Tyler Purcell

Hey Phil, I'm like 3 blocks from there. :)

Riverside and Coldwater canyon. :)

Ohh components like that have been gone for 15 years or more. Almost all components are made in china today, mainly due to pollution and cost associated with PCB manufacturing. It's far more complex then the old days when you'd make a PCB local, push components through them by hand and solder them when done. Everything today is surface mount, every component has wicked small pins and the Chinese labor is cheap! In the states we use to have complex robots that placed parts onto PCB's and roll through the wave soldering machine. In China, they have people push components on by hand, which saves a lot of money. Even Apple stopped producing stuff in the US in the early 2000's. They're back at it with the new Mac Pro and vow to bring ALL manufacturing back to the states in the next 10 years. I'm pretty certain, none of the other manufacturers build anything in the states outside of components like processors, power supplies and some chassis/cases. Because when you sit at a coffee shop in LA, you're most likely right next to someone who knows what they're doing and has been successful. If you're an outgoing individual, passionate about filmmaking and are very talented, you can work your way up very fast, just by being at the right place at the right time. There is no other place like it for that exact reason. If you can't prove that you've worked on bigger, higher budget shows, you will never get the opportunity to work on bigger, higher budget shows. If all you do is make your own stuff, then all you'll ever be doing is making your own stuff. This is the catch 22 that has plagued people who don't work here forever. If you don't live here, if you don't build a network of people who can place you on those bigger shows, then you won't work up the food chain. It has nothing to do with working in the studio system, it has everything to do with making the connections necessary to move up the ladder. The problem with this industry is that, if you aren't "on call" 24/7, it's hard to get work and you need that work in order to prove yourself to future investors. You need that laundry list of IMDB credits of movies the investors have heard of. You need that resume of working on productions that prove you can do the job. You need that killer demo reel, they will probably never watch, and most importantly, you've gotta be a 30 minute drive away from a face to face meeting. Nothing stops anyone from putting stuff on the internet and preying someone may watch it. If you do a good job, you may actually be able to earn some money as well. However, if you have stories to tell which are beyond your means financially, then the only real way to make them happen is to get into the industry, step one of that is to live in a media-rich city like Los Angeles or New York. Yes, Los Angeles does suck to outsiders, no doubt. I also wouldn't even contemplate having a family or raising kids here. However, as a seemingly perpetually single person, I've built a strong foundation and I can't imagine living anywhere else, until I've either given up OR have lots of money to live anywhere I want. Yes I know how awesome the bay area is, been there quite a bit, but I couldn't live there with the kind of money I make. I refuse to get a normal job, been there, done that, now I only work freelance, which is something FAR more difficult to do up there.

Also, it's rare I deal with one or two computers at someone's house. I always deal with more than one computer on a bound network like active or open directory. It's true that Windows 8 and up is more "user" friendly but for business use, they are horrible. They make it nearly impossible to use on a network, hiding all of the functionality necessary to bind computers AND making permissions more strict. As you stated above, if you know how to fix windows, it's not a problem. However, one shouldn't NEED to know how to fix anything, which is my point. Imagine I've got a client over and all of a sudden I need to do diagnostic work because some service stopped working. I've been at clients places where that exact scenario has happened and yes, it was windows 10. Services like network, bluetooth/USB and even audio, have just shut down on their own and when you can't click on "save" before you reboot, that's a huge problem. I've literally had to drive across the city in rush hour traffic, with clients pacing around waiting for someone to fix it. I just SSH in on the network and restart the USB service. But why should that ever be a problem? What humors me even more is that the HP and Dell workstations, which are pre-built by them for delivery, are absolutely the best. All of the clients I know with homemade systems, they are the ones which suffer the most. We had a situation recently at my biggest PC client (does VFX work), where all of a sudden the computers wouldn't let anyone login. I spent a whole day trying to figure it out and actually had to call in an "expert" to tell me there was nothing we could do without resetting the entire user profile via SSH. Even after trying several times he couldn't make it work. I have to leave it in his hands, and he spent all night trying to crack into one of them and eventually did. So they were down for a whole day, not because anyone did anything, but because the PC's just didn't want to work that day. No directory services, nothing. 4 of the same machine! We wound up figuring out, an automatic software update from Microsoft caused the problems. These are the kind of issues I deal with and I must say, I have probably lost thousands of dollars on solving PC problems, which is why I don't really support windows anymore. I just want a computer to sit on my desk and work until it needs a new hardware component. I will replace it and continue working. I don't want to diagnose anything, I don't want to have fun building a computer, I want to have ONE LIST of replacement parts, not 20. For me, a Mac is like buying anything else in our life. We don't buy car's in pieces do we? Car's are highly tuned machines and like Mac's, you don't go to Bosch to replace that bad alternator, you go to a parts distributor who can source you the OEM component, which by the way, always works better then the "aftermarket" ones. Now... that's just my experience. My first computer was an 8088 Compaq portable, with a CRT green screen. I've had several PC's during my youth because we couldn't afford anything else. I built my own 286 from scratch with a real B&W monitor, none of that green nonsense. We found an IBM 386 portable at the dump and I have fond memories of that one, with it's orange display. I wound up getting my first mac in 1992, it was a hand-me-down Mac SE from my aunt. I got it because my school was all mac and my big old 5" floppy disks wouldn't work there. So I had to be compatible and it worked great. Sure, I couldn't play my old PC games anymore, but in the early 90's everything was made for Mac's, so it wasn't a big deal. It wasn't until the mid to late 90's that things started slipping away from apple and the PC market started to grow. So by the time you got a computer, you had missed out on the mac generation. It's unfortunate as well because, the story you talked about earlier with that Film Riot guy moving from mac to pc, he's just one of those guys with limited experience, making a change because he didn't know any better.

