Jim Giberti

That's simply not true. We shoot all BM cameras and there's nothing like that difference between raw and ProRes - and I've tested the comparison for several shoots. Well shot ProRes is virtually indistinguishable from raw (to an audience.) Of course there are times (bright uncontrolled daylight) where the extra mojo of raw is great especially on skin- but it's nothing like the 2 or 3 stops you're suggesting. It's why most commercial work is done in ProRes - great codec and marginal difference in IQ - but a huge difference in workflow/deadlines. The strength of raw is it's malleability in post with Resolve. But properly shot ProRes has it's advantages over raw for much/most pro work.

Other than color science. That's an opinion that I've gained after trying to incorporate Sony cameras into our workflow three times in recent years. Great cameras. Lousy color especially skin tones and S-log is very challenging compared to other log iterations. Compared to most any modern Canon and all of our Blackmagic cameras, Sony cameras, from the FS5 to the A7 models etc just take too much work to get great color and even then it doesn't compare.

I've got too many cameras and yet not enough somehow. With BM Micro 4/3 and super 35 setups I've been missing the full frame look on a number of image/commercial projects. So much so that I've been looking at the 1DC for months and keep balking at the codec and dual card restrictions. But the IQ, I think, is still at the top of the hill for 4k and HD. So now I'm (holding fingers close together) this close to grabbing an 850. I've got a set of nikon ais primes and zooms and (my preference) Sigma Art lenses w/nikon mounts too. Plus, we're often providing high res still work for corporate client shoots and our 5D has developed the dreaded mirror lock up so it's that much more of an incentive for a real 4k hybrid.

If it aint broke...

They're a great tool when you need them. Like a lot of producers we have sets of NDs and Varis - Genus, Tiffen, Heliopan. I've tested them often for shoots vs the Hoya ProNds and Solas at various strengths. I like the Tiffen w/ a Hoya IR cut combo the best. The Tiffen is great, very little detail loss comparatively and that combo (on our BM cams at least) has a noticeable warming. Keep it at 4 stops and below and it's great on skin tone. I did a blind test here last week coincidentally, with the Sigma 18-35mm and MBSM w/ a ND16 ProND and the Tiffen/Hoya on a close-up and the Tiffen was the more flattering image. For fast changing location work they're invaluable.

Glad that's resolved and it makes sense to save the preset if that length of fade is something you're using a lot obviously. If I'm creating any effects of value I'll do them in Motion where the real tool set is and then publish them to the FCP FX browser. But you're geting in the groove now. Plusses and minuses considered, from media mgmt to the delivery interface w/ Compressor I find we get projects together and out a lot faster with FCPX than anything else we've used over the years - specifically Avid and FCP 7.

The easiest way to do that is Control/V to open the animation window above the clip. Then you have handles to drag front and back of the clip. To use this on other clips in the timeline just Command C and then Command/Shift V to any clip you want to apply it to. There is another step where you have to choose just Compositing from your options to copy but it's all fast...a few seconds.

While I agree that it can be less than intuiitve at times especially if you're coming from another NLE - like FCP, it is extremely fast and with the new CC enhancements and LUT support it's a pretty complete package. Because we work in Resolve as well (although I personally eschew that for the ease of PreRes HQ and FCPX) I get a chance to compare the two from time to time as I did just yesterday with a mixed raw and ProRes footage project. That's when you can see the benefits of the MT as you move clips around the timeline...same with connected audio per clip. Regarding Andrew's point on screwing with a music bed, I wrote a tute over at the Cow when we first migrated to X and there was a lot more to frustrate about. I developed a couple of simple work arounds, especially for people (like me) who don't have the time with project turnaround to deal with Roles as a way to manage things. Here's a simple way to secure a music track for instance, so that it's immune to being dragged around as a connected clip (as everything outside the main timeline is.) Start your project by inserting a one frame place holder at the top and drop in your music track. It will always be anchored to the top of the project as you build you're edit in the timeline. And even though I'm a music producer and work in Logic in the same studio w/ a mixing console, I've gotten really comfortable grouping distinct, multiple audio clips into compound clips where they become like tracks in Logic and I can apply Logic comp EQ etc to each group separately. Also Andrew, to ease the pain of the magentic approach, get friendly with "P". That will allow you to move things freely around the timeline like in other NLEs.

Like the EOS Spinner100 would have the same bearings as the EOS Spinner300. They just wouldn't put any lube on the 100 bearings.

