Mike Lary

'Side by Side' is a good documentary that focuses on this question and interviews some top dogs in the industry. What is your definition of an "actual professional"?

By transcoding and dropping your resolution you're throwing away a ridiculous amount of data. You should always grade from the raw data. If that's not possible at least do a primary correction in REDcineX before you transcode.

Since the image size of the pocket camera is less than 2K you can use the lite version. The 2.5K camera requires the full version of Resolve.

I would spend the time in pre-production figuring out the logistics and avoid green screen unless I had a competent compositor committed to the project.

You could credit him as Lighting Director, then. The fact is that he didn't perform the role of Cinematographer / D.P. and therefore does not deserve that credit. This is actually not confusing at all. Just take this person's emotion out of the equation and use logic.

Editors don't get credited as writer or director when they "save" a film. People need to keep their egos in check and accept the credit for the actual services they provided.

I guess I need to rethink the value of that speedreading class I took...

The H is for "half vertical resolution". That mode supports higher frame rates but at a lower quality level. The user manual lists the differences pretty clearly.

"An adapter will still allow for SxS PRO cards to be used for ProRes." Where did you see that information? The article says the XR module will record RAW or ProRes but doesn't specify an adapter for SxS Pro.

If you can make your money back fast it might be a good investment, but you need to consider purchasing a RedRocket card as well to increase transcoding speeds. It's a tried and true system (unlike the BMDCC), so you shouldn't be in for any surprises if you do your homework.

WTB Used Cooke S4 135mm

I have no interest in shooting in compressed 1080 mode (although the image does look good from the tests I've done). The main attraction of this camera is its raw capability. I wouldn't sacrifice raw capability unless a workflow demanded ProRes right out of the box, and if had to shoot 1080 I definitely wouldn't use a lens that vignettes.

Mark, your quote from Mitch Gross says there is no option in-camera to do the crop. He's referring to the compressed HD option. If you shoot raw you have the full 2.5K image and you have full control over that image. Unless you crop it to something smaller than 1080 you aren't losing resolution and won't lose image quality. What you might lose is the benefit of supersampling, but as another poster noted the difference probably won't be noticeable at these resolutions.

What you're describing is a bayer pattern, which is widely. The reason for the additional green pixel is related to luminance, not chromaticity. Your issue is most likely caused by internal processing in the camera. You aren't recording raw data, so your white point is baked in. I would look at the custom white balance settings / matrix settings in-camera and tweak the white balance / dial out the bias.

Sorry, no. I haven't done this personally, so I'm just throwing out ideas. I would look at battery operated options, maybe something along the line of a small electric blanket that could wrap around the camera without getting in the way (maybe check pet stores or hunting supplies stores). It should maintain consistent temperature and not get hot enough to affect the film in a negative way, so it would need to be adjustable. If you have time to test for a few hours in the cold that would be best. It sounds like you won't have much prep time on this shoot. I hope it works out for you.