Lets say A LOT has changed. :)

Nobody else has stepped up to the plate. All the other high-quality methods of storage are either extremely proprietary; RED code, Arri Raw, Cinema DNG, etc... or not high quality enough; Intraframe MPEG 2 and .H265. Pro Res has some huge benefits. The biggest one is not using the GPU for decode. Pro Res is actually multi-threaded, so it uses the CPU for decoding. This allows the load to be spread across multiple cores and keeps the GPU available for real-time effects and of course, the GUI of your editing workstation. Pro Res is also an intraframe codec, based on wavelet technology, more similar to J2k then MPEG. It's also an old codec, it's been around since the late 90's and it's only gotten better over the years. It's not very efficient, but efficiency isn't necessarily important in filmmaking. The most important thing is quality and Pro Res has offerings from 8 bit proxy all the way up to 12 bit 444 RGB. No other codec has those offerings. Image sequences can't be played back on your clients laptop. They can't be edited on standard editing software without transcode either. Plus, image sequences which are in folders cause another problem, which relates to how many individual files your drive can deal with. Once you get over a certain threshold, drives get SLOWER when they're constantly having to access small individual files. So if everyone worked in image sequences which were in folders for instance, it would be a problem for most people who don't have fast storage solutions which may not suffer from speed degrade. I've done extensive research and testing for the companies I do post production support for and it's clear to them and to me, single files are better then multiple in a sequence. The solution however is to compact those frames into a single file. That's kinda what Pro Res does since it's an intraframe codec. The down side is if one or more of the frames are damaged, the whole file is corrupt. This COULD be fixed however, there are open wrapper versions of Pro Res available, I've used them in the past and they work great for fixing corrupt files. However, the normal one we all use is closed wrapper, which is unfortunate.

Ohh interesting, so that makes more sense to me.

Mac's are for people who don't have the time to futz around under the hood. I had a PC for a few years, it was the computer I used for my tuning on my race bike. It never once was on the internet. The drive was new, the machine itself worked great without any problems. I go to turn it on for one of my events all of a sudden it won't load the program I needed. I looked for help everywhere and nobody online could figure out the problem. I tried for days to make it work, it just didn't work. New operating system, new install of the program, it didn't matter... so I shelved it and bought another one. The 2nd one worked for three days and went blue screen of death. I then ran it over with my van and threw it into the nearest dumpster. There was NOTHING wrong with it, all the microsoft programs worked flawlessly, yet the two things I needed it to do, just didn't work. To me, that's not a computer... and that's what EVERY SINGLE windows system I've ever worked on has been like and I use to use them every day for years. I'm brought into update mac's all the time and they always ask me to fix some windows box. They're the most infuriating pieces of poop ever made. I love servicing products which are well made and when you service them, they work forever. I don't like servicing garbage, stuff that is junk from day one and no matter how much you polish it, the poop will always work like crap. Windows is an infection upon the computing world and ONLY exists due to its lower cost. Apple wouldn't ever go that low in their quality of hardware or software. I'm a Ducati, KTM, BMW owner as well. So I appreciate quality and will spend the extra money to get the best. Why? Because I use to race my Ducati's and KTM's, and I beat the living crap out of my BMW's (when I had them) on the track and in the canyons. I beat the crap out of my Mac's as well, they're in service almost 27/7 rendering, editing and making posts on this forum. I guess if you don't use computers every day of your life, most of the time, none of this matters. But as MY dad always said, "buy junk, get junk results" AMEN is that true!

