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    #71
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    Quote Originally Posted by puredrifting View Post
    I'm amazed how many people are buying expensive hot rod computers to try to natively edit formats such as 10-bit H.265, that are not editing codecs, they were designed for distribution.
    All people have to do is convert it to an edit friendly codec. Our business is so rife with misinformation and uninformed users, it's insane. I'm sure the rise of the semi-pro cell-phone auteur
    will continue this and amplify it.
    Same. You do not need a $15,000 Mac Pro to cut 4K. You don't even need it to cut 8K. Just transcode to ProRes and spend your money on fast storage.
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    #72
    Senior Member puredrifting's Avatar
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    Quote Originally Posted by jbregar View Post
    Same. You do not need a $15,000 Mac Pro to cut 4K. You don't even need it to cut 8K. Just transcode to ProRes and spend your money on fast storage.
    Preach!
    It's a business first and a creative outlet second.
    G.A.S. destroys lives. Stop buying gear that doesn't make you money.


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    #73
    Senior Member Samuel H's Avatar
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    One interesting thing I read today: VW sold about 11m cars last year, and Tesla only 367,500, yet Tesla’s market value is higher than that of VW. Maybe the technology gap of Canon and Nikon with respect to Sony is not that big, though.


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    #74
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    Quote Originally Posted by Samuel H View Post
    One interesting thing I read today: VW sold about 11m cars last year, and Tesla only 367,500, yet Tesla’s market value is higher than that of VW. Maybe the technology gap of Canon and Nikon with respect to Sony is not that big, though.
    Tesla's US sales are down by 39% in the 3rd quarter, as most of the tax rebates expired.

    As to the camera (sensor) quality gap, it's evened out by the feature crippling and niche model pricing.


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    #75
    Senior Member James0b57's Avatar
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    Quote Originally Posted by jbregar View Post
    Same. You do not need a $15,000 Mac Pro to cut 4K. You don't even need it to cut 8K. Just transcode to ProRes and spend your money on fast storage.
    With Red, i just simultaneously record prores proxies. 10bit LT looks great and the whole project can fit on an internal laptop ssd. And old 2011 on a spinny drive edits prores proxies like butter.


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    #76
    Senior Member Thomas Smet's Avatar
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    How many lenses options are really missing from EF that there would be gaps at this point? Even if Canon itself doesn’t fill one of those rare and obscure gaps there is still companies like a Tamron and Sigma. Sigma has been kind of killing it recently with lens designs.

    I also wonder what this will do to cinema cameras sort of unofficially adopting the EF mount as a industry standard. Will they continue to do so or will they explore another option going forward? Is there a logically other option right now? I’m not really a fan of locking into another mount owned by a specific manufacturer like Sony.


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    #77
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    RED's choice of using a RF mount for their new camera kind of tells us what some of these board meetings were about.

    EF will eventually become phased out (will take years). It's the best choice for now for manufactures with their relatively inexpensive cinema cameras.

    Sony and Canon will continue pushing their mounts, but will always offer PL too.

    I've always been surprised that there aren't more F-mount lower-end cinema cameras as the mount has a pretty decent lineup. Of course it's easy to adapt manual Nikon glass to EF mounts, but all of the third-party electronic Japanese/Chinese/etc. options that are available for EF are usually available for the F-mount as well.


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    #78
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    Quote Originally Posted by jbregar View Post
    Same. You do not need a $15,000 Mac Pro to cut 4K. You don't even need it to cut 8K. Just transcode to ProRes and spend your money on fast storage.
    Your point is taken but it is not a one size fits all situation. Transcoding takes time. So you are trading your time for a fast computer. Yes, fast storage is a side expense but the file sizes will be a lot larger. So your fast storage needs to be "a lot of fast storage" if your are shooting anything longer in nature. Then there are the backups. Do you backup the huge files or the originals since the originals did not get used in the edit? So now you need 2X the fast storage which probably puts you closer to the faster computer...

    I prefer to work with the original files because they will never look any better than they do out of the camera. The NLE will work with the files in the color space/bit depth chosen, so transcoding will do nothing but make it easier to process and maybe degrade it a tiny amount. And the backups are smaller and consistent. It is probably a wash in the end.


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    #79
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    Quote Originally Posted by Thomas Smet View Post
    How many lenses options are really missing from EF that there would be gaps at this point? ...
    This depends on what new camera you are using. Many older EF lenses don't work well with the auto focus; some don't work at all (that's because they're manual ... I kid, I kid).

    But EF is on is way out. RF is on its way in.


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    #80
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    Quote Originally Posted by Bassman2003 View Post
    Your point is taken but it is not a one size fits all situation. Transcoding takes time. So you are trading your time for a fast computer. Yes, fast storage is a side expense but the file sizes will be a lot larger. So your fast storage needs to be "a lot of fast storage" if your are shooting anything longer in nature. Then there are the backups. Do you backup the huge files or the originals since the originals did not get used in the edit? So now you need 2X the fast storage which probably puts you closer to the faster computer...

    I prefer to work with the original files because they will never look any better than they do out of the camera. The NLE will work with the files in the color space/bit depth chosen, so transcoding will do nothing but make it easier to process and maybe degrade it a tiny amount. And the backups are smaller and consistent. It is probably a wash in the end.
    Unless you are down scaling, master quality Prores files are typically larger than compressed camera originals. They don't save storage space.
    They are much less processing intensive to decode than many camera codecs, so run much more efficiently in an NLE. Typically you will wind up with a better delivery export from Prores than from camera originals if you are working with master quality Prores files because they are easier to compress without introducing artifacts.


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