(Apologies for replying to my own email) Just for additional context on that old SSD in my MacPro (and I’m sure modern SSDs have improved) – it’s a 256GB SSD and has been powered up for 35,616 hours a

Michael, I think it’s important to understand those parameters, but it’s not as bad as it sounds. Lifetime values are reported via SMART status on all SSD drives. There is a very handy utility for Mac

One refreshing thing about CML for me is, that a large part of the group that participates in the discussions do have deep backgrounds in their field and speak from actual experiences on top tier prod

Ed, Not sure if this should be discussed on CML and this particular list, as it easily could become a rathole. As a technically minded person experienced in software and firmware, after reading both s

Thanks Mitch. Very good explanation. Alas no short-cuts for the camera test then. My use for the Pantone collection is actually on the back-end of the process. Just a few weeks ago I was grading a maj

That’s an interesting point. On numerous occasions for color work I’ve referenced this site that catalogs the full range of skin tones for Pantone: https://humanae.tumblr.com/. It details the wide ran

That’s when you’d switch to the F5 (same sensor as FS7, better ergonomics) and it supports the Sony recorders and O-XCN. Of course with a $7K recorder you're no longer in the $10K camera budget. If I

That’s a fair distinction. However, at the below $10K market these options are limited. We were speaking of the FS7, which does not record RAW natively but can via the Odyssey record CDNG. It also has

It’s not so much the ability to process RAW, but the card space on set and the transfer times (assuming you use CDNG RAW files). The FS7 gets heavy use in the corporate editorial and general interview

Add the FS7 to that. It can record RAW (via extension unit) and has the same sensor as the F5. Though it’s hobbled by providing only 12bit linear RAW signal, which may disqualify it for some people, a

The Sony IDT has two transforms - one to convert SGamut to ACES color space and one to convert slog3 to linear gamma. In theory they should yield the same result as the default custom mode or Sony sup

This seems like a sound way to do an objective comparison. ACES provides a good common denominator and IDTs are supplied by the camera manufacturer. So what you saw should be how each camera manufactu

Catalyst Browse makes it easy to see as suggested. Even if you only have the MXF file, most info is in that file. The MediaInfo.app for Mac is excellent at getting at this info quickly. In fact, this

From all the documentation I’ve seen the two models (Mk1 & Mk2) have the same sensor and image processing. Most of the changes were on the ergonomic and mechanical side of things. The list of differen

Significant downloads of large files do put a lot of load on a data center and certainly isn’t free nor nice to the neighbors. Unlimited plans are bad marketing, but are meant to work out for ‘average

A custom LUT is definitely the way to go given your camera configuration. With the FS7 and 7Q+ you will be shooting in slog3 and will need a correction LUT for that as well. But since you can only loa

I just upgraded to the Varicam LT. It has the ability to record VLog to the primary memory card and a proxy file to the secondary memory card, while applying a built-in or user supplied LUT to the pro