[Craig Seeman]

If you don’t mention budget you’ll get recommendations all over the place. The Sony V1u was about $4800 when released in late 2006.

Keep in mind interchangeable lenses are an expense in addition to the body. If you’re looking for DSLR like then the Sony FX3 might be possible at about $4800 but the leaked FX30 which may be about $2500 may be a good option if you wait a few weeks for that announcement. If you’re looking at a camera similar to V1u perhaps the Sony Z90v for about $2800 is something I use. (it’s bigger brothers Z190 and Z280 don’t seem to have great reviews).

[Craig Seeman]

There’s still a few around on Amazon

https://www.amazon.com/V8-6CLD-Digital8-Camcorder-Cleaning-Cassette/dp/B00BU9V0J0/

or

https://www.amazon.com/Digital8-Camcorder-Cleaning-Cassette-V8-6CLD/dp/B092RH8VPW/

and

https://www.amazon.com/Cassette-Cleaner-Cleaning-VCC113-Micro-Fiber/dp/B07T25V3YX/

There’s more on eBay but some are used.

[Craig Seeman]

LumaFusion for Android underway

https://luma-touch.com/lumafusion-on-android/

and

https://luma-touch.com/samsung-unpacked-lumafusion-on-android/

[Craig Seeman]

Perhaps one possibility might be LumaFusion which runs on Apple and (will run? not sure about the release) Android tablets. The Apple version can export FCPXML. You may want to check if the Android version (which is behind) can as well. It focuses on tablet use over phones but it’s the only place I can think of that might get you from Android to FCP.

[Craig Seeman]

Many of the better gyro stabilization videos I’ve seen suggest using 90° or even 75° shutter angle to avoid issues with motion blur.

It would seem the best use of it is when you’re working with a prime lens without its own OIS when going handheld so one would have the forethought to use a much higher shutter speed. Its purpose is basically just to get rid of the micro jitter one would get otherwise. On BMD this might be a common need. I’d imagine this would be less important on Sony cameras given their IBIS.

From what I understand BMD Gyro isn’t an option in Resolve if you have a lens with OIS and it’s enabled. So they put the kibosh on that (so far… Resolve 18 is beta after all).

[Craig Seeman]

BMD cleverly and inexplicably made it so you have to shoot BRAW with certain resolutions/settings. Which is clearly just a ploy. In which case, big whoop. I can run everything through Resolve in minutes or use the aforementioned plugin

That may well be the issue/game that BMD plays. Really for most work, even broadcast work Apple ProRes HQ may be all that’s needed. Only in the most demanding feature film or high-end advertising would RAW (and BRAW isn’t quite raw) have notable advantages.

Alas BMD cameras have a growing base given their low point of entry. It’s as if BMD uses BRAW specifically to frustrate FCP users by slowing down the workflow with transcodes and adding to storage costs. Now they’ve thrown in gyro stabilization which is only supported in Resolve.

All this does seem to make Sony “cinema” cameras more attractive with their 422 10-bit I with flexible autofocus and IBIS (and ProRes RAW with Atmos if you really need it).

BTW I hate track-based editing and I say that with experience going back to the earliest Avid around 1990 or so. You can throw in all the bells and whistles in an NLE but nothing beats the magnetic timeline and organizing tools in FCP for speed, efficiency, and flexibility.

Now if only there were a way more cameras could record ProRes RAW internally (I suspect the RED patents stand in the way).

[Craig Seeman]

There’s also a plugin for FCP from the Color Finale developers that transcodes from BRAW to ProRes. The problem is that takes time and means creating another large file. Also one can import into Resolve (which is free after all) and then export to ProRes. All this is a lot of extra work.

[Craig Seeman]

I’ve heard similar analysis to Robin’s elsewhere as well.

The problem is the end user still has to make a difficult workflow decision.

As far as the post production market is concerned one might has how many Blackmagic BRAW users are there vs ATMOS with ProResRAW users. Few people have the choice between both codecs so hardware (BMD Cameras vs other camera with ATMOS) is going to dictate the choice.

While it’s only anecdotal I hear more about FCP users moving to Resolve than the other way around. I don’t doubt that’s added by BMD including the full version of Resolve free with the camera. That may mean BMD will win this war by attrition.

[Craig Seeman]

This COW post mentions that FCP7 can run on High Sierra.

https://creativecow.net/forums/thread/final-cut-pro-7-now-works-in-mojave-and-high-sierr/

I’ve heard that “Retroactive” mentioned in that post allows it to also work on Mojave.

That’s also mentioned in this article

https://appleinsider.com/articles/20/10/27/how-to-run-aperture-iphoto-and-older-versions-of-itunes-on-macos-big-sur

If you have access to a Mac running either macOS Mojave or macOS High Sierra, you can get more. Macs running those systems can also install Final Cut Pro 7, Logic Pro 9, and iWork ’09.

Final Cut Pro 7 now works in Mojave and High Sierra using Retroactive

[Craig Seeman]

And today there’s more salt in the wound of FCP.

Blackmagic added Gyro stabilization date to the Pocket Camera’s BRAW in today’s camera firmware update. Major important for a camera that has no IBIS.

Of course, Resolve 18 Beta will be getting this update very shortly.

I love FCP but us Pocket 4K (recording to ProRes) but this update adds a very good reason to move to Resolve. FCP just can’t handle Pocket Cameras to their best advantage and it costs 0$ to move to Resolve (only the time to relearn the older more widely established non-magnetic track-based timeline which I have 20 plus experience in before FCPX’s introduction).