[Craig Seeman]

[Oliver Peters] “That is not its intended purpose.”

Clearly not and I think that’s a mistake.

[Oliver Peters] “I believe that an update down the road will let you migrate First projects to full projects.”

I suspect they mentioned that because it’s a door they want to keep open.

If Avid decides that their real business is enterprise/storage then the greater demand for shared storage is a good thing. Being able to share projects from First to MC/S might foster that growth and that may be more important than pushing a few more seats of MC.

[Oliver Peters] ”
[Craig Seeman] “So by “protecting” facility sales they kill indie growth.”

How do you figure that? “

I think a good business goal would be to push the indie filmmaker to move from First to MC. Helping that would be an upgrade path that would allow one to continue the project. Sometimes indie film makers, in course of their work, realize they need to pay for the “power tools.”

If First is relegated to “training tool” then filmmakers who want the option to expand their tools during a project are going to look elsewhere.

[Oliver Peters] “Time will tell whether or not Resolve actually catches on as the NLE of choice for larger scale work. It certainly sets the bar for a free version, but that’s not the end-all-be-all of the business.”

Resolve does have an upgrade path though. One can start in free and, if the project grows to the point where collaboration is important, one can move to the paid version as the project expands. As to whether Resolve catches on as an NLE for large scale work, I think it will for some even though “some” is an unknown quantity.

FWIW nobody has really supplanted Avid for major feature film and broadcast TV work. There’s been some erosion it seems and Avid certainly didn’t win over the tiers below that.

Looking at the “indie” market I see Blackmagic Resolve eventually becoming more competitive with Adobe. It may not dominant that market but Adobe will probably see erosion as well. This is a market Avid could compete in if First weren’t limited to “training tool.”

[Craig Seeman]

[Michael Gissing] “nor can you open a lite project in a paid version”

Basically assuring you that you can’t use this as an offline or rough cut tool. So in order to “protect” sales they also hinder user base growth. The indie film maker can’t start their project in First and then at some point say, “Now that I’m confident, like how my project is coming along, I’ll spring for the big bucks and get Media Composer with Symphony features.”

So by “protecting” facility sales they kill indie growth. Hmm, isn’t that part of why Avid can’t grow their user base in the first place.

But for the same free, you can start a project in Resolve, finish the project in Resolve, decide you need the facility level features and pay the soon to be reduced cost to move your project to the facility.

Avid, when will they ever learn…

[Craig Seeman]

It’s very important and very basic math to understand compression and file size. Mostly math one might learn in middle school (junior high school).

File Size = duration x data rate.
Changing the data rate changes the size.

[Craig Seeman]

I’m using the baby brother of the z150, the x70 which was released before it. I’m using a 512GB card with no issue. The camera uses the same codecs and data rate of the z150. Previous to the I was using a 128GB card without any issues but needed longer record times.

[Craig Seeman]

SuiteCG gives you lots of tools to customize.

[Craig Seeman]

Imry in the Forum would be the expert on that since that’s exactly what he’s done.
It involves going into the application’s resource folder and replacing some of the included elements so it’s not something one should undertake unless one can edit XML. A better method would be using Dynamic PNG but that involves building a “front end” such as done by SuiteCG.

[Craig Seeman]

[Yngvar Natland] “check whether the project is set to interlaced or progressive (i.e. x720i or x720p).”

Perhaps a hypothetical but not real. While 1080 can be p or i, 720 should always be progressive as broadcast is always 720p.

[Yngvar Natland] “When you compress the project now, the compressed video will be the same format (interlaced or progressive) as the project. “

That would only be if you’re using an H.264 encoder set to same as source or top/bottom field dominant. Generally there’s little practical use [Yngvar Natland] “For mp4 h.264 video” as interlaced. There might be a practical application for H.264 1080 interlaced in a Transport Stream (or Program Stream?) for broadcast.

Actually it would be a very serious concern if 1080i projects weren’t being deinterlaced for H.264 .mp4 by default considering most web and VOD (non broadcast) would be progressive.

Granted maybe there’s exceptions but those would be exceptional after all.

[Craig Seeman]

You can get close. You MUST have the tools and the skill though.

Before the shoot, setup the cameras at a common target, look at output on scopes (laptop running such software for example) and adjust the picture profiles (EX1 will be more flexible) to match. Be aware that dynamic range and noise may be different.

When shooting you can use a color chart like X-Rite Video and point both cameras at it. If you don’t have time to setup you can shoot the chart as reference on both cameras and adjust in post production.

In post, if you haven’t shot a chart, look for a point where both cameras are pointing at the same subject, color correct one to make it your “hero” shot. Then match the other camera to that shot. You may want to be skilled in DaVinci Resolve, Adobe PPro Lumetri or FCPX with Color Finale.

[Craig Seeman]

Rating and reality don’t always match. Depends on brand and it depends on source. Cards can be counterfeit for example.

[Craig Seeman]

Not all cards are created equal despite the ratings.
I’m using Sandisk Extreme Pro Class 10 UHS-1 U3

I believe these Sony cards should work as well.