H.264/H.265 vs ProRes on MacBook Pro M3 Pro/Max

Michael,

Uli apparently owns stock in Apple and is trying to get me into Motion - let the brainwashing begin with your video link!

I'm just an occasional dabbler. Better to let a re`l expert demo what's possible. The following link is to an intro to Motion by Mark Spencer of Ripple Training.

Thanks for the link!

I have heard that one should NEVER edit video files on their internal drive - is that true? And if so, why?

I can chime in with my day-to-day setup...

That went over my head!

You use ALL of those drives listed above?

Or you use various drives for various scenarios?

For me, as a newbie, what would be a practical configuration for starters?

(Assume that I get a 14" MBP with 4TB drive.)

How many external drives do i need to edit video in DaVinci Resolve - excluding RAID, NAS, Time Machine, backup drives for now to keep things simple!

What about shooting with: XAVC S-I 4K

It is an alternative but the inter-frame version is likely to give you a slightly better overall quality for most types of footage. Regardless, the difference will be minimal.

Is GOP/Inter-Frame better quality than Intra-Frame?

If so, is this because it is easier for your camera to keep up with the data?

Or are you implying that H.265 (Inter-Frame) is better than either H.264 (GOP or Intra-Frame)?

Bit rate is the number of bits per second.

How much Bit-Rate do you want?

Does the amount of Bit-Rate you want vary depending on CODEC (e.g. H.264, H.265, ProRes)?

Does the amount of Bit-Rate you want vary depending on whether you are using Intra-Frame or Inter-Frame?

(Categorically, what is Inter-Frame vs. Intra-Frame called?)

When you say H.265 is "superior" to ProRes, what do you mean?

H.265 uses more advanced compression techniques, ProRes is rather basic.
It is not superior in ease of editing, it is quite similar if we compare apples to apples, that is comparing H.265 all-intra with ProRes. H.265 inter-frame is going to require a lot more processing power.

So ProRes is better for editing?

And H.265 Inter-Frame is better for capture (or "acquisition" for video-snobs)?

And it sounds like H.265 Intra-Frame would compare to ProRes as far as editing?


However, when it comes to QUALITY, how do these stack up...

a.) ProRes
b.) H.265 Inter-Frame/GOP
c.) H.265 Intra-Frame

Does Sony offer that in prosumer mirrorless camera? H.265 + All-Intra.

I think the all-intra is available in some models. You would have to check the specs and look for "all-intra" or "-i" or something similar.

This is from the Internet, but not directly from Sony...

Code: Select all

For XAVC S-I 4K mode, the recording options are as follows:

4K UHD - ALL-I (Intra) compression

    60p/50p
        600Mbps 4:2:2 10bit/500Mbps 4:2:2 10bit
    30p/25p
        300Mbps 4:2:2 10bit/250Mbps 4:2:2 10bit
    24p
        240Mbps 4:2:2 10bit


I will be shooting at 24fps, so is the "Bit-Rate" of 240Mbps at 4:2:2 10bit "Bit-Depth" good??

So if I take your advice and shoot in H.264, 10-bit, 422, and my laptop was lagging during editing, then I could transcode to ProRes and NOT lose any quality?

I suspect you mean H.265 instead of H.264.

Any re-encoding will introduce some quality loss but assuming you use the highest bitrate then converting to ProRes will not significantly cause any quality loss.

Actually, I did mean H.264 because I thought you might be implying that H.264 was better since it doesn't use compression?

As far as converting between formats, does TRANSCODING from H.265 Inter-Frame to ProRes make sense if you are having issues editing in H.265?

Or is the loss in quality so great that it doesn't make sense?

And to speak to specific use-cases...

If you a person transcoded from a Sony with these specs into ProRes, what would the outcome be?

Code: Select all

For XAVC HS 4K (HEVC) mode, the recording options are as follows:

4K UHD - Long GOP compression
    24p
        100Mbps 4:2:2 10bit


And if a person transcoded from say an iPhone 11 Pro Max or a GoPro, then what would the outcome be?


Whew!

Thanks for the patience and all of the help so far. It's hard-work trying to become a ninja like all of you!!

IIRC, the A7SIII is offering all-I, just like my A7IV.
On a modern Mac, you won't experience any difference in editing, since both are decoded by hardware.
But inter-frame (aka GOP) will save space without any loss in image quality for natural images.

But isn't H.265/HEVC just like JPEGs?

Sure, the quality of digital cameras has come so far in the last 10-15 years that most people can get away with shooting JPEG, however, when it really comes down to it, "lossy" cannot compete with "lossless" solutions?


BTW, here is a link to some unofficial CODEC specs for the Sony a7S iii...

https://www.imaging-resource.com/PRODS/sony-a7s-iii/sony-a7s-iiiVIDEO.HTM


In the past in photography, I always choose to shoot in "lossless" formats (e.g. TIFF, RAW, etc.) because you just never know when you need the extra quality, and if you start off with JPEG, then every edit/change you make compresses things again and you QUICKLY lose quality.

All video is, is "moving pictures", so I would think there are large benefits to shhoting in - what I believe to be - "lossless" solutions like All-Intra and ProRes, right?

I have heard that one should NEVER edit video files on their internal drive - is that true? And if so, why?

I can chime in with my day-to-day setup...

That went over my head!

You use ALL of those drives listed above?

Or you use various drives for various scenarios?

For me, as a newbie, what would be a practical configuration for starters?

(Assume that I get a 14" MBP with 4TB drive.)

How many external drives do i need to edit video in DaVinci Resolve - excluding RAID, NAS, Time Machine, backup drives for now to keep things simple!

I'll answer tomorrow. I just lost all I had entered, when the forum system demanded, that I login again (happens;-). You're not forgotten or ignored, but it's now nearing midnight here.

Regards

But isn't H.265/HEVC just like JPEGs?

Well they are all DCT based and so is ProRes by the way.
But H.265 is much more advanced.

H.266 takes it all a step further but the most benefit is seen in the inter-frame compression.

"lossy" cannot compete with "lossless" solutions?

I don't think that is true, lossless is almost always overkill. Some mild compression and lossless are visibly indistinguishable.

All video is, is "moving pictures", so I would think there are large benefits to shhoting in - what I believe to be - "lossless" solutions like All-Intra and ProRes, right?

H.265 has a lossless option optionally with inter-frame compression as well. ProRes has no lossless option.

Again, lossless compression is overkill.

IIRC, the A7SIII is offering all-I, just like my A7IV.
On a modern Mac, you won't experience any difference in editing, since both are decoded by hardware.
But inter-frame (aka GOP) will save space without any loss in image quality for natural images.

But isn't H.265/HEVC just like JPEGs?

Even worse: every frame is compressed like JPEG (DCT), and then it's compressed inter-frame if you don't use I-frame only.

Sure, the quality of digital cameras has come so far in the last 10-15 years that most people can get away with shooting JPEG, however, when it really comes down to it, "lossy" cannot compete with "lossless" solutions?

It competes all the time in the leading cameras by Arri. They can shoot uncompressed with extreme costs for media and recorders, but they can also shoot ProRes (all levels). Guess what? 95% or more of the footage on Arri cameras is recorded in ProRes. I don't know what's good enough for you if that isn't.

BTW, here is a link to some unofficial CODEC specs for the Sony a7S iii...

https://www.imaging-resource.com/PRODS/sony-a7s-iii/sony-a7s-iiiVIDEO.HTM

Looks about right to me. If you want to waste your time with pixel-peeping, they even offer samples.

In the past in photography, I always choose to shoot in "lossless" formats (e.g. TIFF, RAW, etc.) because you just never know when you need the extra quality, and if you start off with JPEG, then every edit/change you make compresses things again and you QUICKLY lose quality.

JPEG in photographic cameras is 8 bit only. If you get an iPhone, you can shoot uncompressed RAW photographs, which need around 50 MB each.
Video is something completely different.

All video is, is "moving pictures", so I would think there are large benefits to shhoting in - what I believe to be - "lossless" solutions like All-Intra and ProRes, right?

Neither is lossless, as already confirmed by others.

Is GOP/Inter-Frame better quality than Intra-Frame?

At the same data rate, yes.

If so, is this because it is easier for your camera to keep up with the data?

No. Either your card keeps up or any good camera will tell you if it doesn't.

How much Bit-Rate do you want?

That depends on image size and fps. The rates most leading brands of hybrid cameras are using these days are pretty much OK. Sony is using 250 mbps for H.265 in UHD up to 30 fps inter-frame.

Does the amount of Bit-Rate you want vary depending on CODEC (e.g. H.264, H.265, ProRes)?

Does the amount of Bit-Rate you want vary depending on whether you are using Intra-Frame or Inter-Frame?

Yes and yes. ProRes needs most, H.265 with GOPs needs least for the same visual quality.

(Categorically, what is Inter-Frame vs. Intra-Frame called?)

If you want to get scientific, check Wikipedia: https://en.wikipedia.org/wiki/Inter_frame
Our answers come from practical experience

When you say H.265 is "superior" to ProRes, what do you mean?

H.265 uses more advanced compression techniques, ProRes is rather basic.
It is not superior in ease of editing, it is quite similar if we compare apples to apples, that is comparing H.265 all-intra with ProRes. H.265 inter-frame is going to require a lot more processing power.

So ProRes is better for editing?

If your computer doesn't have the hardware decoders, yes. But I understand you want get a current Mac. It doesn't matter, then, since it has hardware decoders for both.

And H.265 Inter-Frame is better for capture (or "acquisition" for video-snobs)?

No, for poor people who can't afford uncompressed video

And it sounds like H.265 Intra-Frame would compare to ProRes as far as editing?