If you buy brand new, yes... you're going to spend more spec to spec on a Mac. If you buy used, spec to spec (same components), the pricing is pretty even. The problem is, a lot of people are scared about used computers, it's as if after a few years they aren't worth anything anymore. The great thing about the old 5,1 Mac Pro is that it's very upgradable. If you want to run a double boot windows/mac machine, no problem. If you want to run the high end graphics cards, no problem. Actually, there isn't a single "problem" outside of certain companies making software for windows only. I'll admit, if I was building a visual effects bay, I'd absolutely build a PC. Why? Because it's all about GPU, so you can save poop loads of money running a single proc 8 core and putting all your money into GPU's for instant preview rendering. Plus, you don't need codec compatibility or fast storage. All of the effects houses I've worked at render to network storage and they're ALL on PC's. Some of them are linux, others are windows. Most of the guys I work with use Maya for 3D modeling and Nuke/C4D for animation. I support many C4D installations on windows and the render farm manager is junk, they always stop working. I've used many render farm management tools as well and none of them are reliable, so most of my clients cloud render. You mean zero intervention. My laptop I'm typing this e-mail on is from 2009 and the only things I've ever done to it was put in a decent hard drive and memory, back 5 years ago when I got it. I reckon it's got another 5 years left in'er. Plus it will run all the latest software flawlessly, even though I choose to run an older OS. Yea, but he has never owned a Mac Pro Tower. I watched his video and he was coming off a very consumer (pice of junk) iMac and went to a real tower. I mean what a night and day difference. This is why most of these youtube guys who "talk" about the film industry as if they know it, are just full of poop. He complains about Apple not letting their clients know about the future of FCPX. But nobody in their right mind would use such a toy to edit with... I know people do, but they're bonkers. Most people use Avid or Premiere today and both companies are very committed to their users. He complains about not being able to playback 4k media on a consumer iMac. No poop genius, what kind of idiot thinks that's a good idea. I mean, talk about the blind leading the blind. It infuriates me people listen to anything he has to say. He's one of those guys that's learning as he goes along. He clearly has little to no experience in production or post production outside of his own projects. Which is a real shame because once you work on real shows, you learn very quickly doing it cheap and lightweight, just to "have" something to show people, may not be the best idea.

