[Gary Huff]

[Walter Soyka] “Rebooting does not sign you out of CC.”

Nope, definitely rebooted once yesterday, still no issue.

[Gary Huff]

[Oliver Peters] “Given that this was probably done by a high-profile agency, the final editing was probably done on something hilarious, like a Flame.”

No more hilarious than shooting on an “iPhone” with thousands of dollars worth of accessories used to make it work.

Including lenses.

[Gary Huff]

[Andrew Kimery] “With that being said, due to drastic budget cuts many news stations (especially in smaller markets) are sending out reporters by themselves with inexpensive cameras and tripods instead of dedicated camera people because a poor presence is better than no presence at all.”

And hardly anyone is watching.

[Gary Huff]

[Lance Bachelder] “British humor is one of my absolute favorite things in the world – sensed none of it from your posts.”

That’s because you need to read his posts in the voice of David Mitchell.

[Gary Huff]

[Simon Ubsdell] “So that’s it. From now on all those fancy car commercials can be shot an on iPhone.”

Though, granted, 7D footage wasn’t terrible better and we lived through that.

[Gary Huff]

I get the strong feeling it wasn’t intended to be B&W from the get go, either. That feels like an auto white balance issue wreaking havoc.

[Gary Huff]

[Andy Field] “Think you missed the point here”

I think you actually missed the point. This was not shot “on an iPhone”…it was shot on an iPhone…with a $5000 Movi M5, and probably another $2000-$3000 carbon fiber mount with an assortment of external lenses.

[Gary Huff]

[Neil Moger] “Actually it seems my problems may be linked to a fairly well documented overheating/shutdown issue with certain iMac models when carrying out certain processor intensive tasks (in my case particularly AE, PPro & Adobe Media Encoder) – particularly when equipped with larger amounts (16bg)…”

Mac…it just works.

[Gary Huff]

[Lance Bachelder] “CHEF, which opens this weekend was shot ALEXA in Pro Res for cost and time constraints. I’m sure it looks great on the big screen.”

Yep, been dealing with Alexa 2K ProRes 4444 footage this week and it’s gorgeous.

[Gary Huff]

[Oliver Peters] “To work with the C300 footage you have to install their FCP camera plug-in. When you do that, X rewraps the XF codec (basically the same as XDCAM) from MXF to MOV. This rewrapped media is placed into the Library bundle. The codec itself is unchanged and you cannot force a transcode to ProRes. FCP X sees the XF codec as optimized, once it’s rewrapped.”

Yes it does, but I had a project from the XF305 (same codec) that was a very poor editing experience (basically, anything you did to a clip would not playback smoothly until it was rendered). FCPX seems to handle AVCHD much better than XF, so I would recommend a proxy or ProRes transcode like it’s 2010 again.