No, on old computers H.265 will be a nightmare even as Intra-Frame.

However, when it comes to QUALITY, how do these stack up...

a.) ProRes
b.) H.265 Inter-Frame/GOP
c.) H.265 Intra-Frame

All the same, just at different bit rates.

I will be shooting at 24fps, so is the "Bit-Rate" of 240Mbps at 4:2:2 10bit "Bit-Depth" good??

Are you sure about 24? Many older monitors can't show that natively. If you are not aiming for cinema, but the internet, go 30. Data rates over 200 in HEVC inter-frame will look good from any good camera these days.

As far as converting between formats, does TRANSCODING from H.265 Inter-Frame to ProRes make sense if you are having issues editing in H.265?

Sure it does, but I thought you are going for a Mac? It would then only be a waste of time and storage space.

And if a person transcoded from say an iPhone 11 Pro Max or a GoPro, then what would the outcome be?

About as good as the source, but with less grading leeway. 8 bit of information will stay 8 bit.

Thanks for the patience and all of the help so far. It's hard-work trying to become a ninja like all of you!!

Ninjas practice a lot, AFAIK.

Thanks for the patience and all of the help so far. It's hard-work trying to become a ninja like all of you!!

Ninjas practice a lot, AFAIK.

They also get lots of bruises; peoples esteem grow, if you only brag about your successes.

I have heard that one should NEVER edit video files on their internal drive - is that true? And if so, why?

I can chime in with my day-to-day setup...

That went over my head!

You use ALL of those drives listed above?

Or you use various drives for various scenarios?

For me, as a newbie, what would be a practical configuration for starters?

(Assume that I get a 14" MBP with 4TB drive.)

How many external drives do i need to edit video in DaVinci Resolve - excluding RAID, NAS, Time Machine, backup drives for now to keep things simple!

Home

I described the full “basic system” - home and travel (but did not include all my gear). I have several computers and extra drives and whatnot - collected over many years. Old gear may be useful for many purposes, where “maximum umpfhhh” is not required.

The base, active home system is as described, and I naturally reuse “travel storage”, when not on the road.

When time comes to leave home, I disconnect ONE cable to my Thunderbolt hub. The standard Project drive remains at home. Any project work in progress cannot be lost on the road. Same goes for existing backups

Travel

The MacBook will of course be unaffected by that. Always part of the setup.

The 4TB Thunderbolt 4 drive is deleted and cleaned up. Basic configuration folders copied from NAS. It becomes my main travel project drive. It’s place is hotel (safe); same as computer when I’m doing “walkabout”. A spare minimum set of cables remain in hotel.

Always use high quality cables; don’t skimp here!

My second (not home backup) T7 Shield 4TB USB-C drive will be deleted. At home it is mostly used for iPhone recording use. It now becomes my master backup drive. Sync/backup etc. controlled by a few special setups in Carbon Copy Cloner. Time Machine is not flexible or reliable enough for travel use.

Backup drive is ALWAYS on my person; typically in an inner pocket in my “travel west” with loots of pockets.

A tiny, preferable water proof shoulder bag holds one (sometimes two) of my Baseus 100W power banks (roughly Blu-ray disk size, very thin), that also can power a notebook for hours on end, when required.

The bag also holds my powered hub with internal (old and reused, more than fast enough) Samsung 970 Evo 2TB “licorice stick” receiving all iPhone recordings. A 100W 10-Gbit “everything” certified, very robust, USB-C cable is all I need to connect to my iPhone to get going - also handheld - and charge the iPhone at the same time.

I can still use an “isolated” iPhone to record unexpected situations handheld. These are transferred to the hub, when possible (special App holds a few preset setups). When I feel like it, ideally during a small meal/snack/coffee, a short USB-C cable connects my backup drive to the setup, and another “script” syncs content to the 4TB backup drive. Nothing deleted. Nothing lost. And safe when returned to inner pocket.

Phone is seldom usable for - ahem - cloud backups. Be prepared to only being able to transfer the most important “once in a lifetime” snippets to the cloud that way. 10 megabit/sec upload on cell and 100 megabit or more on WiFi even cabled ethernet in many hotels is often plain luxury!

I don’t drive, when on “walkabouts”. Two reasons: First you may want to have a good dinner from time to time, but also if a car accident happens, the foreigner may get extra problems. Using bus is seldom a problem. Hiring a local taxi for some hours or a day is fairly cheap in many places. The tips you get “for free” are often “pure gold”. Taxi drivers are like barbers - full of local folklore.

When returning to the hotel, data is synced into the main project drive from the powered hub. Then notes, photos, copies of receipts and brochures etc. transferred from the iPhone. Last everything is sync’ed to the 4TB backup drive.

ALL cables are used/checked!!!

In general I only delete completely obvious fails; for example completely out of focus in full take, the odd recording of my own shoes, several minutes of open sky or the bumpy sideview from a walk, where I expected the camera to be off etc. Anything else stays. I have saved numerous good B-roll “cuts” from takes, that only were partly bad (typical “slow, out of focus starts”).

When traveling/flying home again, the backup drive is also and always on my body in an inner pocket. Should my computer bag become “repossessed”, I still have the backup. That’s the most important takeaway!

Happened to me in Marseille in summer 2015 - real professionals at work - not immediately noticed. Only a sudden “empty” feeling to my right revealed… sigh. Also means, NEVER ever let smartphone, money, passport, ID’s or credit cards etc. leave your body (my travel west was and still is perfect). That turned out to be a good approach, when discovering the dozens of souls at the heavily “fortressed” local police head quarter, who had lost “everything” (passport is the worst). I was lucky. It happened at noon on a Friday, and I flew back home on a Monday. A spare “camera” in the hotel safe helps. It’s still a major PITA to loose computer, camera and lenses, but that’s covered by your insurance.

Remember to check your coverage - tourism insurance seldom covers “work”. Also check any visa requirements if traveling as a “non-tourist”!

If professional “repossessors” - or worse some crazed junkie - spots you, you’re toast in any country of the world.

Home again

When reaching home, I only need to connect one thunderbolt hub cable to the notebook, and the whole “shebang” is available again, connect the 4TB travel project drive to the Thunderbolt hub, and I’m ready to transfer everything to the NAS first, and then begin cloud download, cleanup, redistribution and reorganisation into the usual targets, before continuing.

Usually it takes a couple of days to sort everything out.

Hope that clears things up.

Regards

Sure, the quality of digital cameras has come so far in the last 10-15 years that most people can get away with shooting JPEG, however, when it really comes down to it, "lossy" cannot compete with "lossless" solutions?

A topic for a different forum/thread but I would strongly refute the idea that it's ok to shoot JPEG for stills photography no matter what advances have been made in digital camera technology and there are several reasons for that which I won't go into lest the thread gets even more diverted than at present.

However, that leads to a couple of related questions:

1. What is the subject matter of the videos you are intending to shoot? This can be important in determining what codecs and camera you use.

2. Are you intending to use the camera for stills photography as well as video? A 12MP camera is probably not the best choice for stills in 2024.

It really depends on what you're doing with both the stills and video.

Most web images are under 1MB. Shown on a phone or table screen you're unlikely to notice any issue. No matter what you start with.

Also for people who need quick and dirty speed is more important than anything else. Today's news is tomorrows fish paper.

…cut: Today's news is tomorrows fish paper.

Not true anymore. First you have to get hold of a printed (!!!) paper, and then you have to post scouts, that warn you if “authorities” turn up. A logistical nightmare

Big smile

Tools and travel
Warning: My two cents. As always: YMMV!

Whether you use Resolve Studio or Apple products, even Adobe tools, is completely up to you and your preferences. Current standard computer gear can do wonders for you. You - ahem - just have to use the critters well.

When I travel, I concentrate on being “out and about” as much as possible. You may have different aims and needs.

I concentrate on organizing material, when the day is “done”. Each day it’s own folder. Some special activities separate (sub)folders. All day I make notes on “everything”, as life happens.

When these tasks are completed, I either relax, go to sleep or to some late evening activity.

Generally I do not invest much time in editing while traveling. Especially not noise reduction, which is the biggest time waster during travel. Back at home base, there’s far better time, and you can let your computer, even an old far slower workhorse, do its business - while not being present. That’s not a good idea in a hotel or other public place.

That’s me. You’ll have to find your own preferences and “rhythm”, adjusted to your actual needs.

When starting out, you get lot’s of advice, and you often forget, that advice may not really be good (the other person may not have the same needs or preferences as you, sometimes only blabbering about, what some pet YouTuber has decided to believe because it “generates eyes”).

One example is: “Nobody needs lossless”. Ballony!

Mostly correct, but really depends on actual requirements. Sometimes you need the absolutely best (if possible) or as few losses as possible (ProRES 4444HQ comes to mind) At other times 100 megabit or so h265 10-bit 4:2:0 may be perfectly fine. There is no absolutes in this field!

I often hear “Nobody needs raw video” with the adage “even Arri allows ordinary 10 bit ProRES” and all that jazz. Many of the - hrrmm - “advisers” haven’t even seen an Arri or Red camera - even at distance - in real life. And certainly you do not start out with a highly trained crew of professionals, that can handle anything anywhere in a perfectly controlled environment delivered by a significant support crew, including catering on site.

Some camera-crews come with a whole cortège of trailers clearly marked “Pinewood” studios, even have own chef’s in a small “circus tent” for basic catering. That’s not your league. At least not yet

12-bit 5.9k ProRES RAW (HQ) can in some circumstances give me the leverage and flexibility needed in post, just as some types stills are best created in RAW, and not HEIF or - shudder - jpg. It depends… ! I may even be wrong in a few cases (why admit to that , but hey, the ONLY truth is, that very good quality media can always be rendered into lower even really bad quality. The opposite approach is not really “ideal”.

