majoraxis

The key to getting the good video editing performance out of the iMac is having Late 2014/2015 iMac with the GPU video card with 4 mb of video ram and good amount of memory. The Late 2015 iMac with the AMD Radeon R9 M395X (the X version has the 4 gb of video memory) and 32 mb of memory with an internal SSD is great. The Late 2014 iMac with the AMD Radeon R9 M295X 4096 MB and 24 megs of memory is very good a well with Resolve 14. That's what I'm running and it of course it could be faster when you add plugins and multiple nodes of color correction, but for editing without effects if is a very good performer. Just remember "X" is best when it comes to 2014/2015 iMac video cards.

I know what I want for Christmas - iMac-Pro. The Apple product page mention 10bit color monitor and a brighter screen. I love my 2014 iMac with the GPU graphic card - it runs Resolve 14 well enough, but the magic for me (besides the screen) is I can carry it around from work to home and back in the original box and treat it like a laptop so to speak. Anyways, having that much power in semi-portable system is fantastic... am I the only one who carts their iMac around (daily)?

There are many great cameras that give great images under the right use cases and with the right accessories. What camera and lens combinations do you feel leads to making better creative/production decisions because of the shooting experience. For me the GH5 with old c-mount and adapted lenses is a great shooting experience. Lens that I was able to use hand held with manual focus are now not a wavy jitter unstable mess. So I can use a 50mm f.95 and it's stable enough with low enough rolling shutter that it can be stabilized in post if need be. It's nice not to have to pick stability over character anymore. I also enjoy shooting with the Black Magic Cinema Camera and c-mount lens. Though I would not want to shoot all day hand held, the weight of the camera, focus peaking and LCD, make it an enjoyable shooting experience. So far this has been my best looking footage, but that also has to do with the sensor. And I really like the view finder on the NX1 - that always drew me into the what I was shooting and made me feel connected to the shooting process, and the rolling shutter in 1080p 120 is excellent. So what camera makes you feel like you're watching your movie as you shoot it? And why?

I bought 2 pack of the 128 Lexar UHS-II cards a year ago and one die, the other one works without an issue. I would not buy them again. I also have 4-5 San Disks cards and have used the much more and none of failed yet and a few are a few years old...

That was a good read - thanks! Mark

Speaking of headphones... Waves has an interesting plugin that makes your headphone sound like you are listing to speakers in the room. You can also monitoring up 7.1 surround mixes virtually in headphones as well as stereo and 5.1 etc. I bought the version with headtracking blue tooth hardware and should have it to check out, next week. The pair are on sale for $69 for both the NX software and hardware here: http://www.waves.com/hardware/nx-virtual-mix-room-nx-head-tracker I bought from BH Photo and that offered free shipping. Not sure how long the sale will last, but from what I heard the combination is wroth sale price to check out and hopefully it will be a solution that will save me from having to install a surround sound monitoring system. There is also a plugin by Sonarworks that will equalize your headphones (the MDR-7506 are a support model) to make them as flat in frequency response as possible. http://www.sonarworks.com/headphones/old Both plugins are phase linear so they introduce very little coloration to the signal. The recommend order is WaveNX before the Sonarworks Headphone Calibration. If you add the Penteo Composer 5 for stereo to 5.1 up mixing software you can hear your stereo mix turned into 5.1 surround in just your headphones.... http://dev.perfectsurround.com/penteo-5-composer/

Thanks for sharing this! On the video, what is the order of the camers? Thanks!

Here's article on this top regarding us with older Mac Book Pros https://egpu.io/thunderbolt-egpu-for-mac-2017-update-macos-sierra/ I was thinking about the getting the Akitio Node Thunderbolt 3 https://www.akitio.com/expansion/node I wanted to pair it with the ADM RX480 and my 2014 iMac, but it is not clear to me that it will work or secondly that it will be that much faster than the 4 mb AMD 295x GPU already in the iMac... Anyone using and iMac with and Thunderbolt eGPU? Thanks!

@Imackreath - Perfect - thank you!

@Imackreath. If you could let me know if the EX Tele Conv mode that is supposed to have a 3.1x crop factor for movies, records in 4k and looks to be 4k resolution, that would be greatly appreciated. Thanks! Mark

Do you lock the door to your house when you go to bed at night? If so - why? I do because I feel safer. Am I realistically in danger if I don't lock it and I am fast asleep and defenseless? Maybe, maybe not. Do I want to find out if I am being overly cautious? I don't, so I continue to lock my door at night when I go to sleep. Am I xenophobic? Maybe, maybe not, but I sleep better at night with my door locked regardless of if my perception of what is and isn't a threat is realistic (or politically correct.)

