[David Lawrence]

It looks interesting and I hope they’ll make one for the 7D and 60D as well. But there are some drawbacks. I mentioned it to a DP I work with and he said this was a deal breaker for him:

from the Mosaic Engineering website:

“Zoom lenses can be used, but do not track focus while zooming. Another result is that, while zoom lenses can be used with the filter, they must be considered “variable prime lenses”, since focus tracking while zooming is not possible when the VAF-5D2 filter is installed.”

Still, I think it has a lot of potential.

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[David Lawrence]

Sounds good. I’ll be curious to hear more about what you discover so please share any insights. I actually like the database aspects of FCPX, it’s the timeline that doesn’t work for me.

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[David Lawrence]

Great post Bill and really interesting. I just don’t see what it has to do with editing. Seems like a really different set of tasks than what I normally do.

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[David Lawrence]

Hi Dave,

Thanks for posting this. I’ve been using x264 for most of my client deliverables for about a year now and love the quality. So do my clients! Hoping to write up an article with full workflow and settings as soon as I can clear my schedule.

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[David Lawrence]

[Steve Connor] “I’m mid-way through a project using a clients Sony FS100, very nice camera it’s halfway between a DSLR and an F3. Very easy to use and the AVCHD codec holds up much better than I would have imagined. I know it’s not in the same league as a Scarlet but it’s certainly a step up from a DSLR.”

I’ve been curious about that camera since reading this Engadget review a couple months ago:

https://www.engadget.com/2011/08/26/sony-nex-fs100-review/

In their wrap up, they imply that it wouldn’t be that good for run and gun:

To make the best use of a camera like this, you need to shoot quite traditionally: tripod mounted with a matte box, in a relatively gentle environment, with time taken to light and frame each shot properly before pressing the record button. (Read: too good to be true.) Shooting reactively for news or documentaries is not impossible, but it’s difficult.

What’s your experience been like so far? Does run and gun seem possible, or is Engadget basically right?

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[David Lawrence]

[Oliver Peters] “Shoot! You’re right. I typed in a duration of 2 and didn’t actually check. Now I see that you can’t make the crossfade (dissolve) shorter than 3 frames. That’s what the result is even if you typed 2.”

Yep, that’s what I get.

2-frame dissolves are important! If you use them as much as I do, please make a feature request so I’m not the only one asking them to fix this.

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[David Lawrence]

[Steve Connor] “The “drag handles” on the audio tracks go to 1 frame.”

Yes but that’s not what I’m talking about. It’s a huge PITA to stack, overlap, adjust, etc.

I just want a 2-frame cross-dissolve between clips. Is it possible?

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[David Lawrence]

[Jeremy Garchow] “Some things just aren’t practical at this point, I guess. Have you ever used a Red before?”

Yeah, funny how the real world gets in the way. Hope they’ll keep working on it.

Never shot on Red, the closest I’ve come is playing with some 4K footage in REDCINE. It looked gorgeous. I’m a run and gun shooter so the Scarlet fixed seemed like my fantasy camera. Would love to be able to get >DSLR visual quality with real video camera controls and I/O. And the price…

I realize the workflow would be different, but I was willing to step up. I guess if it sounds too good to be true…

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[David Lawrence]

[Oliver Peters] “4. Tight audio edits within a VO track (48K AIFF) seem to induce pops. Not actually clicks or pops, but just not a seamless-sounding edit. I still had to add 2-frame crossfades to make it sound clean. The same edit in STP would have sounded fine without crossfades.

5. Audio mixing, especially when you apply compression, sounds a bit harsh to me. The same values in STP would have resulted in a better sounded mix. Bear in mind this is just an impression at this point. Further testing is needed.”

I’ve noticed the same thing. Harsher sounding mixes and pops at cut points — especially with dialogue cutting. Quite a few people have said FCPX is superior to FCP7/STP for audio. That has not been my experience so far.

BTW, I’m curious — you said you were using 2-frame crossfades to smooth the pops. How did you get that to work? When I try to make a 2-frame crossfade, FCPX won’t let me. It changes it to 3-frames. Not the same thing.

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[David Lawrence]

[Jeremy Garchow] “Supposedly the fixed Scarlet couldn’t hold focus so they had to scrap it. They lost all the development money.”

That’s a shame. I was soooooo looking forward to that camera. Was wondering what the story was.

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