Only YOU can decide, what YOU personally need in each case. The current “fashion” states “60 fps and log” (I think, fashion often changes rapidly) and if - ahem - “cinematic” is to be produced only “24 fps and log” will do according to some persons gospel.

Whether sensible or not. YOU have to decide for yourself. YOU not THEY!

60 fps may not be the best solution for travel and artificial light in the ~90% of the world, where mains power is 50Hz. And depending on your camera/phone/requirements some codec delivering 10-bit 4:2:2 2020 HLG UHD at a high enough bitrate, may be the best solution. Especially if quick cut and render turnaround is required.

Listen to known, respected practitioners. Test, test, test, test and decide, what YOU want to do. Whatever it is in real life.

At times I prefer 25/50 fps ProRES 422HQ down to 422LT or h265 40MByte/sec UHD 2020 HLG and auto-most, when using iPhone 15 Pro for “run-and-gun” where light, position and control is utterly out of my control. Apple has invested enormous sums in “massaging” (especially low to bad to weird light) environments into acceptable (!!) recorded material. If you decide on log use, Apple more or less leans back and says, “you have it your way”, and that may be more than some can handle in real life. At least the time cost in post may be higher, than anticipated in difficult light.

The choice is yours only. So is the work, and not every YouTuber working in cozy, well lit “rooms” with control of “everything” (if even that could even fathom, what is involved, when you’re out catching a street parade or other raucous versions of real life.

Find a good, trustworthy microphone, that works the way, YOU expect and can handle, and choose ANY setting, that is to your liking in the environments, you have to work in, and decide your “preferences” in codec, setup, “camera” and tools.

If in doubt use some kind of Auto, the KISS principle, and adjust fps to a sane correlation to the frequency of the local power grid.

That’s most of the job done anyway. Always has been. Even in the days around early 1980’s, when hauling along a - ahrruwmpfh - portable video reel-to-reel recorder with separate camera and glued-on shotgun.

Your iPhone can do better in any environment from start without any fancy settings. Just aim well, get things in focus, and you’re mostly done. Any gran’ma can swing that! Even after three heavy snifters at a family party. It may not be “art”, but… was that requested?

Whether you use/prefer FCPX or DaVinci Resolve is not really relevant.

Both can produce wonderful results in the right hands. Maybe, over time, you decide to use only one, both, but each for different tasks or for different parts of a project. YOU decide, and on that basis you’ve grown to know, where many YouTubers can stick their - ahem - advice

It shouldn’t take an eternity to reach that qualification level. Just go out and shoot, shoot, shoot and be critical when viewing your own material. Over time you WILL adjust and find your own way. Quicker if not too hung up on flak from “do-gooder’s”, that turn out not to be

My two cents. As always: YMMV!

Regards

P.S. Apples "force" is, that the iPhone let's YOU decide!

Kurt,

I'll answer tomorrow. I just lost all I had entered, when the forum system demanded, that I login again (happens;-). You're not forgotten or ignored, but it's now nearing midnight here.

Tip of the Day:

In any online forum, ALWAYS do a Select All and then Copy BEFORE hitting "Submit"

That way if your connection pukes, or you get logged out, you won't lose 30-40 minutes of typing and deep thoughts!

Sorry for your loses...

Kurt,

Travel
I don’t drive, when on “walkabouts”. Two reasons: First you may want to have a good dinner from time to time, but also if a car accident happens, the foreigner may get extra problems. Using bus is seldom a problem. Hiring a local taxi for some hours or a day is fairly cheap in many places. The tips you get “for free” are often “pure gold”. Taxi drivers are like barbers - full of local folklore.

:
:

When traveling/flying home again, the backup drive is also and always on my body in an inner pocket. Should my computer bag become “repossessed”, I still have the backup. That’s the most important takeaway!

Happened to me in Marseille in summer 2015 - real professionals at work - not immediately noticed. Only a sudden “empty” feeling to my right revealed… sigh. Also means, NEVER ever let smartphone, money, passport, ID’s or credit cards etc. leave your body (my travel west was and still is perfect). That turned out to be a good approach, when discovering the dozens of souls at the heavily “fortressed” local police head quarter, who had lost “everything” (passport is the worst). I was lucky. It happened at noon on a Friday, and I flew back home on a Monday. A spare “camera” in the hotel safe helps. It’s still a major PITA to loose computer, camera and lenses, but that’s covered by your insurance.

Remember to check your coverage - tourism insurance seldom covers “work”. Also check any visa requirements if traveling as a “non-tourist”!

If professional “repossessors” - or worse some crazed junkie - spots you, you’re toast in any country of the world.

Wow!

That is a couple new threads right there.

Sadly I won't be traveling abroad anytime soon, but definitely some good advice.

Maybe we can revisit all of this in another thread some day?

Thanks,


Marty

Kurt,

I'll answer tomorrow. I just lost all I had entered, when the forum system demanded, that I login again (happens;-). You're not forgotten or ignored, but it's now nearing midnight here.

Tip of the Day:

In any online forum, ALWAYS do a Select All and then Copy BEFORE hitting "Submit"

That way if your connection pukes, or you get logged out, you won't lose 30-40 minutes of typing and deep thoughts!

Sorry for your loses...

I know! I usually prepare everything offline, but not today.

I just got cought up and forgot. When I realized my error… and all that jazz

Regards

Michael,

However, that leads to a couple of related questions:

1. What is the subject matter of the videos you are intending to shoot? This can be important in determining what codecs and camera you use.

2. Are you intending to use the camera for stills photography as well as video? A 12MP camera is probably not the best choice for stills in 2024.

My use-case is simple...

I am working on a start-up, and a large part of that turns me into an independent journalist doing primarily "man-on-the-street" video interviews.

This all happened by coinkydink at the start of the pandemic.

I have already 15-20 TB of video interviews on my older iPhone 11 Pro Max, and have a field rig that a lot think is from the 6 O'clock news. (What I have now as far as a "camera" is more than sufficient - but with a new laptop, why not "push the envelope"?!)

The reason I ended up here, and have ended up going down the rabbit-hole is because I have a 10-year old MacBook Pro which barely will PREVIEW videos that I shoot on my iPhone, let alone edit them. (And any H.265 video from my iPhone or Go Pro's is a non-starter.)

A couple of months ago I set out just to find the best MacBook Pro laptop to replace my current one. But as everyone here knows, it's easy to go down the rabbit-hole with video!

So a lot of my questions in this thread come from the fact that a.) I'm trying to find the right hardware set up to process my EXISTING 4K, H.264 (?) videos, and b.) Since I will have a much nicer computer, it opens doors for what I might want to do as far as capturing things in the future (e.g. RAW, ProRes, Log, Color-Grading, etc.)

I will be buying an iPhone 15 Pro Max in the next month of so, because I need a second iPhone for my video production. And since I will be getting a new one, that opens up doors to things like ProRes, Log, and Color-Grading.

Also, I will be doing a lot of talking-head videos, and ideally I want to get a mirrorless camera so that I have full control over exposure, and more so, so that I have "real" camera lenses - particularly a professional portrait lens so that I don't look like an amusement park (i.e. fisheye effect) on camera.

Ideally I would like to get a Sony a7S iii, because after EXTENSIVE research, it seems to be the best one for talking head videos, and possibly street interviews and documentary work. (But just a body and one decent lens start out at nearly $7,000 with taxes, so that one is going to have to wait a while!)

So, my subjects?

People.

People in the form of man-on-the-street interviews, and talking-head videos of me, and possibly some long-form documentary interviews.

The only photography I will be doing is for thumbnails, or supporting materials for my website. (My iPhone 11 Pro Max is sufficient for that.)

Lastly, my work will be displayed either on my upcoming website or on my YouTube channel.

So actually, thank you for this question, because it is probably a good way to reel things in, and to re-frame things....


Current-State:
I have a TON of iPhone (H.264??) video that I need to edit and publish on my website and YouTube channel in the next couple of months.


Near Future-State:
I will likely be shooting new interviews on an iPhone 15 Pro Max.

I will have to start off my talking-head videos on my new iPhone - unless someone wants to loan me US$7,000-$10,000 for a new Sony a7S iii


Future-State:
I will be shooting videos between one or more iPhone 15 Pro Max's, plus from a Sony a7S iii.


Side-Note:
I have another 10 TB of iPhone and Go Pro (H.264 and H.265) travel footage I want to publish.

In my free-time, I am deep into shooting Go Pro/iPhone footage off my car, and another benefit of the Sony a7S iii is that it apparently is kick-ass in LOW-LIGHT.

Anticipate that I can get some phenomenal HYPE-LAPSE footage with that camera and my car - especially at night!

So that is another thing that I am getting into with videography, but primarily think of me as an independent photo-journalist/videographer/documentarian.

HTH,


Marty


P.S. Inspired by Nick's "Today's news is tomorrows fish paper."

Whatever I do, time-to-publish is something that I cannot lose sight of!

Once I have my website and YouTube channel up, and FINALLY have a beefy laptop for editing, and have some kind of basic workflow set up, I need to be in a position where I can shoot 5-10 interviews one evening, and then by the next day have it published online for consumption.

(I will be covering the U.S. presidential elections, so time is everything!)

So maybe my curiosity about RAW, ProRes, Log, Color-Grading, etc is misplaced?

In an EXTREME case, maybe I just keep shooting on my iPhone 11 Pro Max, and focus on EDITING and PUBLISHING (and maybe some basic Motion Graphics)?

