[Craig Seeman]

There’s lots of speculation back and forth as to which company is blocking.

Some believe it’s Blackmagic because they’d prefer their camera uses to use Resolve and buy their additional hardware (edit controller, color controller). Note that Resolve does not support ProRes Raw.

But if Blackmagic were the culprit they’d be preventing Premiere Pro from using it as they’re a much bigger threat.

[Craig Seeman]

Use software that has a good deinterlacer.

Sorry, but without further details, we can only give general information. Either you’re not using software with deinterlacing or your not setting it correctly for your source.

[Craig Seeman]

Features are only one area at issue.

In some cases there are editors who already prefer FCP but are being told no by others in the chain of command. There’s also the lack of integrators who can support the end-to-end workflow chains and concern about the talent pool should hired post people pull out during a project. All these are training and support rather than feature issues.

[Craig Seeman]

https://youtu.be/ZzZ8i0I4z_Q

[Craig Seeman]

Of course, there are budget and use variables but the Panasonic GH6 might be worth noting.

Price is about $2200. You have to buy lens(es) but they’re often much less expensive than lenses for larger sensor cameras. If you want the “larger sensor” look you can add a “speedbooster” type adaptor later. It shoots nearly 6K ProRes. Very flexible slow-mo. Great stabilization. Not quite the autofocus as other cameras but the latest version seems to be passable. Otherwise has lots of “professional” video features and it shoots good stills as well. Could be a nice all around starter camera.

[Craig Seeman]

Perhaps there’s a lack of hardware sales motive on Apple’s part.

Mac Studio, for example, will run Premiere Pro, Resolve and (I believe) Avid so FCP offers no sales advantage for Apple.

At least we know the FCP high end “broadcast, streaming service” users are making a visible public ask so they’ll be no Apple deniability of the user base interest in that market.

[Craig Seeman]

Amazon has Prime Video Direct for indy distribution. Not quite the place for demo reels and other stuff but a place for indy filmmakers to distribute.

https://videodirect.amazon.com/home/landing

Their submission specs

[Craig Seeman]

I also use Frame.io for client comment and approval.

Vimeo had been good for indy filmmakers though and it seems those creatives are being hit hard.

Some also find Vimeo better for demo reels or featuring client work to the public.

[Craig Seeman]

Content can impact encoding quality given the same encoder settings.

Fast motion and fine detail can appear softer. They may need a much higher bitrate setting.

Sometimes gradient colors can be a problem too. Believer or not, adding a little noise can help in those situations.

Sometimes the CDN doesn’t handle certain types of content as well as others.

[Craig Seeman]

And I moved to Accusonus because I was frustrated by iZotope RX issues in FCP. Sigh.