[Craig Seeman]

Interesting that the apparently small changes require Libraries to be updated.
It’s not really a concern so much as just an observation.

[Craig Seeman]

No experience with it but it would seem to be the closest “natural” upgrade to the venerable EX-1.

[Craig Seeman]

I can’t speak specifically to the PMW-300 but in the several Sony cameras I’ve used I’ve never seen an option that retains peaking when using expanded focus. It certainly could be useful though.

[Craig Seeman]

You might be able to trim them in Telestream Switch
Otherwise, I assume any good NLE will do this but perhaps Media Encoder doesn’t handle it?

[Craig Seeman]

[Gerry Fraiberg] “Under Performance we see:
DaVinci Resolve Hyperlight “

Perhaps Apple is concerned about Resolve users jumping to Windows.
After all, us FCPX users are captive.
In the lead shot of the iMac, as it cycles through, there’s a shot from FCPX followed by Logic.

In any case, Apple doesn’t seem to market FCPX that much. They seem to leave that to “the community.”

[Craig Seeman]

[Tangier Clarke] “It’d simply be in mov form and not camera card original form.”

But another NLE may not like the camera codec in a mov container. It’s too hard to predict where the industry will years forward from now.

[Craig Seeman]

[Joe Marler] “I think there’s probably a greater chance of a future request for some slight change in the project,”

I’ve had a few clients that were creating entirely new projects and wanted shots that may not have been used in the original. Sometimes they’re looking for things left “on the cutting room floor” as it were. It only happens occasionally but it was far easier for me to import from the camera masters into FCPX than to try to resurrect and FCP legacy project. The new project wasn’t dependent on the legacy one.

[Craig Seeman]

[Tangier Clarke] “Is the camera original any more future proof than the rewrapped version of the same file?”

I’d say yes. Keep in mind that it’s not only codec or container compatibility but how well supported is the specific codec container combination. While the codec and container may be widely supported the combination might not be supported if a specific NLE developer was using the combination for their NLE. If other NLEs aren’t supporting the combination you’d really want the ability to rewrap the camera original for the new NLE you’re using at the unknown future date.

[Craig Seeman]

I always keep the camera originals. I use KeyFlow Pro to keep track of my archives. One concern is one never knows what permutations NLE development will go through (EOL for some and new ones arising from the ashes). I just feel safer in that I might be able to pull something up 10 years from now with the camera originals.

For example, I think it’s more likely Sony will have some form of Catalyst permutation that will read their old formats than NLE developers handling legacy formats (especially as they leave or enter the market).

[Craig Seeman]

Just noting that Sven Pape of “This Guy Edits” is himself and FCPX editor. To my knowledge, all his own documentary and narrative work is done on FCPX.