OR, maybe I can shoot ProRes 10-bit, 4:2:2 on a new iPhone 15 Pro Max with external SSD, and get phenomenal video quality, and still be able to edit and publish QUICKLY now that I will have a powerful new MacBook Pro and DaVinci Resolve?

As in baseball, somewhere is a "sweet spot" on the bat guaranteed to help one "knock the ball out of the park"!!

Maybe you all can help me figure out where that "sweet spot" is located?

OK Marty. That gives a lot more perspective. I don't think you will have any problems processing your existing material on any of the MacBook Pros you are considering. If you don't already have one, I'd suggest getting an external monitor as working solely on a laptop screen for long periods is not ideal for image editing.

I think shooting in H.265 10-bit will be more than good enough for your needs. Forget shooting ProRes and Raw for that type of work. The file sizes will be enormous in comparison to H.265 for no real gain. Image quality is very much a secondary consideration.

May I suggest, before you commit to the Sony, you check out the Nikon Z8 with 24-120mm Z lens which is currently on sale as a bundle in the US for around $4000 as far as I am aware. This is an extremely well-featured professional camera for video (and stills) and is very competitive with Sony's offerings. Nikon has been slow to get into the hybrid video market but the stuff they are producing now is excellent and tends to be a bit cheaper than the equivalent Sonys. The Z8 is superb in low light as well as being extremely well-endowed in other areas (AF, shoots H.265 (log and HLG), Pro-Res, ProRes Raw, 8K NRAW, lens I mentioned is optically world class).

Kurt,

Awesome reply!!!

(I remember 20-30 years ago where nearly every post online was like this, and not of the space-cadet, 140 character blurb! THANK YOU for sharing so much!!)


(BTW, don't entirely blame me entirely for this thread "forking" so much - either way, I take it as a compliment!)

When I travel, I concentrate on being “out and about” as much as possible. You may have different aims and needs.

That is why I do "street videography".

What I have to offer is "real" life - not the STERILE, PREPPED "content" that you see on cable news and social media.

I concentrate on organizing material, when the day is “done”. Each day it’s own folder. Some special activities separate (sub)folders. All day I make notes on “everything”, as life happens.

Yeah, I need to work on that.

Right now, I just download into a folder on an external drive called "iPHONE_2024-05-15_Some Location".

Now that I have recently Feng Shui'ed my current laptop, I have a pretty robust, agile, and scalable filing system that I think will help with this topic.

Time will tell...

Generally I do not invest much time in editing while traveling. Especially not noise reduction, which is the biggest time waster during travel. Back at home base, there’s far better time, and you can let your computer, even an old far slower workhorse, do its business - while not being present. That’s not a good idea in a hotel or other public place.

Honestly, my "editing" will like be trimming beginning/end, cutting out um's, ur's, and tangents, slap on a professional cover-slide/intro, maybe add "credits" at the end, of course ideally some B-roll, and that's it.

(FWIW, all of the help in this thread is NOT WASTED - it will make me a better videographer - but the reality is that I probably don't need a lot of this for my end goals...)

When starting out, you get lot’s of advice, and you often forget, that advice may not really be good (the other person may not have the same needs or preferences as you, sometimes only blabbering about, what some pet YouTuber has decided to believe because it “generates eyes”).

Oh, trust me, I KNOW!!

However, I find the more videos I watch, the more I read, the more people I talk to, then the better decisions I make - even if often my "first thought" is the one I end up going with?!

One example is: “Nobody needs lossless”. Ballony!

Mostly correct, but really depends on actual requirements. Sometimes you need the absolutely best (if possible) or as few losses as possible (ProRES 4444HQ comes to mind) At other times 100 megabit or so h265 10-bit 4:2:0 may be perfectly fine. There is no absolutes in this field!

Personally, I have never bought too large of an internal hard-drive, never bought too much RAM, and have never shoot at too high of a quality.

Never.

You can always throw away data, but you can't bring back what you've never captured.

Period.

So, yes, I tend to err on the side of "a little too good".

Some camera-crews come with a whole cortège of trailers clearly marked “Pinewood” studios, even have own chef’s in a small “circus tent” for basic catering. That’s not your league. At least not yet

Let's hope!

the ONLY truth is, that very good quality media can always be rendered into lower even really bad quality. The opposite approach is not really “ideal”.

Agreed!

Only YOU can decide, what YOU personally need in each case. The current “fashion” states “60 fps and log” (I think, fashion often changes rapidly) and if - ahem - “cinematic” is to be produced only “24 fps and log” will do according to some persons gospel.

I'm old-school, so most likely 24fps, although I hear where Uli's suggestion of 30fps is coming from.

Listen to known, respected practitioners. Test, test, test, test and decide, what YOU want to do. Whatever it is in real life.

Yep!

At times I prefer 25/50 fps ProRES 422HQ down to 422LT or h265 40MByte/sec UHD 2020 HLG and auto-most, when using iPhone 15 Pro for “run-and-gun” where light, position and control is utterly out of my control. Apple has invested enormous sums in “massaging” (especially low to bad to weird light) environments into acceptable (!!) recorded material. If you decide on log use, Apple more or less leans back and says, “you have it your way”, and that may be more than some can handle in real life. At least the time cost in post may be higher, than anticipated in difficult light.

I would like how to shoot in Log and learn color-corrections and color-grading, but can I realistically master that by Election Day? (Probably not.)

To those who push RAW and LOG, here is what I say...

How about fundamentals?

How about proper exposure?

How about proper - meaning sometimes "supplemental" - lighting?

What about, gasp, COMPOSITION?

A good photographer/videographer can take so-so equipment and create fabulous results.

An uninterested, uncurious, and lazy "creator" can't produce much even with the best gear...

FWIW, I have interviews in the pitch dark, at Midnight, in someone's front lawn, interviews in the snow and rain, and interviews in a lot of less-than-ideal settings that still look good because I focused on: a.) the fundamentals, b.) the subject, and c.) the story.

The choice is yours only. So is the work, and not every YouTuber working in cozy, well lit “rooms” with control of “everything” (if even that could even fathom, what is involved, when you’re out catching a street parade or other raucous versions of real life.

Even though I could buy the gear to change things, I prefer to keep my interviews somewhat "edgy".

If you want perfection, go see a Hollywood movie, or watch FoxNews or CNN.

In my opinion, the art of story-telling is dead, and the art of real news reporting went out with Walter Cronkite...

Find a good, trustworthy microphone, that works the way, YOU expect and can handle, and choose ANY setting, that is to your liking in the environments, you have to work in, and decide your “preferences” in codec, setup, “camera” and tools.

I have a pretty nice Azden shotgun mic and Zoom H6 digital recorder that I use now on my iPhone tripod/rig that has worked well. (Saving up for Zoom F8n, but that's on the back-burner with everything we're talking about here!)

If in doubt use some kind of Auto, the KISS principle...

I get compliments everywhere I go with my "MOJO" rig. It has served me well so far!

Your iPhone can do better in any environment from start without any fancy settings. Just aim well, get things in focus, and you’re mostly done. Any gran’ma can swing that! Even after three heavy snifters at a family party. It may not be “art”, but… was that requested?

Yeah, even if I get a Sony a7S iii, I'm not sure how practical it is to hoof that around with the type of work I do. PLUS, I'd rather have a drunk or kid knock over a $1,500 iPhone, versus a $10,000 mirrorless!

Also, I'd ratehr get caught in a sudden rain storm with my fairly waterproof iPhone versus "real" equipment!!

Whether you use/prefer FCPX or DaVinci Resolve is not really relevant.

Both can produce wonderful results in the right hands. Maybe, over time, you decide to use only one, both, but each for different tasks or for different parts of a project. YOU decide, and on that basis you’ve grown to know, where many YouTubers can stick their - ahem - advice

Understood.

Although, I think DaVinci Resolve is one of those rare times where you can get quality and ease-of-use together and a low price.

I chose to come here, and not learn FCP, because I want to learn a craft, a trade, a profession - versus wham-bam in the YouTube mindset.

(It is also why I am leaning towards using DaVinci Resolve and Fusion for motion graphics over Apple' Motion, but I'm not sure, and let's save that for another thread! I just think learning nodes is the way to go...)

It shouldn’t take an eternity to reach that qualification level. Just go out and shoot, shoot, shoot and be critical when viewing your own material. Over time you WILL adjust and find your own way.

Yeah, I am the kind of "analysis-paralysis", and I know that I need to pull the trigger on a new MacBook Pro here shortly after my next paycheck or so.

Quicker if not too hung up on flak from “do-gooder’s”, that turn out not to be

Agreed.

Fortunately for me, TIME is my ultimate enemy with what I'm doing this year! (The U.S. elections will not wait, so I better bring all of this together soon!)

My two cents. As always: YMMV!

Regards

Thanks for helping me to "fork" this thread even more! *LMAO*

P.S. Apples "force" is, that the iPhone let's YOU decide!

Okay.

Sincerely,


Marty

@MartyMC: Send me private message, and I can return you a link to an App (Uli also mentioned the App), that is nor free (but extremely flexible and in my view fully worth the cost).

The main difference to Blackmagic Camera App and the current Apple Camera App is, that you can adjust h265 performance within extremely wide quality levels (maximum is around twice, what I can get in a paid upgrade for my Atomos Ninja V external recorder).

Max performance h265, UHD 10-bit 2020 4:2:0 HLG is 40 MByte/second (nominally), often far higher - up to very near 400 megabit/second actually recorded. If you want to do log, you can get 4:2:2 too.