When I think of cinema, I think of being sucked into the story and not having my attention torn away by some flaw in the story, image or sound. If the selected camera does not distract or detracted from the story being told, it is cinematic enough. The said from my personal experience shooting with different types of camera I found that the BMCC with an old canon 1' c-mount TV (15-150 f1.8) lens and other c-mount primes gave me what I would consider the most cinematic image as compared to the GH1, NX1 and the A6300 with their compatible lens. Order of importance for me is: 1. story and actors 2. lighting, composition and lens selection 3. camera and sound equipment. 4. post production

The Neway CK1014S should do 4K 60p with a resolution of 3840x2160 with a 10.1" IPS screen. There is s thread about it at PV here: http://www.personal-view.com/talks/discussion/15683/neway-ck1014s-10-3840x2160-ips-hdmi-2.0-and-3g-sdi-monitor/p1

The NX1 has great 120 with very low rolling shutter. The auto focus works OK with the Samsung 45mm. The NX1 is pretty tall/large compared to the a6500 if you are trying to fly on a gimbal. I would strongly consider the GH5, though AF performance is not quantified as far as I am aware.

Hi, There is a thread on Personal-view that has introduced a free set of input and output 3D LUTs to make video files respond to color correction like they were shot in RAW. These are free and available at http://www.logarist.com The video below explains how to configure your video editing software (in my case Resolve) so that exposure compensation, contrast and white balance (via offset) behave like they are working on a RAW video files. I tested it on files from my Sony A7RII with shot with the Still color setting and Cine1 gamma (as recommended on Logarist.com) and it worked great. I tried the same CC settings without the input and out LUTs and it still looked ok, but not as good, especially when there were any exposure changes. Besides looking better after color correction, the process of color correction was easy to get great results quickly. If you are looking for great color with 8-bit video files from your Sony cameras, I highly recommend you try it! Mark

Things I learned or got reminded of by this video as prosumer camera user. 1. Get your skin tones as close to perfect in the camera as you can and don't wait for post. White balance and tweak the picture profiles etc. 2. Grade in your camera's native or raw format before transcoding. Makes a case for recording to ProRes if you plan to transcode to edit before grading. 3. Bad glass and poor or wrong filters can mess up the look of way skin reflects light. Makes a case for straight ND as variable ND's can make an image look a little flat as they are made from polarizers that mess with reflections. 4. The sum is greater than it's parts - High res, slow motion video with great color/skin tones, low noise and high dynamic range is a hard combination to beat and something I and most other filmmakers want in their tool set.

I have 3 native Sony lenses that I use: 24-70 2.8, 35 1.4 and the 24 1.8. Unless it was in a low light situation, I would start and probably finish shooting with the 24-70. The image is solid and cinematic, it has weight and dimension. I looks great wide open at 2.8. I like having the ability to zoom for emphasis or necessity. I would start with this 24-70 G Master and then when the A7S III comes out next year - your full frame, low light, b-camera needs will be met when you buy one and stick the 24-70 GM on it.

@Andrew Reid Re: "AF works quite well with Canon glass" Would love to see an AF comparison between the G85 w/ Canon glass, A6500 w/ native Sony glass and 1DX II w/ Canon glass as well low light and rolling shutter... But for now, does the G85 with adapted Canon glass compete with the A6500 with native Sony glass regarding AF? If so, with with what adapter? Thanks! Mark

I'm very impressed with the Sony 24-70 G Master. It appears to be parfocal, focus by wire works well and autofocus with Sony A6300 and even the A7RII to a lesser degree is very good. At the long end, it has nice bokeh wide open with a 3D pop to it. Resolution and color are outstanding as well.

The Sony Zeiss 24 f 1.8 is also excellent e-mount aps-c prime lens. It can work as near macro lens as well - the one I have can focus as close as 3.5". I took off the plastic inset via loosening the 3 tiny screws at the back of the lens and this allowed me to use it with the A7R II in full frame mode with a 1.2 clear digital zoom to get ride of most of the vignetting. There is more distortion at the outer edges than with a full frame lens. Anyways, I would love to have the a9r as Andrew describes with the addition of on sensor variable ND and of course 4D autofocus.

Clinton Cash is the type of documentary that, at the end you read the credits and find out that they wind up in prison. The ending is not yet written, so they may get pardoned. We got lucky as to not have this level of coruption headed to the White House.

Looking forward to this camera. I hope they will have added in body image stabilization by the time they release it. That said if it has super low rolling shutter, I will make do without IBS as in-body 10bit 4:2:2 4K is irresistible in this form factor, size and weight.

Because Sony is continuing to sell the a6300, I have hope the rolling shutter on a6500 will be improved but not specifically promoted as Sony does not want to talk bad about a current product, I also hope the same is true for over heating.

I believe less jello makes it look better when stabilizing in post (of course!). So, probably near global shutter with post stabilization would allow you to tune the organicness of the motion if you want. I think that is one of the reasons I like the look of the NX1 at 1080p. Here's a comparison video with different amounts of rolling shutter.

Thanks Sony, for coming out with this before I purchased an G85, when the a6500 is really what I wanted in the first place. If they just improved the RS over the a6300, then I can live with managing the over heating (hopefully it doesn't) and I think this will be a camera platform to build on for a few years.