I feel like just a few years ago there were all kinds of articles about how bad FCPX was, and I'm pretty sure a couple of these were listed as reasons. It's funny how the times change.

I e actually found that the Resolve version of the fluid morph is the best of the four. Main NLEs. I found FCPX's Flow so terrible that I bought the mMorph plugin. It's not as good as Davinci or Avkd, but it's definitely better than ow and is relatively successful in covering some of my cuts.

I was ready to choose the GH5S's dual ISO over the IBIS, but now I'm not sure. I wonder if the S working with IBIS would make enough of a difference to go with a GH5 instead.

The thing is, some smaller production companies have all sorts of types of clients, from micro-budget to high-budget. They can often only afford a couple of cameras, and they want to be able to say "yes" to any request that their clients might make. Low-budget clients get ProRes LT, high-budget clients that want RAW get it as well, and everyone is happy. That's why a very flexible camera like this is necessary.

I don't know about you all, but what I'm taking from this is that Rogue One and ANH were minutes apart, rather than hours or days. This is the important information to find here!

I wonder if it's possible to have a USB3 to USB Type-C cable. I have the USB3/TB2 LaCie d2, and it would be great to not have to buy new storage if I make my switch to PC that I've been considering.