The important thing is not “maximum”, but the ability to dial in several compromises between quality and storage use, and store each setting in easily handled (named) presets, that allow a quick overview of main settings.

Pick and choose as you go along.

On a modern MacBook 14 Pro M1 Pro/Max or newer, or a decent M2 etc MacBook critter, you’ll be fine, and even very tight, last minute deadlines can be handled in a pinch.

Have a look, and see, if that App suits your style. Can be tested free, and there’s an in-App upgrade, that I found worth doing. The developer offers very good and mostly surprisingly quick reaction times (I guess he also needs to sleep from time to time

Regards

At times I prefer 25/50 fps ProRES 422HQ down to 422LT or h265 40MByte/sec UHD 2020 HLG and auto-most, when using iPhone 15 Pro for “run-and-gun” where light, position and control is utterly out of my control. Apple has invested enormous sums in “massaging” (especially low to bad to weird light) environments into acceptable (!!) recorded material. If you decide on log use, Apple more or less leans back and says, “you have it your way”, and that may be more than some can handle in real life. At least the time cost in post may be higher, than anticipated in difficult light.

Kurt is right about this, Apple's iPhone can handle critical light situations remarkably well. Just one example: a face at night, backlit. The phone recognizes there's a face and takes care of making it visible (instead of a silhouette against the background). If you don't have the time to 'massage' it, it's better to have a shot according to their taste than no shot at all.

I would like how to shoot in Log and learn color-corrections and color-grading, but can I realistically master that by Election Day? (Probably not.)

Only you can answer that.

Yeah, even if I get a Sony a7S iii, I'm not sure how practical it is to hoof that around with the type of work I do. PLUS, I'd rather have a drunk or kid knock over a $1,500 iPhone, versus a $10,000 mirrorless!

Also, I'd ratehr get caught in a sudden rain storm with my fairly waterproof iPhone versus "real" equipment!

The newest iPhones can dive, actually. And they have a much better chance to survive being knocked over than a Sony Alpha with a heavy lens on it.

Michael,

OK Marty. That gives a lot more perspective. I don't think you will have any problems processing your existing material on any of the MacBook Pros you are considering. If you don't already have one, I'd suggest getting an external monitor as working solely on a laptop screen for long periods is not ideal for image editing.

I think shooting in H.265 10-bit will be more than good enough for your needs. Forget shooting ProRes and Raw for that type of work. The file sizes will be enormous in comparison to H.265 for no real gain. Image quality is very much a secondary consideration.

So am I inferring from your response that RAW and ProRes are overkill for delivering on websites and YouTube?

And, it also sounds like you are saying what Uli has been saying for a while - any newer MacBook Pro should be able to handle compressed CODEC like H.265 fine because they use hardware decoders?

May I suggest, before you commit to the Sony, you check out the Nikon Z8 with 24-120mm Z lens which is currently on sale as a bundle in the US for around $4000 as far as I am aware. This is an extremely well-featured professional camera for video (and stills) and is very competitive with Sony's offerings. Nikon has been slow to get into the hybrid video market but the stuff they are producing now is excellent and tends to be a bit cheaper than the equivalent Sonys. The Z8 is superb in low light as well as being extremely well-endowed in other areas (AF, shoots H.265 (log and HLG), Pro-Res, ProRes Raw, 8K NRAW, lens I mentioned is optically world class).

Okay, good to know.

How does the Nikon Z8 compare to the Nikon Z9? (Is the Z9 just a newer version, or is it a different camera?)

I read a review on the Nikon Z9 - and it sounds like a workhorse and even better than the Sony a7S iii - but that particular camera is soooo expensive.

Kurt,

@MartyMC: Send me private message, and I can return you a link to an App (Uli also mentioned the App), that is nor free (but extremely flexible and in my view fully worth the cost).

Okay.

The main difference to Blackmagic Camera App and the current Apple Camera App is, that you can adjust h265 performance within extremely wide quality levels (maximum is around twice, what I can get in a paid upgrade for my Atomos Ninja V external recorder).

You lost me...

Which app gives you more control?

And I guess we are talking about on an iPhone 15 Pro Max?

And how does an Atomos recorder relate to these apps?

Max performance h265, UHD 10-bit 2020 4:2:0 HLG is 40 MByte/second (nominally), often far higher - up to very near 400 megabit/second actually recorded. If you want to do log, you can get 4:2:2 too.

The important thing is not “maximum”, but the ability to dial in several compromises between quality and storage use

So how do you do that?

And, again, are we talking on a Sony a7S iii or on an iPhone 15 Pro Max?

and store each setting in easily handled (named) presets, that allow a quick overview of main settings.

How do you do that?

And what is your naming convention?

On a modern MacBook 14 Pro M1 Pro/Max or newer, or a decent M2 etc MacBook critter, you’ll be fine, and even very tight, last minute deadlines can be handled in a pinch.

Any thoughts on the M3 processor?

I am looking to get a 14" MacBook Pro with either an M3 Pro, 18-core GPU, 36GB RAM, or or possibly an M3 Max, 30-core GPU, 96GB RAM.

Have a look, and see, if that App suits your style. Can be tested free, and there’s an in-App upgrade, that I found worth doing. The developer offers very good and mostly surprisingly quick reaction times (I guess he also needs to sleep from time to time

Regards

How does the Blackmagic Design app compare to the Apple Camera app on an iPhone 15 Pro Max?

I didn't know that BMD had a camera for mobile devices, so that sounds interesting.

Uli,

At times I prefer 25/50 fps ProRES 422HQ down to 422LT or h265 40MByte/sec UHD 2020 HLG and auto-most, when using iPhone 15 Pro for “run-and-gun” where light, position and control is utterly out of my control. Apple has invested enormous sums in “massaging” (especially low to bad to weird light) environments into acceptable (!!) recorded material. If you decide on log use, Apple more or less leans back and says, “you have it your way”, and that may be more than some can handle in real life. At least the time cost in post may be higher, than anticipated in difficult light.

Kurt is right about this, Apple's iPhone can handle critical light situations remarkably well. Just one example: a face at night, backlit. The phone recognizes there's a face and takes care of making it visible (instead of a silhouette against the background). If you don't have the time to 'massage' it, it's better to have a shot according to their taste than no shot at all.

Okay.

I would like how to shoot in Log and learn color-corrections and color-grading, but can I realistically master that by Election Day? (Probably not.)

Only you can answer that.

Which is one reason that I am asking questions about things that I may not buy right now, or may not use right now.

Even if I determine things are too advanced for me right now, it is good to know about advanced concepts for later on.

But I am guessing that getting into RAW, ProRes, Log, and Color-Grading is biting off too much for me right now.

Time will tell...

Yeah, even if I get a Sony a7S iii, I'm not sure how practical it is to hoof that around with the type of work I do.

PLUS, I'd rather have a drunk or kid knock over a $1,500 iPhone, versus a $10,000 mirrorless!

Also, I'd rather get caught in a sudden rain storm with my fairly waterproof iPhone versus "real" equipment!

The newest iPhones can dive, actually. And they have a much better chance to survive being knocked over than a Sony Alpha with a heavy lens on it.

I agree.

So am I inferring from your response that RAW and ProRes are overkill for delivering on websites and YouTube?

And, it also sounds like you are saying what Uli has been saying for a while - any newer MacBook Pro should be able to handle compressed CODEC like H.265 fine because they use hardware decoders?

More that they are overkill for news and interview style video. You don't need ultra-high quality to shoot that type of stuff. I shoot landscape and nature stuff and I want to capture the best quality (within reason) so that I don't restrict myself down the line. It's the same principle for me as shooting raw stills.

How does the Nikon Z8 compare to the Nikon Z9? (Is the Z9 just a newer version, or is it a different camera?)

I just threw that in really to say that there are other camera brands besides Sony. The Z8 is a slightly cut down version of the Z9 but it has the same sensor, shoots the same codecs, has the same AF etc. It won a lot of camera of the year awards last year. WIth the recent price drops it is incredibly good value. It is without any doubt by far the best camera I've ever owned. That said you may not need such a powerful camera if you are veering in the iPhone direction.

I would like how to shoot in Log and learn color-corrections and color-grading, but can I realistically master that by Election Day?

Almost impossible I would think unless you mean election day 2028 (if that even happens the way things are going). You need to focus on the essentials needed to deliver what you need to deliver.

Honestly, my "editing" will like be trimming beginning/end, cutting out um's, ur's, and tangents, slap on a professional cover-slide/intro, maybe add "credits" at the end, of course ideally some B-roll, and that's it.

Although, I think DaVinci Resolve is one of those rare times where you can get quality and ease-of-use together and a low price.

I chose to come here, and not learn FCP, because I want to learn a craft, a trade, a profession - versus wham-bam in the YouTube mindset.

(It is also why I am leaning towards using DaVinci Resolve and Fusion for motion graphics over Apple' Motion, but I'm not sure, and let's save that for another thread! I just think learning nodes is the way to go...)

Fortunately for me, TIME is my ultimate enemy with what I'm doing this year! (The U.S. elections will not wait, so I better bring all of this together soon!)

For editing, FCP is a lot easier to use than Resolve in my opinion. The magnetic timeline alone is a massive timesaver and incredibly intuitive. Resolve is far superior for color grading but how much time do you have to learn? If all you need is to deliver minimally edited video with minimal grading, think FCP. It is an advanced NLE, nothing to scoff at at all, not just for YouTubers whatever they are and it is much simpler to tackle than Resolve which is not easy to use by any measure. You can learn Resolve later when you have time.

You don't have time to learn any motion graphics app. This is a completely different mindset. Your brain will probably start to fizz and pop. Again you can tacke Fusion in time for the next election.

So am I inferring from your response that RAW and ProRes are overkill for delivering on websites and YouTube?

And, it also sounds like you are saying what Uli has been saying for a while - any newer MacBook Pro should be able to handle compressed CODEC like H.265 fine because they use hardware decoders?

More that they are overkill for news and interview style video. You don't need ultra-high quality to shoot that type of stuff. I shoot landscape and nature stuff and I want to capture the best quality (within reason) so that I don't restrict myself down the line. It's the same principle for me as shooting raw stills.

Okay.

How does the Nikon Z8 compare to the Nikon Z9? (Is the Z9 just a newer version, or is it a different camera?)

I just threw that in really to say that there are other camera brands besides Sony. The Z8 is a slightly cut down version of the Z9 but it has the same sensor, shoots the same codecs, has the same AF etc. It won a lot of camera of the year awards last year. WIth the recent price drops it is incredibly good value. It is without any doubt by far the best camera I've ever owned. That said you may not need such a powerful camera if you are veering in the iPhone direction.

I'll at least check it out.

I would like to learn how to shoot in Log and learn color-corrections and color-grading, but can I realistically master that by Election Day?

Almost impossible I would think unless you mean election day 2028 (if that even happens the way things are going). You need to focus on the essentials needed to deliver what you need to deliver.

Okay, thanks for the reality check!

Honestly, my "editing" will like be trimming beginning/end, cutting out um's, ur's, and tangents, slap on a professional cover-slide/intro, maybe add "credits" at the end, of course ideally some B-roll, and that's it.

Although, I think DaVinci Resolve is one of those rare times where you can get quality and ease-of-use together and a low price.

I chose to come here, and not learn FCP, because I want to learn a craft, a trade, a profession - versus wham-bam in the YouTube mindset.

(It is also why I am leaning towards using DaVinci Resolve and Fusion for motion graphics over Apple' Motion, but I'm not sure, and let's save that for another thread! I just think learning nodes is the way to go...)

Fortunately for me, TIME is my ultimate enemy with what I'm doing this year! (The U.S. elections will not wait, so I better bring all of this together soon!)

For editing, FCP is a lot easier to use than Resolve in my opinion. The magnetic timeline alone is a massive timesaver and incredibly intuitive. Resolve is far superior for color grading but how much time do you have to learn? If all you need is to deliver minimally edited video with minimal grading, think FCP. It is an advanced NLE, nothing to scoff at at all, not just for YouTubers whatever they are and it is much simpler to tackle than Resolve which is not easy to use by any measure. You can learn Resolve later when you have time.

Okay, interesting point.

Who knows, maybe I am also biting off too much when it comes to video-editing apps?

You don't have time to learn any motion graphics app. This is a completely different mindset. Your brain will probably start to fizz and pop. Again you can tackle Fusion in time for the next election.

Hmmm...

(I will include this thought when I start a new thread on motion graphics.)

Thanks for the thoughts, and for challenging my mindset!

Kurt,

@MartyMC: Send me private message, and I can return you a link to an App (Uli also mentioned the App), that is nor free (but extremely flexible and in my view fully worth the cost).

Okay.

The main difference to Blackmagic Camera App and the current Apple Camera App is, that you can adjust h265 performance within extremely wide quality levels (maximum is around twice, what I can get in a paid upgrade for my Atomos Ninja V external recorder).

You lost me...

Sorry. Not intended. My fault.

Which app gives you more control?

And I guess we are talking about on an iPhone 15 Pro Max?

And how does an Atomos recorder relate to these apps?

Not at all, but it is a known tool for recording really high end video from a long line of cameras (ProRES, ProRES RAW, h265 etc) at very high quality. My Panasonic S5 allows up to 12-bit 5.9k ProRES RAW HQ recordings on the Atomos (each frame roughly 19-20 megapixel, similar to a 12-bit RAW still image, 5888 pixels wide). If you have large enough media (it's brutal, but in good light.... ohhh, boy... you get what you paid for).

Max performance h265, UHD 10-bit 2020 4:2:0 HLG is 40 MByte/second (nominally), often far higher - up to very near 400 megabit/second actually recorded. If you want to do log, you can get 4:2:2 too.

The important thing is not “maximum”, but the ability to dial in several compromises between quality and storage use

So how do you do that?

And, again, are we talking on a Sony a7S iii or on an iPhone 15 Pro Max?

On my iPhone 15 Pro or my iPhone 12 Pro or... or...

You get it if you perform the in-App buy (cannot remember the price, but it's very low, compared to anything - even a spare screw in some cases - in the "real camera" world.

and store each setting in easily handled (named) presets, that allow a quick overview of main settings.

How do you do that?

And what is your naming convention?

Download, try and be positively surprised. You have the link, that will give you the big picture. Download the App, and when you're confident of the products qualities, you just order the upgrade inside the App (in the Apple Shop paid via the shop). Seconds after, you're done and ready to go.

On a modern MacBook 14 Pro M1 Pro/Max or newer, or a decent M2 etc MacBook critter, you’ll be fine, and even very tight, last minute deadlines can be handled in a pinch.

Any thoughts on the M3 processor?

No. It's faster than M2 (don't even think of buying Macs with the ordinary M1 critter; it lacks the hardware support), and due to the built in ProRES and h264/265 hardware support - as is also the case for M1/M2/M3 Pro/Max/Ultra chips - you get very fast en/decoding. Using FCPX, Adobe or Resolve, and a lot of tools, that support Apple Silicon whatever.

I am looking to get a 14" MacBook Pro with either an M3 Pro, 18-core GPU, 36GB RAM, or or possibly an M3 Max, 30-core GPU, 96GB RAM.

Probably a good choice. If I had to replace my 14" MacBook Pro M1 Pro 16GB/1TB 10CPU/16GPU I would certainly look in the same direction - especially if portability was important. The screen is classes better, than the ordinary MacBooks (Air or whatever, they're called), and sound is not bad, if you've forgotten your high end cans

Have a look, and see, if that App suits your style. Can be tested free, and there’s an in-App upgrade, that I found worth doing. The developer offers very good and mostly surprisingly quick reaction times (I guess he also needs to sleep from time to time

Regards

How does the Blackmagic Design app compare to the Apple Camera app on an iPhone 15 Pro Max?

I didn't know that BMD had a camera for mobile devices, so that sounds interesting.

That's a hard one. They have similar capabillities (Apple is in control) for recorded quality in ProRES, BMC allows finer tuning of ProRES quality and frame rates, and both Apple and Blackmagic have really abysmal h265 options. BMC has IEEE 32-float (up to four channels) recording into ProRES (only tested in that setup), and that works. It can be a life saver, when recording USB microphones delivering 24-bit PCM signals. Otherwise all recdordings end up as 16 bit PCM or AAC. Can be used, but not the same.

Read about IEEE 32-bit here:
A "kind" version: https://tascam.com/us/feature/32-bit_float
The medium version: https://www.sounddevices.com/32-bit-flo ... explained/
The hard version: https://en.wikipedia.org/wiki/Single-pr ... int_format

The extremely short versions is: "It is to sound, what RAW is to photos)

The BMC downside is, that it has (kind version) some "personality issues" in hectic use cases (in my view).

The main difference to Blackmagic Camera App and the current Apple Camera App is, that you can adjust h265 performance within extremely wide quality levels (maximum is around twice, what I can get in a paid upgrade for my Atomos Ninja V external recorder).

The range of data rates for HEVC (aka H.265) in that elite app is even going higher than a current Sony Alpha. The main advantage, though, is the flexibility. You can go for half of that and it'll still be more than the recordings from Apple's or BM's app. Another nice detail: you can relocate the record button, and the settings are arranged in a way that a simple filter holder with a clamp will not cover any important functions. That's all I use with the iPhone, but since you are rigging it up, as I understand, that might be of less importance. But flexibility in data rate vs. image quality may be very helpful when storage is getting tight.

Which app gives you more control?

And I guess we are talking about on an iPhone 15 Pro Max?

The secret app with the small, but elite user group has been around for much longer and works with all of them.

Max performance h265, UHD 10-bit 2020 4:2:0 HLG is 40 MByte/second (nominally), often far higher - up to very near 400 megabit/second actually recorded. If you want to do log, you can get 4:2:2 too.

The important thing is not “maximum”, but the ability to dial in several compromises between quality and storage use

That!

So how do you do that?

And, again, are we talking on a Sony a7S iii or on an iPhone 15 Pro Max?

15 Pro or Max, doesn't matter. See picture at the end.
Regarding choice of iPhones, I'd definitely have a look at either one, you may find the 3x lens, a 77mm equivalent, to better suit your needs than the 5x, which looks like 120mm on photographic full-frame. The downside is a smaller battery, which will last a bit shorter. The smaller case might also limit heat dissipation a bit, for which I didn't test.

On a modern MacBook 14 Pro M1 Pro/Max or newer, or a decent M2 etc MacBook critter, you’ll be fine, and even very tight, last minute deadlines can be handled in a pinch.

Even the 18 GPU core, 36 GB RAM model will serve you well. It might even be less noisy in 14", having less power to get rid of. The only practical difference for your intended use will be longer rendering times for very demanding effects, out of which you will probably only use temporal NR in rare situations. Regular editing and mild color corrections will feel just the same.

How does the Blackmagic Design app compare to the Apple Camera app on an iPhone 15 Pro Max?

