for grading, serves even better. I can't help but wish this had been my camera these last year's... everything is a compromise

Can anyone comment on what has better low light capabilities, the 1DX MkII or the C100 MkII? I never take the later over ISO6400.

Axel, I can appreciate it that your trying to help and all but I wonder if you are going around in circles? Yes I read the 5DtoRGB manual before the transcode and, as I understood it, 'Full range' seemed the way to go. So that's where I went. My comment on 'someone bright' wasn't aimed at you, I said this because what I sometimes see in this forum is that some folks are a tad excited to contribute though they may not have the hard facts. Nothing more, nothing less. Maybe it's worth reminding ourselves that although we might like the world to be perfect, it isn't. I transcoded some material in the best way I knew how at the time, the world goes on.

Maybe someone bright can confirm? My understanding is that 5DtoRGB 'Full Range' uses the full 0-255. So everything that was recorded by the C100 MkII is retained in the transcoded ProRes material. This is what I'm sticking to until I hear otherwise.

Open program, begin working, but the first time I copy a clip from one part of the timeline to another it takes minimum 60 seconds for the clip to paste. This only happens with the first copy/ paste, the following ones are immediate. Never had this issue with CS6. Anyone experience the same? Solution?

After a 7 day render turning 1TB into 6TB, I can say that scrolling around on the timeline with ProRes is so much more fluid vs. AVCHD. Night and Day.

My thinking is that if they take the time to design a program on this level, they could easily build into it a simple option to allow us to target the folder we wish, instead of the program defaulting to its last target. Ah well. Thanks again.

Thanks Don, JG! Solution: Rename the offending folder. Delink (offline) the files in PPro. Point Media Browser to the 'correct' folder and link media to the correct folder. No need to move the media to another drive and relink there.

I have moved some material around on the drives. Somehow, when I reconnected the files in PPro to the media on the drive it only connected with one folder on the drive and now thousands of files in PPro are all linked to these same few media files on the drive. I've tried to use the 'Reconnect Media' function to connect the files in PPro but somehow it keeps following the same bullshit 'file path' back to the same folder reconnecting to the same files as before even though I am pointing it at the correct target folder. The only thing that works is the 'Replace Media' function. But this means have to connect every single file one by one. Does anyone know the way forward? Could really use a hand here!

Solution: Move the file out of the folder to another location. Import from that location. Golden.

Nope. I, like many other long term users, am distancing myself from Apple software.

I've tried the Media Browser method and drag and drop but no luck. The file plays fine in other players. Mac. Anyone?

Hi Andy, thanks for your comments. Footage is mix of 1080p flavours. XDCam 35Mbps, h.264 50Mbps, ProRes 422 147Mbps. System: 2013 MacBook Pro 16GB. PPro CC 8.2.0. Lacie Thunderbolt 5 bay. The drives are not in a RAID configuration. JBOD. I'm only editing while using effects, grading. Nothing over the top. Sorry I don't know the writing bitrates. I've been on this system for 2.5 years and it mostly runs flawlessly... except for the Mercury Engine thingy. My original question was to get a sense from others how they configure to make the most of their editing experience.

Right on Aaron. Thanks for jumping in. Good to hear that you don't think it matters much by dumping the 2 drives onto a bigger one. And your logic in splitting up the drives to perform different tasks makes sense as I've heard this before. Questions: A) When you say 'edit drive' do you mean a drive that holds your current moment by moment work? B) Where do you have your editing program writing it's cache etc files to? The 1TB SSD drive for system and programs? I ask this because in Premier Pro, the Media Cache folder defaults to the system drive and can grow to huge sizes taking up space. My plan is to placing Premier Pro's Media Cache folder on an external drive like the 'edit drive.' Though maybe it should be on another drive so read/ write is not in in competition? I guess I'm a little 'affected' by years of no sleep

37 views and no opinions? Alrighty then. I'll move forward by putting the the two 2TB on the one 4TB and see if I notice difference in performance. I imagine pro editors know the deal.

I'm editing a documentary. I picked up some new 1080p material and I need to make some space for it in the external Lacie Thunderbolt 5 bay. The drives are not in a RAID configuration. JBOD. 2013 MacBook Pro 16GB. PPro CC 8.2.0 Now suppose, to make space, I combined footage from two 2TB drives onto one 4TB drive. Can anyone comment on the speed and performance of editing when material is spread out over more drive vs. less drives? In other words, will I have a more snappy editing experience with material spread out over more drives (more heads riding the platters) rather than piling it up onto fewer bigger drives? Is the difference negligible or is there something to this?

More interesting story? Really? With six A7sII on your hands, I think you might find yourself wanting to buy a rope. Hey Dave, can you see if there is any juice in battery 786?

Nail your exposure and it holds up very well with decent highlight retention and rolloff. If it had another two stops of DR it would be a monster. Canon are working their mojo with this and it's the only image south of the 1DC/ 1DXII that I get excited about, especially when paired with the right glass. At the end of the day there is a lot to be said about usability when you are under pressure.

I imagine them sitting around the Tokyo board room table thus: "You say we put Slog in camera, will sell like hot cake?" "Yes. Hot cake." "And what about add strange colour and white balance also. Will be problem?" "No problem. Gimmick!" "Ahhh... gimmick. Yes." "What about next year?" "Lip my stocking function." "Ahhh yes... very good."

Very good. Thanks again Aaron and best wishes!

Each to their own, I only weigh in with my experience as a largely one-man-band run and gun doc maker. Sound is 70% of the film. People will watch a shitty picture with great sound but not the other way around. I would absolutely make sure I have a wireless attached to the people I am shooting. If this is not possible, you better have a sound man doing boom. If this isn't possible, and a camera mic is the only way, then I would be sure to use a decent mic with a more cardioid pick up pattern and then absolutely remember to stick close to your subjects. The Little Darling is a good idea but without being able to hear what is being captured you must make sure that there will be no clothing rustling (or anything else) against the mic when you mount it. And finally, the locations you shoot in will have a lot to do with the quality of audio you get, busy streets are always hard to capture reasonably clean discernible audio - whereas in quieter locations you will obviously pull in more clean stuff from further away. Good luck.

Right exactly. And it keeps all the clip settings in the projects and clips right?

I'm working towards a feature documentary with a master PPro project associated to all previously collected and organized material. I've recently returned to base with new material. As I collected this new material, I would create a new small PPro project for each day/ night so I could review it, grade, etc. A lot of these new smaller PPro projects have settings, colour grades that I would like to keep. In going back to the main project, I would like to import all the new small PPro projects into the master project so that I can build everything in the master project. Is this possible? Do I need to be aware of anything in particular in moving in this direction?

No worries on the English lesson Axel ;), I appreciate your participation here. But in your latest comment here: "ProRes isn't known for being a particularly effective codec, it's famous for it's robustness." I'd have to question your words again because as I've come to know it ProRes is and has been an incredibly effective codec. That's why it because what it has in the world today. Maybe you mean something other than the word 'effective'? Class leading? Innovative? Ground breaking? Anyways.