[Gary Huff]

[john sharaf] “The failure problems should only occur with long takes at high data rates from codec and/or framerate. If these are your norms, consider to use the qualified cards for anything especially meaningful or commercial, or if this is something you do only occasionally, buy one or two especially for those purposes. “

Nothing is 100%. If a user purchases the more expensive ARRI certified card, what will ARRI cover for you if the card loses a take or a whole set of takes?

[Gary Huff]

[john sharaf] “Yes it is compared to the Arri certified version”

It’s the same card, just one of the ones that didn’t fail Arri’s tests. Doesn’t mean it will never fail though. On top of that, I can’t even purchase one, because it’s limited to Studio-B&H professional customers.

Even so, it’s still the same card that Sandisk sells, it’s not like a different brand or manufacture. They just rigorously test it and slap on a comfortable margin. There’s buying cheap eBay CFast cards, then Sandisk, then this is the next level. It’s why you can’t just up and order one.

[Gary Huff]

[john sharaf] “I understand that most folks buy their kits with cheap price being the most important characteristic, but in the case of media, I would advise otherwise”

Sandisk is not cheap media.

[Gary Huff]

I have one of those, I had it skip on 1080p60 footage, but did a full format and haven’t had issues with it. I could try rolling for an hour at 4K and seeing what happens.

[Gary Huff]

That is a completely unacceptable “solution”.

[Gary Huff]

[Clay Coleman] ” folders get deleted from the project”

That indicates issues outside of Premiere, regardless of how well DaVinci Resolve runs.

[Clay Coleman] “little things like title safe windows are broke, “

Elaborate.

[Clay Coleman] “external video via Blackmagic card is broke”

Elaborate.

Also, when you say DaVinci Resolve is okay, what do you mean by that? Are you actively editing projects in Resolve? Just transcoding in Resolve? Just opening Resolve, clicking around on some panels, and then closing it back again?

[Gary Huff]

[clyde villegas] “By the way, what do 90 and 50 mean here?”

I will leave that for others to describe, but if you have to ask this question, you really should not be filming in a log gamma.

[Gary Huff]

You’ve given so little information that other cinematographers can’t really answer it. It depends on the context of what you’re filming specifically. Outside of that context, the only advice is to film tests and see what you like. That’s definitely something people who make money with their cinematography do.

[Gary Huff]

Noise is an inherent quality of log gamma, given the the whole idea of log gamma is to give you enough headroom to protect your highlights. If you’re not going to protect your highlights, you shouldn’t use log.

[Gary Huff]

[Mark Suszko] “Micro-thin headset boom mics make me cringe, no matter the application. I only accept them on aerobics instructors.”

I would only ever use those headset boom mics on any kind of workout instructor after an incident I encountered many years ago in which a lav was used instead. A lot of editing was done to turn down that mic whenever the instructor was not talking because you could literally hear water sloshing around in their gut.