I'm with you, the researching, fixing and troubleshooting won't be something I miss. One thing though, having two R9 280x's in my old hack with FCP X was a blazingly huge improvement after 10.1 came out. Render times were cut in half in some cases. Using the full version of Resolve with two Titans was a massive boost in an older 'big iron' mac pro. It could be the lite version only used one GPU until Resolve 11 dropped that limitation.

There is so much in Nolan's 'smug cloud' where somehow shooting on film make his films somehow better because of it. The fact that a film shot with incredibly noisy IMAX cameras had a record low amount of ADR lines seems crazy to me.

I was not alone in not being able to understand key pieces of dialogue. After watching this, they stated they only looped up to eight lines. I think this was a big mistake.

In a way it's like comparing different film stocks. A Fuji fan back in the day called it 'more painterly' than Kodak. When Sony came out with the EX1, I still liked my HVX200 footage better as it felt more cinematic. I feel the same about the BMPCC vs the GH4 footage, one just looks more like video, and one looks more like film. It's really just personal preference in the end.

Ha, I wish it was a conspiracy, that would be entertaining. Adobe is totally justified to brag about this, it's just good business to leave out anything that may have gone awry.

There is probably a lot more to the story than what is in this video, it is a marketing tool after all. With the exception of the amazing AE integration, there is nothing that couldn't have also been done using FCP X's extremely powerful Red workflow. The ability to make selects with 6K Dragon footage while proxies are being generated is something PP can't do. They even used Intelligent Assistence's Change List X (X as in FCPX) by XML round tripping to FCP7 to track edit changes. There were a lot of very smart people pushing this wagon up the hill.