[Craig Seeman]

IMac Pro was a significant update or, maybe more accurately, an amalgam which was an upgrade for a couple of models with the best of iMac with Mac Pro like features.

On the other hand I’m not upgrading my MacBook Pro, Mac Mini, Mac Pro.
With MBP, it seems to be something that still needs to be rejiggered into something more compelling.
They have been doing updates nearly every year though as they should. The problem is the speed bumps aren’t addressing some of the issues.
With MacMini at least Apple could severely drop the price of a 4+ year old computer as an entry level machine until they rethink it.
Mac Pro… the iMac Pro may serve me well for a bit (actually my first iMac style purchase).

BTW even though they update Phones every year I’m have updated there either as the “X” seems “first generation” design still be worked out.

It really seems Apple is stumbling through hardware redesigns vs speed bumps. I think the iMac Pro is a hit given its intent but everything seems like they’re searching for a hardware strategy.

[Craig Seeman]

[James Kozick] “What would be the best output setting option to use?”

There is no “best.” It really depends on what you need. ProRes 4444 might be “best” at whatever frame rate you need and whatever frame size you need or want for creative purposes (time lapse frames my be larger than some video frame sizes).

[Craig Seeman]

Yes

https://www.hispeedcams.com/sony-fs5-offers-great-quality-fhd-slow-motion/

The camera comes with an HFR High Frame Rate mode akin to what was introduced in the lower end Sony line this year. You get 120fps recording in full sensor full HD for 16 seconds, 240fps full sensor full HD for 8 seconds.

Keep in mind it’s HD and not UHD.

But that seems to have been a feature from the release.

[Craig Seeman]

https://www.newsshooter.com/2017/07/21/54242/

Continuous 120fps high speed recording has now been enabled when the recording format is set to XAVC HD. Unlike the previous Super Slow Motion recording, video can now be recorded continously up until the remaining capacity of the media runs out. Unfortunately the continuous high speed recording can only be done if you have purchased the CBKZ-FS5HFR which costs $499US. The recordings can be captured in 4K XAVC-Long 4:2:0 8-bit, or in HD XAVC 4:2:2 10-bit.

[Craig Seeman]

Generally Compressor can handle image sequences on input and can encode them to another codec .mov.

[Craig Seeman]

There’s an argument that clip connections are a rudimentary form of nodal connection. Such might be an interesting idea if that were the basis of changes to Motion.

[Craig Seeman]

Interesting that Motion is so “track” based. Perhaps Apple will some day shock us by paying attention to Motion in some radical fashion. Motion is still very “legacy” in design.

[Craig Seeman]

Have you tried 1080i59.54 out (that would be 1080 Broadcast)?
Of course 720p59.54 is for a select few networks but 1080i is more common.

[Craig Seeman]

Some files need the metadata to play correctly.
You may be separating files from the metadata.
Quicktime may play the MTS files but might not be the best decoder.

[Craig Seeman]

[Simon Ubsdell] “Instead of FCP X being a means of expanding our options, it has actually led many to narrow them down dramatically.

So far from broadening horizons, FCP X editing has become fossilised around a much narrower set of editing concepts.

In the process there has been a concerted campaign to actively invalidate many existing editing strategies that happen not to be catered for by the FCP X model, precisely because they are not catered for by the FCP X model.
“

There’s a statement about FCPX which doesn’t seem to be substantiated and it concludes with a statement which may say more about some users than FCPX itself.

I don’t see FCPX fossilized around specific editing concepts anymore so than any other NLE. They each have different foundational principles they build on. The foundation impacts design going forward. That’s the case for any NLE.