Good overall point, I think, Andrew. I used to get really dissapointed in my fellow man/woman over their behavior and decisions until I finally came to accept the fact that a solid percentage of people simpy have below average intelligence - both intellectual and emotional. Walk into a room with a random group of 100 people and maybe 30 or so will have a difficult time with basic logic, reasoning and emotional judgement. And while accepting this basic math helps me remember that most people are reasonable and decent, it's pretty important, as a culture, that we encourage and promote higher thinking and ethical behavior. Unfortunately, too many corporations have become the biggest douchebags of all with no obligation to anyone but their shareholders. And thanks to them we have a big chunk of the general population that stares at little screens all day sending and receiving vacuous content and prattle. This guy is just another mindless douchebag who enthralls a lot of other douchebags, to the delight of media whores around the world. Idiocracy is looking more like a documentary by the day.

To clarify again - someone misstated that the Sigma 18-35mm doesn't have a filter thread. That's, of course, is worng. Of course it does - it takes 72mm threads and is the best lens IMO of any suggested here.

It's pretty much the same with TV isn't it (and hulu, netflix etc.)? There's a strong market for creative narrative. In fact you could say it's a hayday (boy am i old) for it. From GOT to Walking Dead and on and on. At the same time there's a proliferation of reality based programming with little attention to aesthetic and shitty, banal content from Honey Boo Boo to the Biggest Loser to the Orange Stain in the Whitehouse. But there are real markets for both.

FWIW, regarding the BMMCC/Metabones, I just set up a new rig with those. haven't shot enough with it but enough to really like it with the smallrig/ikan EVF setup we're using. Very affordable, really exceptional IQ, slow motion color science and dynamic range and the peaking is some of the best I've used. I shoot full frame Canon's as well, but I can tell this will be a go-to combo. Here's a quick first test of the slomo...nothing special. https://vimeo.com/202145227

Nice piece. As someone who consults on and creates messaging for state and national issues, this was hardly ambiguous and exactly the kind of messaging we fully support and promote. Good job.

Check out the RX10 II. It gets knocked by some people but after picking one up for a 2nd slo mo camera, I've been really impressed with it as an all in one tool. We primarily shoot Canon and BM cameras and have never been a fan of Sony clors but love their tech, so I got one with low expectations and thought I might just use it as the 2nd slo mo cam and then shelve it. I'm glad I didn't. Instead I spent a couple of days tweaking to create a solid PP and after a lot of testing I've ended up with a very solid s-log gamma/cinema color setup that gets consistently great results at 1 to 1 1/2 stop over, converted w/ Filmconvert, FJ Asst. Here's the positives that you probably already know: Maybe the best 1080 120p around Great 24p 4k when exposed and colored right. Almost ridiclulous 24 - 200 mm 2.8 glass Very customizable interface. Same great evf as the 7RII I got this for $900 open box from B&H and while I won't use it on commercial work, It's almost silly how cheap it is for what you can do with it. I did some close up model tests with it in the studio Friday and asked two peole in my shop what it was shot on, C300, BMCC or a Sony. Neither thought the skin tone and depth could have been sony and they were blown away, as was I, that it was shot on the RX. I looked at a ton of footage online and assumed it just wasn't going to be more than a specialty thing, but, not surprisingly it turned out that 99% of the people putting up footage really aren't very good at working with the codec, log footage and grading. FWIW, we start shooting on two docs tomorrow but I've choosen not to put this in either kit because I haven't tried to intercut the foootage yet and because it's only been a few days of testing. But I'll be surprised, given how fast I've progressed the look this week, that I won't pair it with a new A7S II as a small two camera setup. I could share some tests privately.

This a great discussion for me. I've been buried all winter and early spring and I'm just dealing with the reality of a second "A" camera that we need with growth. I didn't give it a lot of thought because I figured it would end up being the Ursa 4.6 given our experience with BM cameras and pretty much only shooting w/ them now. But being ever busier has meant dealing with the reality of time in post that has really grown w/ ur use of BM cameras - to the point where it's putting a strain on my small shop...and I've got a very streamlined system, CCing, LUTs in raw and Prores. I own a creative shop and our work runs from TV, web pre-roll and films for web and exhibition. Before BM we were all Canon and the two things that come up in this discussion - color science and build - really resonate. I absolutely love the aesthetic and codecs of our BM cameras...but that's about it. The simple point is, there is no other similar aesthetic to Canon's FF cameras, and I really do miss it. So now, with DPAF, touch screen 60p 4k and added to the mix, I'm suddenly thinking the 1DX II is my addition. So much of what we do in film is R&G and a lot of that is in physically challenging environments from Olympic venues to mountain top wind farms. I really like the small form factor for so much of this stuff and after rigging out a 4.6 w/ battery, VF etc. it's not just an $8k camera but it's not that simple monopod system for constant action and moving scenes either. Anyway, that's my current thinking. I love the BMs we have, but not the additional workflow and less than refined interfaces. Canon is solid as...well Canon. The look is there, more than enough for broadcast, coming out of the camera. Simple battery system, workflow etc. All of this of course balanced against incredibly robust codecs and DR of the BM cameras. IMHO though, one isn't better than the other - even 8 bit vs raw....certainly no the kind of image that comes out of the 1DC and 1DX, not for TV and computer screens. Again, thanks for the discussion - it's really helped with my thinking.

