I like the modularity of it with the detachable audio handle (4 separate audio inputs is 2 more than on my FS7 mark i). But, I assume that the FX3 does not have a built-in WFM function, and certainly not internal ND filters. Those would be more useful to me than some of the other bells and whistles. But, we all want everything in a pocket-sized package, don’t we?
Um...isn’t Cruise wearing one of those masks with the one-way valves that don’t filter his exhalations? So, it protects him from others, but doesn’t protect others from him, if he happens to be contagious?
Wearing one of those masks is a pretty clear statement about whose life matters and whose doesn’t.
One of the penalties for refusing to participate in politics is that you end up being governed by your inferiors.
For Netflix to issue technical specs for contracted projects is not the same as Netflix saying that they care more about tech specs than creative qualities. It seems the filmmaking community is the group putting the cart before the horse, not the studio. Years ago, when you'd find out something like "the BBC requires a minimum bitrate of 50 mbps in video submitted to them" it didn't mean that all you had to do was buy/rent a camera that met that spec. Studios and networks are gonna have their minimum specs; always have, and it's probably less ironclad now than it was in the past, as reality TV, news, and pseudo-documentary style scripted features (Blair Witch, etc.) eroded the line between "amateur" and "professional" -- in certain contexts.
So, chill, people. Get a good-enough camera and lenses, light well, get clean sound, etc., but as always the story and compelling performances are what count. Nothing has changed.
Sounds great. If it’s everything it’s cracked up to be, that’s another advantage that FCPX claimed to have that is actually available in other NLEs.
As an Avid editor still learning the details of Premiere, I have not yet found where the field exists for the drive on which a given clip resides. I’m either blind or that’s a bad oversight by Adobe.
As a former assistant editor in scripted and documentary TV and film, I say, “And the assistants will be able to help the editor mightily using these metadata tools, but only if time is budgeted to include the additional step of adding tags.” Any time-saving tool that requires an upfront investment of time is a “pay me now or pay me later” proposition.