[Ryan Holmes]

That’s certainly an option. Only caution is that with a 13″ MBP you’re getting an integrated graphics chip so realtime playback of clips with effects could suffer (depending on the type of footage, the effect applied, etc.).

Stepping into the 15″ MBP’s you can choose to get a dedicated GPU which will help with smoother playback, as well as encoding/transcoding footage. Personally, I think the more horsepower the better. But if you’re just cutting DV25 footage then a 13″ MBP should be fine. It really depends on your needs and your budget.

You could also look at getting a refurbished MBP from Apple or buy a used computer on eBay or Craigslist as other options.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

So you’re considering doing all of your editing on a 13″ laptop? That’s not a lot of screen space….

The CPU matters more for exporting (though with GPU processing speeding up that’s becoming less and less the case). I always tell people to buy the fastest they can afford because if you keep this laptop for several years the mid-range now will be sluggish in 18 months. Top of the line now is fast and in 18 months it’ll be a mid-range computer.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

I believe more specifically, it’s an OpenCL problem. Adobe users are having the same artifacts when rendering from Premiere on the new Mac Pro. Adobe allows the user to pick the rendering engine at export (software, OpenCL, or CUDA), so some have gotten around the issue by using software only to render….not an option with Resolve.

Hopefully this bug gets squashed fast!

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Bob Zelin] “If you were nice, I would have let you grabbed my butt – but now – forget it !”

I guess I’ll just have to chalk that up as my loss! :-/ Ya know….you win some and lose some!

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

Does it happen with other lenses on the same camera?

Have you powered the camera off, removed the battery (and all cards), and restarted the camera?

You can always reinstall the firmware of the camera as a last ditch attempt. The 5D3 that I run doesn’t have these problems and we do run ML software on it from time to time.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

If you’re going to run a 1GB network, I would recommend Cat6 cable over Cat5e. I’ve had problems using 5e in those scenarios.

To add to Bob’s list above, I’d throw in DDP – Dynamic Drive Pool. We just switched to them for storage last Fall moving away from our Apple XSAN and I really couldn’t be happier. It’s been easy to deploy, administrate, and maintain.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

The 5DII doesn’t output clean HDMI natively. Like you said, it’ll have to run Magic Lantern software which brings in other struggles. The problem isn’t with the Odyssey it’s with the 5DII. The Odyssey is a standard HDMI port so it’ll take whatever you feed it on that connection.

Are you planning on getting an Odyssey for each camera? 3 cameras = 3 Odyssey’s? That would allow you to standardize on settings right from the get go. But if you’re going to mix formats then I’d recommend Premiere Pro as a good NLE solution since it plays any format without conversion (h.264, mxf, ProRes, DNxHD, etc.). Pluraleyes is probably the fastest way to sync everything if you don’t have a way to jam sync to timecode.

And yes, when you plug in an external monitor to a Canon DSLR you lose the onboard LCD display (at least on the 5D3 and 5D2).

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

When you transcode your files, what’s your keyframe distance set to? How many frames?

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Tim Kolb] “CineForm would technically be a “10 bit” 4:2:2 container”

Thanks for the correction Tim. I mistyped. My brain said 10-bit, but my hands wrote 8-bit!

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Max Tremblay] “so how would I go about finding this information?”

Out of curiosity, why would need this information?

Typically people set it to half the frame rate. So if it’s a 30fps, typically people set the keyframe at 15; if it’s 24 people set the keyframe at 12. At least that’s standard practice for how I typically encode…unless you have really fast motion sequences then I may shorten the distance between I-frames.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost