The camera looks great. Works well in both MC5 AMA and FCP7. Don't know about the MBP performance, but no problems on a Mac Pro desktop.
There are two issues I see so far. The first is applying LUTs to correct Log-C profiles to Rec.709 colors. There are a couple of avenues for this, but the bottom line is that for editorial purposes, you can simply add an MC or FCP color corrector - adjust contrast and sat - and your client will be OK with the look.
The trick is how well that plays in RT if you don't want to "bake" in a LUT ahead of time. FCP will play it in RT unrendered if your timeline settings are in dynamic for frame rate and quality and you turn off the scopes. MC5 plays it much better with a CC filter added. Simply apply it to an upper blank track in the timeline and you'll see the timeline clips - but not sources or match frames - with the correction applied.
From my testing MC5 plays these in full quality without issue and performs better with unrendered CC filters than FCP or Premiere Pro (desktop test only, so far). Avid has done a little to expand the Source Settings function in MC 5.5. Hopefully that indicates a direction in the future where you could load a LUT on the source side. Not there yet, except for RED.
The second issue is that at the moment there's something funky in how ARRI is writing their QT files to the SxS cards. They seem to import and play fine in either app, although FCP gives you a "not optimized" warning. The problem comes in if you attempt to media manage the files. I haven't tried consolidate in MC, but Media Manager in FCP does very bad things to these files.
As far as transcoding, make sure you are in an X variation so you get a 10-bit render. Otherwise you will see banding in skies and other gradients when the file is color corrected and rendered.
- Oliver
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