The Future is an iMac, Thunderbolt Storage, FCP-X and a DSLR

[Misha Aranyshev]

Thanks! Great to hear! I’m definitely going to do so.

[Jim Bachalo]

As for FCPX being the panacea for all DSLR shooters I’m not so sure. In addition to the gads of missing features blogged about ad nauseum elsewhere, what about support for basic RGB custom curves or LUT import, to correct those flat picture profiles we need in order to extract the most out of the H.264 codec?

Local is the new global

[Douglas K. dempsey]

Good point Jim. I meant that reference to DSLR a tiny bit cynically, in that a lot of the DSLR shooting I see going on is a kind of “good enough” available light exercise in which the sheer low-light soft focus look of the ambient light overcomes the inherent limitations of those still sensors shooting motion and the codec issues you mention.

I sure wouldn’t buy a Sony F3 and then throw together an edit with no controls as you mention.

Who is the industry standard for high-end DSLR shooting of videos, commercials etc? Vincent Floret? What does he edit in and manipulate color in?

I read a short piece in COW, I believe, about Shane Hurlbut shooting his Navy Seals show with DSLR. He said he jumped from FCP7 over to Premiere Pro at the suggestion of his post guy, so he could work native in h.264 — which he stated was better than working in ProRes transcode as the ProRes was too contrasty.

I was under the impression that a transcode to ProRes delivered a high fidelity match to the original when done with Compressor. In my own experience, converting from HDV footage to ProRes 422 via FCP, rather than through Compressor, resulted in a gamma shift that made the color and contrast look wrong. Going through Compressor the footage looked perfect.

As you can see, I can get into so much trouble, you shouldn’t even let me near DSLR shooting!

Doug D