I've been a system admin for the last 10 years or so on and off. I've built infrastructure for several networks broadcasting today on the east and west coast. I've also built post production facilities and edit bays are one of my specialities. As someone who is around computers every day of my life, I personally can't recommend a windows based solution for post production. All of the shops I've worked at with Windows client workstations have multiple in-house technicians and all of the shops that have Mac's, don't have ANY techs. This is very common across the board in the post production industry and it's mostly because some companies can't afford to build the mac solutions so they basically pay for someone to keep the windows machines working. This is especially a nightmare with MPAA lockdown facilities, which I'm constantly supporting. There are many benefits to the mac operating system and one of them is... you don't need a MAC to run it on. Today you can buy a hackintosh and run Mac OS flawlessly without really much work. Yes there are only hand-full of motherboards with the right chipsets the Mac OS is happy with natively, but they exist. Plus the operating system is pretty bullet proof, no viruses, no malware, no ransom wear. Nothing that will keep you from working, which is very nice. With the mac side of things, you don't need the newest hardware to be happy. Again, you can skimp and build a hackintosh no problem. Or you can buy a used Mac Pro 5,1 tower The great thing is, the last generation of Mac Pro tower, has 12X PCI-E, 1.33ghz memory speed and upgradable CPU's. Most people like myself who buy them, we buy the slowest dual processor unit we can used and then put in new CPU's. The Xeon X5690 processor is 6 cores and you'd run 2 of them. Each proc has it's own independent bus, memory and cache. So for multithreaded CPU tasks like reading or writing a Pro Res file, this makes a huge difference. Storage is another one of those wonky things. The great thing about the Mac Pro towers is that they have 6 drive bays (6Gbps E-Sata), 2 in front and 4 on the side. So what most people (myself included) do is run 4x4TB drives in the machine as a raid zero in the main drive bays and a 1TB SSD in the upper slot. This gives you 16tb raid inside the computer which delivers around 650MBps read/write throughput, which is WAY faster then any other direct connect solution like thunderbolt, E-Sata or firewire/USB. If you're working on projects all the time, you need the storage. The Samsung SSD's are phenomenal, but they are expensive. I personally spend the extra money to get the right thing. The key is to keep the camera original files constantly backed up and always back up the boot drive as well. I use Seagate or Western Digital 2tb 2.5" USB 3 drives for that. I buy them in bulk and they go neatly into my safe with no cables. They will last around 3 - 5 years sitting if you spin them up every once in a while. I'm sure in 2 years, 4tb 2.5" drives will be the same price, but today they're very expensive and SSD's are NOT reliable for long-term storage at all. In terms of what's on the bus... It really depends on what you're doing. For me, I need CUDA graphics support for DaVinci and AE. So I run a GTX680 Classified, firmware over clocked to 1.5ghz and it flies. Not quite as fast as the double bus available on the NEW 6,1 Mac Pro, but that configuration is $12k, ouch! Getting decent output for a color grading monitor is easy today, blackmagic Intensity Pro is perfect. It's UHD friendly and it's got old school analog inputs for capturing older formats, which is a nice feature. I use a Kona LHI because it has excellent on-board real-time rendering functions. It is the broadcast industry standard for 1080p workflow, which is nice. I also run a Red Rocket and USB 3 card since the tower only has USB2 on board, suck. The only detractor from these cards is that they're only 10 bit 4:2:2. If you wish to color in full RGB, that requires an entirely different setup unfortunately. In terms of monitoring, if you're doing it right, you need three monitors... two for the CPU and one for the output of the graphics card. For the CPU monitors, it doesn't really matter what you use. I always spec the Dell U2415 because they're the best bang for the buck. You CAN run one monitor, but I think you'll have real estate issues up the road. There is nothing like having your timeline on one monitor and your bins on another, it really makes life easier. In terms of the color/preview monitor, there are really only two ways to go; color accuracy or size. For color accuracy, you really need something good and that means expensive. For youtube video's, it may not be that much of an issue, but if you really want a "great grade" then you gotta have it. For color accuracy, there are two ways to go... LCD/LED or OLED. I personally prefer the OLED (flanders scientific CM250), however price is always a problem so that's why something like the Ezio CG2420 is the perfect monitor for most people. It's a wide-gamut Adobe RGB calibrated monitor, which is a great bargain when you think how powerful it is. Since I put sound at the same level as picture, it's critical to have decent speaker. There are really only two speakers I would ever recommend to anyone, the Mackie HR-624 MKII and the JBL LSR4328P. Both are 6" driver, bi-amp, high quality power supply and switching amp. The mackie's have a better/higher quality amp, but the JBL's have a more true/flatter sound. This is one of the reasons I like having a AV I/O card in the computer because it allows me to run high quality audio to a mixer and then to the speakers. It makes a huge difference in quality vs the computer output. So you will need a mixer to go between the system output, balanced AV output and then to the balanced speaker inputs. If you really want to take the audio system one step more, you can always go for a small active subwoofer. I do most of my final monitoring/listening in my home theater using my B&W CM series surround sound setup, to insure things are good before sending out to the client. I also have a reference DLP projector to make sure picture is acceptable as well. I can't tell you how many times I've done work on my edit bay and it's been wrong on a "consumer" viewing device, either picture or audio. So a lot of times, I will put a consumer monitor into the edit bay to make sure things look and sound like they should. I support around 15 post production facilities around Los Angeles and these are the kind of bay's I build. They're long-lasting, very robust bay's that will do pretty much anything for post production. In terms of pricing, you'll find a real high power bay will run you in the 5 - 6k range with everything from tower to speakers. Sounds like a lot of money, and probably too much for you right now, but you can skimp with the hackintosh, probably drop that price in half... but you won't get the kind of speed of a real double processor system.

Here is the Pro Res HQ version of the video I made: https://www.dropbox.com/s/z987adm63qfss9s/Canon_V_BMPCC.mov?dl=0 Along with the MP4 version for those who can't playback the Pro Res https://www.dropbox.com/s/t3mapobsp5kcp73/Canon_V_BMPCC.mp4?dl=0 For sure worth checking out for ANYONE even contemplating buying a Long GOP MPEG camera. Ohh and if you want me to include the GH4. I'll gladly rip it to shreds as I have around 300hrs of it on my drive. I can't do anything with it, not only was it shot poorly, but I can't manipulate it what so ever. Drives me INSANE! I have to cut a friggen' documentary with this stuff and 90% of it is unusable, thanks to the worthless codec. I'll post something for ya'll to see in a few.

