[Jim Giberti]

I’m completely shocked by this difference of opinions regarding design choices.

I was also wondering why this place couldn’t just be called “Cow”.

[Jim Giberti]

But much of Apple’s FCPX market shoots with Black Magic Cameras (we do) and much of their market aren’t dedicated editors but people that do full production (we do.)

I’d bet that day to day, more people using FCPX are working in footage from BM cameras than Red. It’s become a more affordable and common means of capture, like the democratization of X and Motion for a few bucks at the App store.

Again maybe not for editing facilities but definitely for independents and small shops, and that’s the core of their demo.

[Jim Giberti]

Yeah, I use Resolve to convert and do basic color temp and exposure, transcode to ProRes and export for FCPX editing.

With Apple’s focus on evolving the color board, masks etc., all the more reason why I’m sure many of us would like the option of the simplified workflow, staying within X for a lot/most work.
With that in mind it would be nice to add temp control to the color board if they decide to support DNG.

I’m thinking maybe more of us produce in Cinema DNG than, say, Red at this point?

[Jim Giberti]

Good stuff, but support for Cinema DNG still not considered important…really?

[Jim Giberti]

Aindreas is the Shecky Greene of editing.

[Jim Giberti]

As reluctant as I am to change stable and productive systems with the newest OS, I was surprised when DR released his new color grading plug-in for FCPX for Yosemite users only. I emailed him and he responded that it was because of development costs for previous OS and that the majority of X editors polled were on Yosemite.

Really…the majority of pro users of FCPX are on Yosemite?

[Jim Giberti]

I’m on board with the Ursa Minor concept as well.
Just upgraded (again) two BM cameras and they’ve now proven that they can develop innovative products and follow through on promises beyond what many/most of us expected even a year ago.

I like these guys, and how they interact with their customers. And their cameras can produce remarkable images for nearly silly prices. I was a Canon guy for years (still have my share), and owned and produced with them, Panasonic and Sony cams in the last year, but I’m exclusively BM now.

If not an Ursa Minor I’d be happy with 60fps, a grown up screen, internal IR and OLPF and if anything, expanded DR more than 4k on a next gen BMCC and Pocket

[Jim Giberti]

Totally agree. When I got Denver’s original email I was in the middle of my regular: run around producing, meet with clients, meet with team, edit projects schedule and was getting a few new spots out tho week.

I wanted to take the time to work in Resolve but the round tripping and additional steps just weren’t practical or necessary for them.

I see this as a great way to enhance the self contained approach within FCPX. I love the one, floating window, curves, vector…really great as a first release.
I think it’s an intelligent development for this platform.

It’s the same schedule thing that keeps me from adopting it though. That, “all my systems are running perfectly, do I really want to upgrade my OS in the middle of all this?” thing.

Anyway, I don’t mean that as a back handed compliment.

[Jim Giberti]

I’m there…except for the Yosemite only thing.

[Jim Giberti]

Ha.
I’ve been wondering lately if i’m one of the few people left that takes pride in producing quality work without buying every piece of high end gear possible.

I love that I shoot a ton of work on $1k BMPCCs with $500 HDMI field monitors rather than $2500 monitors etc.
I light with Kinos, but just the tubes in other fixtures. One of my favorite field lenses is a 50-135mm f/3.5 Nikon which on the Metabones BMPCC is a near perfect 85-225mm, f/2, heavy, honkin piece of metal and glass with world class results. I’m proud that I got it for $145 on ebay.

I totally dig that I edit regularly on a refurb 15″ Retina with USB 3 drives that cost $125 and handle all my ProRes footage flawlessly.
One entire shoot and edit package now cost me way less than our single Media 100 and 4 GB raid array from 1996.

Hell, I paid over $20k for a single XL1s and P&S mini 35 system not long after that.

Today, one of my BMPCCs with a Metabones adapter and Sigma 18-35mm lens is all the camera I need to shoot great commercial and film work on any given day. I think that’s way more rewarding, in more ways than one.