It's better.
Finally, a remark on the choice of editing software. If you are not yet familiar with a 'classic' editing interface, FCP-X is easier to learn, IMHO. If you already know one of them, DR might be the better choice. And then, if Apple Motion is in your future, it is tightly integrated with FCP-X, but it can be used in combination with DR too.
Oh, BTW, the elite app is multi-lingual:

HEVC_Settings.jpg (61.62 KiB) Viewed 1560 times

How does the Blackmagic Design app compare to the Apple Camera app on an iPhone 15 Pro Max?

NO!

Regards and a big smile

A short article of only 6 pages trying to compare the other is here
https://www.dropbox.com/scl/fi/4cycsotv ... lbzin&dl=0

Plus translation (text only). Please note that it was based on an older version of BM's app:
https://www.dropbox.com/scl/fi/meyblio0 ... w5wv7&dl=0

The main difference to Blackmagic Camera App and the current Apple Camera App is, that you can adjust h265 performance within extremely wide quality levels (maximum is around twice, what I can get in a paid upgrade for my Atomos Ninja V external recorder).

The range of data rates for HEVC (aka H.265) in that elite app is even going higher than a current Sony Alpha.

Not following either of you...

Are you saying that a new iPhone 15 Pro Max has this incredible power hidden inside of it - power that competes with high-end mirrorless cameras - and yet you cannot unlock said power via Apple's Camera app?

And furthermore, are you saying that my using "the mystery app" you can unleash DATA RATES that equal (or surpass) a Sony Alpha (e.g. a7S iii) camera??

If that is true, why would Apple cripple itself like that?

The main advantage, though, is the flexibility. You can go for half of that and it'll still be more than the recordings from Apple's or BM's app.

Again, why would Apple build incredible hardware, and then not offer that power to end users via their OS and built in mobile camera app?

And why can't Blackmagic Design's app take advantage of that power, yet "the mystery app" can?

Another nice detail: you can relocate the record button, and the settings are arranged in a way that a simple filter holder with a clamp will not cover any important functions. That's all I use with the iPhone, but since you are rigging it up, as I understand, that might be of less importance.

I use a BeastCage - that is pimped out - but Beastgrip was smart enough to put buttons on the outside of the BeastCage, so I can access them just as if my iPhone was naked.

But flexibility in data rate vs. image quality may be very helpful when storage is getting tight.

If "the mystery app" is that magical, then it sounds like - combined with a new iPhone 15 Pro Max - it would really help me up my game, AND tied me over until I can come up with $7,000 for a Sony a7S iii, right?

Which app gives you more control?

And I guess we are talking about on an iPhone 15 Pro Max?

The secret app with the small, but elite user group has been around for much longer and works with all of them.

So apparently the creator is a brilliant developer, but sucks at marketing/sales/self-promotion?

Max performance h265, UHD 10-bit 2020 4:2:0 HLG is 40 MByte/second (nominally), often far higher - up to very near 400 megabit/second actually recorded. If you want to do log, you can get 4:2:2 too.

The important thing is not “maximum”, but the ability to dial in several compromises between quality and storage use

That!

Is there a catch to this magical "mystery app"?

So how do you do that?

And, again, are we talking on a Sony a7S iii or on an iPhone 15 Pro Max?

15 Pro or Max, doesn't matter. See picture at the end.
Regarding choice of iPhones, I'd definitely have a look at either one, you may find the 3x lens, a 77mm equivalent, to better suit your needs than the 5x, which looks like 120mm on photographic full-frame. The downside is a smaller battery, which will last a bit shorter. The smaller case might also limit heat dissipation a bit, for which I didn't test.

Uli, you mentioned this before, and you imply that if you get the iPhone 15 Pro Max that you lose something as far as lens go?

My understanding is that the iPhone 15 Pro Max just ALSO offer a greter zoom lens, but it doesn't lose anything that the iPhone 15 Pro has.

Am I missing something?

On a modern MacBook 14 Pro M1 Pro/Max or newer, or a decent M2 etc MacBook critter, you’ll be fine, and even very tight, last minute deadlines can be handled in a pinch.

Even the 18 GPU core, 36 GB RAM model will serve you well. It might even be less noisy in 14", having less power to get rid of. The only practical difference for your intended use will be longer rendering times for very demanding effects, out of which you will probably only use temporal NR in rare situations. Regular editing and mild color corrections will feel just the same.

Admittedly I'm a little skeptical on this - more so the lack of RAM versus the lack of an M3 Max chip - but your wisdom is DULY NOTED so don't feel like I'm not listening!!

How does the Blackmagic Design app compare to the Apple Camera app on an iPhone 15 Pro Max?

It's better.

Sounds like there a A LOT more options for the camera on an iPhone 15 Pro/Pro Max than on my old iPhone 11 Pro Max.

I know that I am in the minority here, but personally I think that Filmic Pro sucks...

It has nice features, but the User-Interface (UI) is appalling for an IT guy like me!!

Finally, a remark on the choice of editing software. If you are not yet familiar with a 'classic' editing interface, FCP-X is easier to learn, IMHO. If you already know one of them, DR might be the better choice. And then, if Apple Motion is in your future, it is tightly integrated with FCP-X, but it can be used in combination with DR too.

We can do a deeper dive on this in a new thread I'll start shortly, but I will say this...

While I understand "layers" from working in MS Office, I am not deeply ingrained in that mindset not having done video-editing before.

So I am leaning towards working with NODES as they don't seem any harder to learn than working with "layers", and I think they are more powerful, but more on that in the next thread!!

Oh, BTW, the elite app is multi-lingual:

HEVC_Settings.jpg

AH, but Marty is MONO-LINGUAL!!!

How does the Blackmagic Design app compare to the Apple Camera app on an iPhone 15 Pro Max?

NO!

Regards and a big smile

I think that was a SUBLIMINAL MESSAGE from Kurt...

A short article of only 6 pages trying to compare the other is here
https://www.dropbox.com/scl/fi/4cycsotv ... lbzin&dl=0

Plus translation (text only). Please note that it was based on an older version of BM's app:
https://www.dropbox.com/scl/fi/meyblio0 ... w5wv7&dl=0

Uli,

You need my help setting up a website! (I am having trouble accessing your DropBox document)

Again, why would Apple build incredible hardware, and then not offer that power to end users via their OS and built in mobile camera app?

And why can't Blackmagic Design's app take advantage of that power, yet "the mystery app" can?

Have you even contemplated asking Apple or Blackmagic?

They’re the only ones, that can explain their policies, approaches and decisions to you. No one else can.

Just asking!

why would Apple build incredible hardware, and then not offer that power to end users via their OS and built in mobile camera app?

Apple announced such an app a few weeks ago: https://nofilmschool.com/final-cut-camera

Besides the announcement and brief demo, nothing is known about it. Shipping date is also unknown.

However I’ve used the Blackmagic Camera App on an iPhone 15 Pro Max. It’s very good, free, and available now.

The compositional and lighting skills needed for a pro camera also apply to iPhone video. It’s important to not over think technical nuances. You can shoot bad material with a $40k RED camera if you don’t understand lighting, blocking and composition. An interview shot by an ARRI with bad audio is almost useless. Documentary interviews without planned, coordinated B-roll is difficult to edit. Avoiding that takes careful advance planning.

Apple announced such an app a few weeks ago: https://nofilmschool.com/final-cut-camera

Besides the announcement and brief demo, nothing is known about it. Shipping date is also unknown.

However I’ve used the Blackmagic Camera App on an iPhone 15 Pro Max. It’s very good, free, and available now.

How timely to this conversation!

The compositional and lighting skills needed for a pro camera also apply to iPhone video. It’s important to not over think technical nuances. You can shoot bad material with a $40k RED camera if you don’t understand lighting, blocking and composition. An interview shot by an ARRI with bad audio is almost useless. Documentary interviews without planned, coordinated B-roll is difficult to edit. Avoiding that takes careful advance planning.

I agree with you 1000%, and don't let all of my questions here make anyone think that I have lost sight of what you say.

In fact, my plan for my 3-day weekend is to sit down and research my voluminous library of news articles, take lots of notes, come up with interviews questions and analysis, and start planning my summer and fall out for covering things.

Honestly, after the last two weeks, my brain is overloaded and I need a break.

And because some $$$ I thought would be there is delayed, I probably need to slow down and not go gang-busters on gear.

Great content and great content alone is the only thing that will help me reach my goals.

I know this.

And, fortunately, I "got the memo" about good sound and lighting long before this conversation, so I get it!

So thank you for re-directing me back to the fundamentals!

Are you saying that a new iPhone 15 Pro Max has this incredible power hidden inside of it - power that competes with high-end mirrorless cameras - and yet you cannot unlock said power via Apple's Camera app?

Every iPhone has a lot of power hidden inside to be lifted by third-parties. That's part of Apple's business model. BTW, the non-Max Pro has the same power for this feature.

And furthermore, are you saying that my using "the mystery app" you can unleash DATA RATES that equal (or surpass) a Sony Alpha (e.g. a7S iii) camera??

Yes. But that applies to storage only. The picture of the Sony is still far superior in low light.

And why can't Blackmagic Design's app take advantage of that power, yet "the mystery app" can?

Of course they could, and it's already a feature request. Probably BM focused on ProRes first, since that's easier on most cheaper Windows laptops.

If "the mystery app" is that magical, then it sounds like - combined with a new iPhone 15 Pro Max - it would really help me up my game, AND tied me over until I can come up with $7,000 for a Sony a7S iii, right?

Well, as I wrote above, it's still not an A7S III…

And I guess we are talking about on an iPhone 15 Pro Max?

Or an iPhone 15 Pro.

So apparently the creator is a brilliant developer, but sucks at marketing/sales/self-promotion?

Probably. There are always hidden gems to be found. Actually, I got the tip from a fellow filmmaker.

