Jim Giberti

Oh, that I can answer no problem (pretty sure I did earlier.)
No - FCPX cannot work with DNG RAW files. Shooting RAW requires Resolve (for most of us) to debayer and utilize the purpose and power of shooting in RAW.
But do keep in mind that most producers (even shooting ARRI, BM etc.) don't shoot in RAW specifically because of the workflow requirements.
They DO shoot in ProRes specifically because of the ease of the workflow.
Because we now know (little sparrows...not formally because NDAs exist everywhere - sorry if that upsets you) that it will provide the power/post capabilities of true RAW - it is better than Cinema DNG because of everything I just wrote.
Relax a little. Stop shouting hype and zero content.
Life is complex and doesn't always happen the way you want it to. Just wait a few days and you'll know everything you need to.
 

Oh, that I can answer no problem (pretty sure I did earlier.)
No - FCPX cannot work with DNG RAW files. Shooting RAW requires Resolve (for most of us) to debayer and utilize the purpose and power of shooting in RAW.
But do keep in mind that most producers (even shooting ARRI, BM etc.) don't shoot in RAW specifically because of the workflow requirements.
They DO shoot in ProRes specifically because of the ease of the workflow.
Because we now know (little sparrows...not formally because NDAs exist everywhere - sorry if that upsets you) that it will provide the power/post capabilities of true RAW - it is better than Cinema DNG because of everything I just wrote.
Relax a little. Stop shouting hype and zero content.
Life is complex and doesn't always happen the way you want it to. Just wait a few days and you'll know everything you need to.
 

What a shitty thing to think. The need to write it publicly is something you'll have to work out with whatever dark god you worship.
In the meantime, go take an exuberantly youthful selfie with your latte and shut the fuck up.

This will never happen.
A BM cinema camera by definition is about DR and color science.
The Studio Cameras are rec 709 burned in signals.
This is the next gen Pocket meaning cinema DR and color science in 4k. That's a given.
 

What a shitty thing to think. The need to write it publicly is something you'll have to work out with whatever dark god you worship.
In the meantime, go take an exuberantly youthful selfie with your latte and shut the fuck up.

Here's the thing that makes ProRes so slick for us (and I'm guessing many people.)
Shooting in ProRes HQ delivers a really solid "negative" that plays back in real time even on small MBPs in the field - and it's really fast to edit.
There's someone here that's ranting about Apple and ipods and whatever makes them see Mac as a scary clown face thing, but really they just deliver solid creative tools for a lot of professionals.

It could even be a conspiracy to steal young children but more than likely it's a new codec that bridges raw acquisition and editing in FCPX.
Why is everything always so tribal and conspiratorial? We've got enough of that crap in the political world.  
Apple has a shit load of FCPX seats around the world and most of them don't want to use Resolve in order to process raw footage and most production companies turning out most of the work don't deal with the raw workflow either.
So the logical conclusion is that Apple has developed a new codec for Their users to (potentially) utilize the strengths of raw in their current, preferred workflow.
The word "fool people" suggests people are so stupid that they'd use something they don't need or that Apple is working with Dr Evil to deceive the masses with their nefarious new codec.
I'm pretty sure it's just a new option aimed at serving their users (free update for us) and dear god don't let this be true - perhaps even increase their market share.

Here's the thing that makes ProRes so slick for us (and I'm guessing many people.)
Shooting in ProRes HQ delivers a really solid "negative" that plays back in real time even on small MBPs in the field - and it's really fast to edit.
There's someone here that's ranting about Apple and ipods and whatever makes them see Mac as a scary clown face thing, but really they just deliver solid creative tools for a lot of professionals.

Wow, my accountant is going to be shocked that we've spent all these years as part of a delusional side show.
Man am I glad I read your post.

It could even be a conspiracy to steal young children but more than likely it's a new codec that bridges raw acquisition and editing in FCPX.
Why is everything always so tribal and conspiratorial? We've got enough of that crap in the political world.  
Apple has a shit load of FCPX seats around the world and most of them don't want to use Resolve in order to process raw footage and most production companies turning out most of the work don't deal with the raw workflow either.
So the logical conclusion is that Apple has developed a new codec for Their users to (potentially) utilize the strengths of raw in their current, preferred workflow.
The word "fool people" suggests people are so stupid that they'd use something they don't need or that Apple is working with Dr Evil to deceive the masses with their nefarious new codec.
I'm pretty sure it's just a new option aimed at serving their users (free update for us) and dear god don't let this be true - perhaps even increase their market share.

This guy reminds me of every bad, psychopathic boss I've ever had. Which is 2. He reminds me of both of them.

Wow all three of these shots look like they came from a large sensor in Raw output! Just crazy good work with them, and BM is just amazing for what they produce output wise for the cost of these cameras.
Damn it I Need to buy another one! They are that good.

They really are amazing. Not as convenient or as loaded as some of the other cameras available, but for the price you cannot buy a nicer image. I think we all know that in this forum though.
THAT'S who she was calling. I thought she was calling B&H.

It reminded me of a spot I did recently. This is the Micro w/SB, Sig 18-35mm, Hoya ProND. I think your actor may have been calling mine

 

It reminded me of a spot I did recently. This is the Micro w/SB, Sig 18-35mm, Hoya ProND. I think your actor may have been calling mine

 

It reminded me of a spot I did recently. This is the Micro w/SB, Sig 18-35mm, Hoya ProND. I think your actor may have been calling mine

 

Yeah, it is a pretty great compliment to it especially if you're down resing the UM to 1080 which is the case with most delivery in my world.
The 60p is a big plus but it's also the new processing that get's that much more our of the sensor - and the sensor tweaking done for the BMMCC.
With skin tones it skews a bit green compared with the Pocket - an easy tweak in post  and there's a great LUT that we use with the Micro that gives it a great starting point.
Amazing little camera that is still way beyond any DSLR/mirrorless from Sony /Panny etc. for solid HD look, DR, color and grading.
Great looking shot. What sets the BM look apart IMO. What was your lens for this?

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.
 

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.
 

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. 

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
 

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
 

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.

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.