Infernal Burrito

Depending on your camera and your use case it can be very useful, or it can slow you down and get in the way. It can do some janky raw video on the 5d ii, 5d iii, 7d i, and some rebel models, and it can greatly improve the gui for video and adds a few useful photo features. This question can be answered by reading about it on magiclantern.fm

Double EDIT: The workaround for Convergent Design Prores & DNX media is the transfer utility from Convergent Design, not the clip merger. Transferring using the CD utility mergers the MOV's into one file.

EDIT: Clip merger from convergent design is for when the solid state drives are put in RAID, for DNG recording. It does not allow for prores merging. The word from Convergent Design is that the NLE should import the clips as a sequence, from what I can tell.

I hear Canon makes good cameras that have "canon colours". 7d is the current value king (used) in my opinion. Fuji is also known for good color rendition in photos. But with skill in raw editing you shouldn't have issues with any camera.

Thanks for the tip on convergent design software. Turns out they have a utility to merge prores and DNX clips from the Odyssey 7q recorder https://www.convergent-design.com/software-utilities/category/6-software-utilities.html

Yeah, I've seen the vid. The same method the video shows is and has always been working for me with R3D media and DNXHD, it's just not complying with the prores. My new theory is that it may be because I am running Windows working with Prores.

Yeah, as in the screenshots, the names are already in a sequence, and I used the standard options for sequence importing.

On a recent film project, the main camera used recorded to prores, but split the files into 4gb segments for the filesystem. Normally, this would not be an issue, but Premiere does not detect these files as a sequence, as it does with CDNG, Redcode, and other formats that record to multiple files. The files are from an Odyssey 7q and do use custom naming, so the names are "Productionname-camera-####". I suspect this may be causing the issue, but I have imported such files previously with no issue. I am aware that I can import the files and combine them in a timeline, but with the amount of media I am working with, and the inconvenience of not being able to seamlessly use an EDL to color the sequence in Resolve, that is not a feasible option. I know I can drop the clips into media encoder and transcode them into a single file, but the time involved and the second round of encoding are not ideal options either. Does anyone know how to get premiere to see these files as the sequence they are? -- Media browser does not identify them as prores/quicktime, and only lets the "folder" option be selected for media type.

https://www.msi.com/faq/motherboard-2721 This MSI forum post says yes, will update post after testing.

I came across some Kingston ECC DDR4 (https://www.newegg.ca/Product/Product.aspx?Item=9SIA5SC5BD2545&cm_re=ecc_ddr4_64gb-_-20-242-283-_-Product is the same model) at a very good price, which is a rarity with RAM prices as they are now. I am wondering if it'll run in my X299 SLI-Plus with an i7-7820x. I understand the board and CPU don't support error correcting, but does that mean the RAM won't let the system boot, or that the ECC feature will just be disabled?

The issue: A team of editors needs access to the same projects with the functionality of Premiere's shared projects (not team projects, that's over creative cloud) but to make that work needs network storage accessible from multiple locations. *This type of project works similarly to an Avid project, in that each editor has read access to all of it but only write access to the part they're actively working on, such that there aren't conflicting changes. The only thing that needs to be on the network are the projects, not the media - Premiere team projects are not an option; the licences for them are prohibitively expensive - Media will be stored locally on each editor's system as proxies, with the a main system having the full quality media when the project is finished and ready for export. I have enough hardware lying around to build servers if necessary, but the question is how would I best go about creating a server that is WAN accessible reliably (I have a reliable WAN connection), relatively low maintenance, and is able to integrate with Premiere (accessible as a volume on the connected machines, not through a browser client)? The only option I can think of is creating a VPN to simulate being on the same network, but that seems like a complicated solution, surely something simpler is out there.

I consider SSDs an essential for pretty much any build. They make your PC noticeably faster in everything, such as responsiveness opening the start menu and other windows features, opening programs, and doing pretty much anything on your pc.

A miner can buy locally too. Normally, people would sell/buy on craigslist (or your local equivalent) or ebay though, to answer your question.

That doesn't make much sense. Why would someone buy your used 1070 for $700 when they could get a 1080 new for less?

You'll wanna post on XDA developers if you want help with that kind of issue, they'd be better able to help you out than this forum. If I were to guess for your issue, it's that you have a bad stock firmware. What failed signature verification usually means is that the package is either corrupted or tampered with. Check Huawei's website for stock roms, maybe a developer page if they have one.

You would want an SSD for your boot drive first, that would greatly improve system responsiveness and loading times. Then a better GPU (assuming you game), and maybe some more RAM (if you like multitasking or Google Chrome).

USB 3.0 is fully backwards compatible with previous versions, however if you care about the speed of the connection, you would want to have usb 3.0 at every point, as usb speed is determined by the slowest. So it'll work no matter what, but if you want the full speed of usb 3.0 you'd need to use usb 3.0 devices and ports.

I only care about the box for the $500, drives separate. With RJ45, speed of at least I'd say 100MB/s (so about a gigabit) to each machine, 10-20tb usable.

Working in a small team environment, looking for recommendation on network based storage to expand on the current workflow (passing around USB hard drives). Any recommendations, ideally under $500.

Smart adapters need the PDAF of newer, higher end cameras (A7II, A7R II, A6300, A6500) to have decent AF. The a6000 is mediocre at best with the mc11 from my use; not suitable for enthusiast or professional use in my opinion. On the fs700 AF was not possible at all with the smart adapter.

I positively adore my Zeiss Batis 85mm. Yes it's expensive, yes it's only an f1.8, but it's been through snowstorms, heavy rain, and never had a hitch on my a6300, something even the g-master couldn't do with it's lack of proper weather sealing. And the images off the batis in both photo and video are consistently some of my best. If you do portrait photography or do videography, I would first consider the cheaper 85mm 1.8 sony lens, but if you work in less than ideal weather, the batis is the way to go. My sigma 35mm f1.4 art is also a beauty of a lens, sharp as hell and can give excellent images. I've used the 16-70mm zeiss and I have to say that although it's wonderfully built and compact, it's not worth the extra cost over the 18-105mm f4. The 100mm f2.8l macro from canon gave me excellent results when I rented it for a shoot and I'd give the 20-35mm f2.8l a shot too on the mc11, the few pics I took on it were tack sharp, though I haven't had enough experience with the lens to confidently recommend it. Sony doesn't have much selection natively, but all of their lenses are consistently at the very least not crap, so just find the focal length you like and you'll probably not be disappointed.

Found a used (high shutter count in the 100k range) 5d mkii for $625 CAD. Do ya'll think it would be worth getting as a b-cam for video to my a6300 (using my sigma 35mm f1.4 art on the canon as it's my only fullframe ef lens)? I'd likely use it as my primary photo camera due to the fullframe sensor. Is the 5d mkii a viable b-cam for video (with magic lantern, naturally) in 2017 and is the price right?

I've been using a program called Filmstro unless I need a specific song for my project and it's been great for ambient music.

It says right on the adapter it's only for sigma lenses. I don't have any regular non sigma EF lenses to test with, but with supported sigma lenses I would expect it to perform excellently. As good as native on the Sigma Art 35mm f1.4, and any other recent sigma lenses I'd imagine. I've briefly used Canon L glass on a Metabones MKIV adapter and a7rii and they performed very well, but that was in a very well lit studio with a simple scene. The Metabones is probably what you'd want for that 70-200mm.

For photography (granted I do mostly portraiture and landscapes so tracking I wouldn't have any say on), MC11 AF is as good as native (Zeiss Batis) for me, albeit with noticeable deterioration in low light. The a6300 + mc11 combo is good for video too mostly. Only issues I have are on the fs700.