Yep, there was a recent test done where the filmmakers went out with an Alexa and shot both RAW and Pro Res XQ. The difference was indistinguishable. They pushed it, pulled it, did all sorts of funky things to the image in order to break it up and nothing happened, both were rock solid. Now I heard the Quicktime Pro Res decoder on PC's wasn't quite to the level on the macs. I'm not a windows guy and I do post production for a living. The WHOLE INDUSTRY is Pro Res and now that more and more cameras are shooting in that codec, it's become more popular as a complete workflow codec then it ever was before.

Low shutter speed, looks very much like a video camera, not cinematic at all. Much better, far more cinematic and good dynamic range. Notice how controlled everything is though, no direct sunlight, lots of "even" light throughout the piece. He clearly used bounce cards in some places to get some light on the faces in darker areas as well. To me, this piece is very flat with almost no dynamics. If you want a video camera, I'd agree. If you want a cinema camera, I'd disagree. The Pocket camera won't look that crisp ever. The Pocket looks more filmic, it looks more "pleasing" to the eye.

Maybe its an operating system thing? What Mac OS are you using?

According to the spec sheet, DaVinci 12.5 doesn't add MTS support. But that's really not the big issue, it's the fact Avid doesn't work with them, thats the killer. If you have to transcode everything for it to work, that is a HUGE issue.' It's been my biggest complaint with RED cameras. They still refuse to use Pro Res XQ at 4k as a capture format. At least with a very inexpensive Red Rocket card (thanks to ebay) RED material can be transcoded VERY fast and smoothly. Plus, it's worth transcoding because it's 16 bit RAW, so yea the little wait time is worth the effort. With Long GOP 8 bit 4:2:0 transcoding, it's time consuming and seems hardly worth it when the format you transcode to is far superior to camera original.

VLC = yes.. they playback fine in VLC. Try those MTS files directly in DaVinci.

Ahh yes, HD @ 200Mbps. I kinda negated that because then you've got baked in 8 bit 4:2:0. At least with your concept of shooting 4k and scaling it to 2k, you absolutely fix most of the color issues. Again, one would think 4k mode would shoot 200Mbps Intraframe. I use 100% standard canon mount cinema primes from Rokinon. Yes I do have a set of S16 cine primes, but I didn't buy them for the pocket, I got them for my Aaton and I have yet to shoot anything with them but some test footage. The "expensive" 94MBps 64gb SD cards are $48 dollars. They last 42 minutes on Pro Res HQ 220Mbps mode. The battery problem isn't a problem if you hit record and let the camera capture. I also didn't give up when the batteries died. I just did my research and found out WHY they die and adjusted my use of the camera to compensate. Yes, there have been times where it's been annoying, but dude the batteries are $12 dollars. You can buy A LOT of batteries for not much money. Pro Res in flat mode looks WAY BETTER then MPEG2 in flat mode. I've only shot RAW with my pocket camera ONCE and that was a green screen shoot where I needed the dynamic range. Everything I shoot is Pro Res and I'll be honest, most recently I've been using Pro Res Lite which is half the bandwidth of standard pro res and it looks totally fine for talking heads and youtube video's.

Here is a link to the mp4 version of my demo https://www.dropbox.com/s/t3mapobsp5kcp73/Canon_V_BMPCC.mp4?dl=0 The 220Mbps Pro Res HQ version will take a little while longer to upload If you want to see quality, hit the download button in the upper right and save it to your disk. It should playback on most computers fine in 1080p, but it's high bitrate.

It all comes down to money and if 10 bit 4:2:2 is THAT much better, then why would anyone invest in a camera that shoots 8 bit 4:2:0. Heck, why would anyone invest in a camera that has limited bitrate to begin with? The camera manufacturers piss me off because all they need to do is pay for a license and put a better processor in the stupid camera and bam, they'd have all the other codec's. I'm actually OK with 10 bit 4:2:2 Intraframe MPEG, it doesn't look that bad. But I'm NOT OK with 8 bit 4:2:0 Long GOP, it's NOT an editing codec because it doesn't have actual frames. To get frames out of it requires very intelligent software which extrapolates on the fly, which takes up CPU and GPU power that your computer COULD be doing something else with. So if you've got a choice.. $1000 10 bit 4:2:2 Pro Res camera or $1000 8 bit 4:2:0 Long GOP camera, why would anyone in their right mind buy the camera with the non-editing friendly codec and limited bit rate/bit depth?