Is there a catch to this magical "mystery app"?

It's not free and Rob Edge hates it
Now, on a more serious note: it doesn't support Tentacle sync, for example. And then, the GUI is a bit more complicated – hard to avoid if you have more features, but I can imagine some improvements.

15 Pro or Max, doesn't matter. See picture at the end.
Regarding choice of iPhones, I'd definitely have a look at either one, you may find the 3x lens, a 77mm equivalent, to better suit your needs than the 5x, which looks like 120mm on photographic full-frame. The downside is a smaller battery, which will last a bit shorter. The smaller case might also limit heat dissipation a bit, for which I didn't test.

Uli, you mentioned this before, and you imply that if you get the iPhone 15 Pro Max that you lose something as far as lens go?

My understanding is that the iPhone 15 Pro Max just ALSO offer a greter zoom lens, but it doesn't lose anything that the iPhone 15 Pro has.

Am I missing something?

Yep, you miss an important point: it's not a zoom. There is an ultra-wide with 12 'mpx' (ugly for faces, IMHO), a 24mm equivalent with 48 'mpx' and a 77mm with 12 in the Pro, vs. a 120mm with 12 in the Pro Max.
So, you can zoom up to 2x digitally with the 24mm before you loose quality. The others should not be zoomed for UHD.

On a modern MacBook 14 Pro M1 Pro/Max or newer, or a decent M2 etc MacBook critter, you’ll be fine, and even very tight, last minute deadlines can be handled in a pinch.

Even the 18 GPU core, 36 GB RAM model will serve you well. It might even be less noisy in 14", having less power to get rid of. The only practical difference for your intended use will be longer rendering times for very demanding effects, out of which you will probably only use temporal NR in rare situations. Regular editing and mild color corrections will feel just the same.

Admittedly I'm a little skeptical on this - more so the lack of RAM versus the lack of an M3 Max chip - but your wisdom is DULY NOTED so don't feel like I'm not listening!!

If it helps: I have tested a maxed-out M2 Studio for two months. I had the option to buy it, but decided to spend my money elsewhere.

Finally, a remark on the choice of editing software. If you are not yet familiar with a 'classic' editing interface, FCP-X is easier to learn, IMHO. If you already know one of them, DR might be the better choice. And then, if Apple Motion is in your future, it is tightly integrated with FCP-X, but it can be used in combination with DR too.

We can do a deeper dive on this in a new thread I'll start shortly, but I will say this...

While I understand "layers" from working in MS Office, I am not deeply ingrained in that mindset not having done video-editing before.

So I am leaning towards working with NODES as they don't seem any harder to learn than working with "layers", and I think they are more powerful, but more on that in the next thread!!

DR is using layers for editing and nodes for color grading.

DR is using layers for editing and nodes for color grading.

It is possible to use layers for color grading as well by using adjustment clips.

...it's not a zoom...The others should not be zoomed for UHD....15 Pro or Max, doesn't matter....I'd definitely have a look at either one, you may find the 3x lens, a 77mm equivalent, to better suit your needs than the 5x, which looks like 120mm on photographic full-frame....

All good points. My documentary team tested both of those in a lighted mock-up of a two-camera interview.

As you implied, to best approach a "pro" look, you want the 15 Pro using the 3x lens and the 15 Pro Max using the 5x. Given sufficient floor space and background, that produces a fairly nice shallow DOF image that many casual viewers might view as a professionally-shot interview.

However you are pinned to those spots on the floorplan based on the needed composition. It is actually more difficult than using our FX6 or RED cameras -- at least with those, we have many lenses.

Also at 5x, the iPhone 15 Pro Max is really twitchy if used on a photo tripod. It needs to be on a fluid-damped video tripod with a pan handle. The 3x lens is not as sensitive, but it also should be on a fluid-damped video tripod with a pan handle.

For an interview, you also need external audio, which must be synced in post with the iPhones. We tried the Rode Wireless Pro, which basically worked but it has its own complexities. We half-tested the timecode sync with the phone, and there were some issues I can't remember, but we didn't pursue resolving those.

The bottom line is if you have experienced people and decent lighting and other equipment, and if you thoroughly practice in advance, you can shoot an interview with an iPhone 15 Pro/Max that looks good. But it's no easier than using a "real" camera -- IMO it's harder.

A camera has purpose-designed buttons, menus, interfaces and power options. In some configurations, the iPhone has deeply-nested config settings that can be confusing. To shoot ProRes you really need both external storage and external power for the iPhone, which means some kind of adapter.

You can whip out an iPhone at a party, hit "record" and get decent recreational material. But to get good quality "pro" results on a documentary or scripted narrative, you essentially must use the pro procedures and pro equipment you'd use on a real camera. E.g, white balance the phones, shoot a color checker card, etc.

But isn't an iPhone cheaper than a dedicated camera? Well, you also basically need a separate dedicated iPhone for that, unless someone wants to give up their phone for several hours. You can get a used BMPCC4k and lens for less than a 512GB iPhone 15 Pro Max.

The bottom line is if you have experienced people and decent lighting and other equipment, and if you thoroughly practice in advance, you can shoot an interview with an iPhone 15 Pro/Max that looks good. But it's no easier than using a "real" camera -- IMO it's harder.

You can whip out an iPhone at a party, hit "record" and get decent recreational material. But to get good quality "pro" results on a documentary or scripted narrative, you essentially must use the pro procedures and pro equipment you'd use on a real camera. E.g, white balance the phones, shoot a color checker card, etc.

But isn't an iPhone cheaper than a dedicated camera? Well, you also basically need a separate dedicated iPhone for that, unless someone wants to give up their phone for several hours. You can get a used BMPCC4k and lens for less than a 512GB iPhone 15 Pro Max.

Thanks for that very balanced and objective appraisal Joema. I think Marty would do very well to take what you say into very serious consideration when deciding his way forward with what appears to me be an impossible task given the short timescales involved.

In fact, my plan for my 3-day weekend is to sit down and research my voluminous library of news articles, take lots of notes, come up with interviews questions and analysis, and start planning my summer and fall out for covering things.

Honestly, after the last two weeks, my brain is overloaded and I need a break.

And because some $$$ I thought would be there is delayed, I probably need to slow down and not go gang-busters on gear.

Great content and great content alone is the only thing that will help me reach my goals.

I know this.

So I am leaning towards working with NODES as they don't seem any harder to learn than working with "layers", and I think they are more powerful, but more on that in the next thread!!

Marty you need to greatly simplify your plans in my opinion. Decide on what you actually need and go. It's already time to start practising to be ready for November. When it comes down to real time image-making, you not only need to know what to do right but you also need to know what to do when things go wrong which they inevitably will do. It has to become second nature and that only happens with practice. The more complicated you make things, the higher the probability that things will go wrong. You need to decide on a setup, get the gear and start yesterday. Cut out the extraneous noise and focus on the essentials.

As an example of over-complexity, to really benefit from the power of node-based grading, you need to be getting towards advanced colorist level which is beyond anything you are likely to need for simple interview videos. Again there are serious time constraints. You need to have an in-depth understanding of how and when to use specific nodes and node structures. This in itself is not something that will happen overnight. A plan for the future perhaps as with learning motion graphics.

Best of luck with it.

Just like these two voices of reason, I'd also suggest to stop the overthinking and get practical.
If your current laptop doesn't cut it (no pun intended, or is it?), get a M1,2,3 Mac with a minimum of 16 GB RAM and keep your iPhone and go for it!

You can always buy an iPhone 15/16/17, or a Sony/Nikon/Canon/Panasonic (or rent an Arri Alexa) when you find out you need it in real life and have the spare cash. But without a working computer and experience it's all just dreaming.

I still don’t understand - H.264 or H.265 Long GOP and All Intra - is this a problem for M3 Pro or M3 Max?
Can anyone give a 100% accurate answer on this question?
I have Panasonic S1H and S5 IIX cameras

I still don’t understand - H.264 or H.265 Long GOP and All Intra - is this a problem for M3 Pro or M3 Max?
Can anyone give a 100% accurate answer on this question?
I have Panasonic S1H and S5 IIX cameras

Hello, I use Panasonic S1H shooting vlog 4k 422 10 bit H.264 and there are problems on M3 Pro

Still in contact with the official support - I haven't found the solution

I still don’t understand - H.264 or H.265 Long GOP and All Intra - is this a problem for M3 Pro or M3 Max?
Can anyone give a 100% accurate answer on this question?
I have Panasonic S1H and S5 IIX cameras

Hello, I use Panasonic S1H shooting vlog 4k 422 10 bit H.264 and there are problems on M3 Pro

Still in contact with the official support - I haven't found the solution

What exactly are the problems you are having with S1H files 4k 422 10 bit H.264 when editing?
Are there the same problems with H.265?

I still don’t understand - H.264 or H.265 Long GOP and All Intra - is this a problem for M3 Pro or M3 Max?
Can anyone give a 100% accurate answer on this question?
I have Panasonic S1H and S5 IIX cameras

Hello, I use Panasonic S1H shooting vlog 4k 422 10 bit H.264 and there are problems on M3 Pro

Still in contact with the official support - I haven't found the solution

What exactly are the problems you are having with S1H files 4k 422 10 bit H.264 when editing?
Are there the same problems with H.265?

Shortly: "media offline" error when it's not and decode error during render on maximum speed

There is a topic connected with these problems - https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=194673. I explained the issues there and they are very similar to what other users of M3 Pro experience

I haven't tested H.265 because most of my footage is H.264

Hope it will be useful

Folks, please stop using H.264 if you have access to H.265.
H.264 is over 20 years old!