FWIW, experienced with both brands, that was the order I suspected - especially the first one.

Regarding why it makes sense to do business or not do business with a company, I/my company has been doing biz with B&H since we started over 20 years ago. I'm as agnostic regarding businesses as I am regarding a higher power. That said, while I/we certainly do a good deal of business with other companies for various reasons - I've done far more with B&H than with any other entity for our film and audio post studios as well as film and audio prodution. It would be fair to say I've spent a reasonable house mortgage with them over these years. I've never been treated with anything but respect and never experienced anything but great service. I've never had a single issue with their policies, products or staff. They're probably the best stocked and informed company in the world, all things considered. I say this as a pretty dogmatic non-dogmatic person, who believes that the world is a better place when we respect each others differences (as long as they do no harm) and as someone who regularly needs an item for a deadline a day or so before it arrives. I've learned to work with B&H's occasionally "unorthodox" (I know) schedule because of the quality of the business relationship we've had over the years. It's hard, in any field, to say you've never had a bad experience with someone or some business when operating at demanding levels over many instances. I can say that about B&H.

Depends on what kind of footage. If you mean ProRes, then sure - that's FCPX's native codec and what it will conform your media to on ingest if you set it to. If you're talking about shooting Raw, Cinema DNG, then no - FCPX can't handle that until you conform it in Resolve to ProRes

I've got most of the Aputure LEDs, except for the new fresnels of course. I most like the 528's and 672's because I like light and small and they're easy to power with Sony batteries. My favorite combo for soft light closeups and interviews is the new (95 CRI) versions of the 528W (flood) combined with their small and cheesy but very effective soft boxes. There's not enough spread and depth with the much more focused 25 degree 528S with their soft box. But the 75 degree 528W works great. Because we shoot in Film/Log mode @ 800 base ISO, you actually need to dim them in an normal shoot, even with the Flood version and diffusion. But, the bottom line is I have one kit with a mix of 528 and 672 panels and the light is clean and punchy as well as clean and soft. They're all on small but sturdy Giotto stands. The non-Aputure LEDS I use with them are a few Ikan iLED6's that are also 95+ CRi, focusable spots that go from 15-60 degrees. I always use them spotted for backgrounds, rim, hair and accent. They also run on Sony bats. All told I carry 10 panels and spots and batts in a single Ape case that can light a small to medium set with no wires and really great IQ. We probably adopted Aputure lights earier than about anyone else in the west going back to their e original 528s, and they've never failed once on a lot of less than ideal locations. I sold all of our tungsten Arris and original CoolLights a while ago. I still use the originals with a simple 1/4+ green gel insrted into each and they match great with the newer models. We're serious Aputure supporters here at The Imagination Company.

If you've shot with the Pocket (we use a couple) then you've got it rigged for your uses (we have one in a cage and rails and one moves around.) Both have MBSBs and we pull maunal focus. That's how you use these cameras. They have shi*&y little buttons and a horrible screen and no variable frame rate beyond 30. So if you love the look and codecs - which is why we all love using them - then you work with the limitations. So logically, especially after refining their camera/feature chops wih the new Ursa Mini, EVF and Video Assist, if they built a Pocket II with a VA level screen, a bit more mature interface and (of course ideally) a super 16 crop version of the new 4.6 sensor - you've got the camera of the year for this market. It doesn't have to be fieature rich for people who already shoot wih their cameras...like you would with film cameras. They just need to mature it with the tech and functionality they've come along with. I think we'll see something like this at NAB.

This has all been conveyed to BM directy and indirectly many times. What they do or don't do..... I'm not sure what you mean by "again" regarding Sony. They're very diffferent cameras and companies in about every way, and if IQ is your concern then there isn't any way Sony is going to be stealing any thunder from them. If affordable, feature packed cameras are your desire then Sony will release another three or four of those before I finish typing this.

Just for accuracy, the crop on the BMPCC SB is 1.67 which is that much closer to APS-C. It's been misunderstood using vertical vs rectangular sensor measurements and Brian's admittendly inaccruate stats on the original SB page. But the calculaion is as follows: BMPCC SB affect on any given focal length is x .58, multiply that number by the sensor crop, which in the case of the BMPCC is 2.88 to a full 35mm sensor. So, for instance a 50mm lens on the BMMCC with BMPCC SB is 50mm x .58 = 28mm x 2.88 = 83.52. This is why the Sigma 18-35mm is such a great one lens solution for these two cameras with the SB ad MB dumb adapter. With the MB SB It gives you a relative 30 - 58mm f/1 lens and then with the dumb adapter a (rounding off) 52mm - 100mm f1.8