The C100/C300 records MTS files, which are unrecognizable by most programs. This is because they use the older codec encoding package. The newer cameras use the much better AVCHD codec, which can be wrapped many ways, most of them have a more native MOV option. I haven't had any problems getting A7S or GH4 material to playback. Though I still find them clunky to playback, which means I'm still having to transcode at some point. Once you can record Intraframe MPEG, the problems go away. It's only the LONG GOP cameras which have the issues.

Well few things... One of which is the C100 looks like a video camera. So when you take it places, people will know you're shooting video. However, the pocket camera, looks like a still camera. So when you can get into places that don't allow you to shoot video, without any problem. Also, if you're out shooting things gorilla style for your youtube series, people won't be thinking you're some sort of big production. The moment you bring a bigger "video" looking camera out, you will have more attention put on you. External recorder helps greatly, no doubt. However, now your package price has increased substantially AND you aren't really getting BETTER quality, you're just getting a DIFFERENT look. The Pocket on RAW mode blows the doors off any of those Canon cameras, with the fancy recorders. The latitude for adjusting in post production is unsurpassed by any standard recording format. I'm a little upset because I'm starting a 3 month project in a few weeks and I have to spend the next few weeks prepping for it. So I don't have the time to do this test. But I'd love to test 4 cameras: the C100 or C300, Pocket camera, A7SII and GH4. Using the same glass, same situations, everything. No external anything!!! Lens, camera body, tripod, that's it. I've always wanted to prove just how good the pocket is and that test would end it all because as I said earlier, I color material from the MPEG cameras every day and I'm floored how bad they are. Doesn't matter if you shoot S-Log at all, the Long GOP MPEG noise floor is so high, sure your highlights are protected but your blacks aren't.

The files out of the C100/C300/C500 don't work in any of my editing programs. Avid? Needed to "import" which takes a long time Premiere? Transcoded on import, which it does in the background, but the files don't playback in real time until that job is done. Final Cut X? Nothing, doesn't recognize at all. DaVinci? Nothing, doesn't recognize at all. So to say you shoot on the C300 for quick editing for NO post is kinda silly. Since Long GOP MPEG files are incompatible with pretty much any software NATIVELY, it becomes a huge problem. At leas the few cameras that record .mov long GOP MPEG's, can playback in quicktime, they are very resource hungry so unless your computer is ultra powerful, you're stuck. By contrast, the 10 bit Pro Res files that come out of the blackmagic playback in every single program I have natively. The workflow I use for "log" shooting which is what I do almost all the time, works great with Pro Res. With Avid, I can literally drag a corrector over the entire sequence and have a "base" color applied to everything as I edit. Then when I'm done with the edit, I can take the whole project into DaVinci and with ONE CLICK apply a LUT. Since Pro Res is a multi-threaded codec, it encodes very fast with a multi-core CPU and with a decent graphics card, the GPU tasks of manipulating the color, are done in far greater then real time. So a 30 minute show can be rendered in a matter of minutes. If you can't wait THAT long for PROPER color correction, you've got a bigger problem.

Just an FYI, I produced a little video with a shot Satsuki graciously sent and a bunch of other C300 shots and of course pocket camera shots. I'm making a super high quality .h264 file and will have that PLUS a Pro Res HQ file available. I have a shoot all day monday and tuesday, so we'll see when I have the time to post them. I lifted the blacks just a tiny bit on the MPEG files and they fell apart immediately. Yet lifted blacks on the pro res files from the Pocket, were perfect. I also did a 4X zoom test on each shot to highlight the MPEG noise even further. Doing the 4X test on the pocket camera is silly because it's just nice grain particles like film would be. This is not the first time I've compared cameras this way and every time I do, I'm always amazed by the quality of the Pocket Camera. Sure, you aren't going to get the field of view that a S35 imager gives you, that's a given. Yet, in a lot of ways that little feature costs quite a bit of money to do right and can be very difficult to post process as well. Anyway, my "I hate Mpeg" video is coming soon! :)

Here is a good article about it: http://jonnyelwyn.co.uk/film-and-video-editing/affordable-colour-grading-monitors-2/

Shots look great, as I suspected, perfectly lit. :) Toss me a short clip from the camera via drop box. I'll gladly take a few minutes to record a video of the problem when in DaVinci.