jgharding

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)

Hi all, Quick request: does anyone have any GH5 high speed files straight from camera they can share? Preferably v-log? Or indeed any straight from camera files they don't mind sharing. Trying to make a purchasing decision and any and all help is greatly appreciated!

yeah the ghosting is a shame. it's still a useful camera though for just working as a quick, single unit. Here's hoping the next version gets it right! Sigh...

Using C100 is what turned me on to ignoring sheets of numbers and start looking at real-world performance. It's wonderfully robust for such compressed footage. Stick a Ninja 2 on it with DNxHD 220x or similar and the footage is amazing, again, the pipeline has something good going on.

same with Amira. It's actually nicer in general using Amira ProRes than any Red Raw I've used. Just light-weight and amazing clean colour and range. Convenient and beautiful, what's not to like.

Looks nice! Does look very phone like, something about the sharp deep DOF, but proves you can do it on a phone these days if the aesthetic suits the content. Content wise that was full cave-aged cheddar, the orbiting the guy on a rock playing a mandolin actually made me LOL. But ya know, that's wedding films.

I'm currently using an Alienware, but when it comes to upgrade time I think II may be on these. They look great! That said, a 1060m ain't that beefy. I think the current Alienware have 1070 or 1080m as an option. Alienware tend to spec higher, but aren't as "mac like" as they're big and bulky. I was thinking of switching to Mac and then the new "pro" line came out... not convinced by them...

Have used two for almost my entire income for a few years. Talk about workhorses!

I've never found anything in the visual arts quite so easy to ignore as DXOMARK It's just so neckbeard and abstract!

My relationship with Premiere feels more "disappointed father" than "angry kid". Premiere is what I use for most of my living, but it does grate me. It's like: there's all this potential to totally integrate Pp, Ae, Audition and so on, to genuinely leverage CUDA and Open CL through the whole of the pipeline instead of doing it at select stages for select processes and pretending the whole thing is accelerated. There's room to take a fresh look at layout and streamlining. It's like they could build an amazing Russian wedding cake out of all these layers, but instead what happens year on year is a few more sweets are stuck onto each stale old victoria sponge. Even when it comes to tiny feature requests like one we've been bombariding them with for four years they never come. It still likes to ignore audio levels in the mixer on export, that's been in it for 5 version across four different computers and OSes for me... never fixed despite nagging. It still likes to reset your audio plugins completely with no warning, to output huge 0dBFS spikes when you enable or diasable, has laggy feedback when adjusting audio plugins... never fixed. The LUT import of even their built in LUTs on Lumetri has a habit of crashing... it goes on... But I'm of course supposed to be satisfied with an app for my phone that can look at colours and save them to the cloud. It's a bit like being a tax payer, you just sit there open mouthed at what they spend your moeny on and think "how is this a good deal?" Apologies for analogy overload. Proxy workflow looks good! Lolle.

The main reason for thinking of switching was the persistant bugs in Premiere. There are now some horrible bugs that I've been using workarounds for since years and years ago. They've been reported endlessly. Fixing these bugs is always ignored in favour of new flashy features. It makes me sad that they take in hundreds of millions a year and yet don't focus on solidifying core products, but instead spend fortunes on creating frivolous mobile apps and so on, which no one really uses outside of ukelele-soundtracked Instagram adverts.

Here's a screenshot taken today in CC2017. Mercury is alive and kicking if you have a PC with an Nvidia card. Of course it's not gonna work on a new MacBook "Pro" because they are toys for people who like to sit in Starbucks pretending to work... *LOLLES TO SELF AND DIVES UNDER TROLL BRIDGE* FCPX is very streamlined though, that's the benefit of coding to limited hardware, but I think they're really pushin it with the sort of "toy" specs in their new so-called Pro line. I was actually considering switching to FCPX and Mac before they announced the new line...

Since I'm not a US resident I feel quite positive about a Trump presidency. I hope it improves US/Russian relations and the situation in Syria. I'm sure Hilary would have been another four years of war with escaltion, her obsession with a Syrian no-fly zone would have lead to serious escaltion and maybe a new hot war rather than cold one. Perhaps if I lived in the US I'd feel differently, but I don't. If one ignores the hysteria and rhetoric coming from every direction, then from an international perspective it doesn't seem like a bad outcome. It will proabbly be more peaceful than the alternative. That's my two pounds.

It all depends on your business. In the last 6 years of pro video work I've never once delivered at 4k. For most work 1080p is still around.

LELELELEL!!!11one!1 1337 m£Mez

This tripod's pretty good, carbon Sachtler specced for a lot more weight than i had on it, the issues was i think it was knocked, a leg went down as it wasn't tight enough, or a cable got pulled... If I'd weighed it down though, it may have survived! You live and learn. The 18-35 clearly has a key weak point wehere the slim plastic joing the two metal parts (the main lens and the mount), I have a feeling if it were metal too it may have survived

This one was a smaller Sachtler model, quite nice but can get top heavy. I think the spreader could have done with being wider. It was either a trailing cable or a loose leg probably... a sand bag on the base likely would have stopped a tumble

A warning to others! Turn your back for a moment and things can go south pretty fast! This is a Sigma 18-35mm f1.8 in two bits! It seems it broke at the weakest point: THE PLASTIC The mount ring is metal, the lens body is metal, but the bit inbetween that houses the circuitboards is plastic and just snapped when it hit the ground, taking out the PCB too. Luckily all the glass is fine, looks like it nees a new plastic rear casing, some ribbons and a PCB. Still, always best to double check your support gear.

Yeah I'd love to see the whole of Camera Raw plus Lumetri all mashed up into one massive realtime colour tool. That'd be ace

Just a question really... I noticed it wasn't updated to 2017 edition. Personally I've mainly switched to Premiere's Lumetri, so never use it any more, perhaps that's why... Just looking for any more info if you have it. Cheers!

I enjoyed the guys delivery and attitude! As nice as the piece and idea is, the title's a bit misleading in a way. It isn't a comparison of 8-bit and 10-bit abstractly, it's just a comparison of two Sonys. Take some 10-bit ProRes out of an Arri Amira for example, I've run that up against 16-bit Red Raw from an MX sensor and the Arri is better and grades far more nicely in real-world situation (IE not purposefully smashing it to get banding). Or indeed 8-bit AVCHD from a C100 vs 8-bit anything else! The C100 has an amazing compression pipeline. But dip-depth is just one piece of the puzzle. There's bitrate and chroma subsampling too. Plus the sensor, AD conversion, gain stages, colour response and profiles, gamuts.... blah blah... I like that he talks about not transcoding 8-bit stuff. I've been saying it a lot, people waste masses of hard disk, thinking that transcoding 8-bit stuff to huge files is worth it. For my two cents, I also I grade things non stop as part of my living, and I hate most Slog and Sony cam colour with a passion. I wish I didn't though, as the cameras are cheap and high-spec.

hmm... a little disappointing, the 240fps is a massive quality drop, and those highlights clip super hard? Resolution is great in general though. Does the little thing have Slog2 or similar for bending those highlights down? Not that it doesn't come with its own warnings of course...

That's It looks nice, but it's SD by the looks of it, just scaled up. Also there's heavy aliasing in the colour drops in places. But yeah it's great that it's usable.

Usually i don't correct it, sometimes it's all part of the character, it's not often that i find it bothersome. If i do correct it i use the Premiere plugin, but it's extremely slow and needs rendering even in the timeline.

Half Life 3 confirmed...