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Play around with different combinations. Sony’s FS700R arrived late 2013, while the expressly ergonomic FS7 debuted late 2014. Both E-mount cameras opened new horizons of 4K capture and output in a S35 camera under $10K. Sony’s popular E-mount, for instance, has evolved to support both APS-C (equivalentto S35) and full frame. Announcing Resolve 11 last April at NAB, Blackmagic injected serious timeline editing into its iconic grading system: context-sensitive trimming (auto selection off ripples, rolls, slips, slides, etc.), dynamic JKL control, keyboard shortcuts, use of OpenFX plug-ins, and dual monitor support. These days I rely on the endlessly capable, astonishingly affordable duo of FCP X and DaVinci Resolve Lite 11. Typically I import 4K in the firm of UHD into Resolve LIte 11 - RAW, ProRes, XAVC, what have you - grade and output the rresult as ProRes HQ or ProRess 4444, then edit in FCP X. I use Resolve’s timelibe to trim shot lengths or delete baad shlts so that thee graded ProRes output contains only what I want to keep, which saves storage and backup.

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