andrgl

"It seems as soon as there is a card inserted, an overheating countdown timer starts, but doesn’t apply when an HDMI device is attached and the card removed"
These get very fishy. I had commented in another post about suspicion and my crazy paraonic theory that the overheating limit is only a limit made by firmware, nobody believed me... Now I believe it more firmly, but we still have to wait for the truth to come out.
For me, Canon's credibility is at stake in all of this.
 

This thread details the teardown process, modifications made and some important findings:
http://c.tieba.baidu.com/p/6848700307?pn=1


He replaced the two thermal pads that did not fully cover the CPU with a dollop of thermal paste and noticed significantly better and more even heat dissipation.
Most important finding: despite the temperature drop and improved heat dissipation, 8K/4K HQ still cut off at 20min mark, suggesting a firmware limit is also in place.

The two empty SDRAM slots that I've highlighted here on this teardown of the ATEM Mini Pro are likely to at least be part of the answer to what they've added to the Mini Pro ISO.

 

Whilst the latest instalment was largely focused on the administrative aspects and an implied interpretation of them, I think its worth remembering how this all started and what caused Jinnitech to go down this rabbit hole in the first place.
This is one of my own "Made In USA" 128g REDMAGs.

According to the Federal Trade Commission, for a product to qualify as "Made In USA" ....
"The product should contain no — or negligible — foreign content."
https://www.ftc.gov/tips-advice/business-center/guidance/complying-made-usa-standard
That Toshiba SSD being made in the Philippines and it representing far more than a "negligible" part of the product clearly suggests that it disqualifies it from being able to use that claim.
And thats before we get to the issue of the modern MiniMAGs having misleading definition of their actual capacity.
Everything else that has flowed or been explored about RED in the subsequent videos has stemmed from the revelations about the drives.
So, amongst the rest of it, don't lose sight of the fact that in the short term at least, the drives are the real story here because contravening the FTC regulations is actionable and the Lanham Act gives individuals and companies the right to sue anyone making such a false claim if they have been impacted by it.
How RED have conducted themselves regarding patents and corporate structures and so on are one thing but if anyone can explain why the use of "Made In USA" isn't anything but deceptive then I'm all ears.
Also, if any of you have your own opened REDMAGs that you can show pictures of to demonstrate that a claim of "Made In USA" is viable for your one then, of course, I'm all eyes.

POS tiny sensor loser camera.
 

Ok so I guessed at how long I've had my 5DIV, I guess from now on I should go look at my purchase receipt and scan that in to ensure I am more precise.  We are talking about video here and until Canon provides CLOG3 for the R5 the DR statement is still accurate, but yes the context was video and the current R5's CLOG implementation. You are free to ignore whoever you want, it wouldn't affect me in the slightest either way.

Some grabs from a futur project, it was very hot outside, nearly 40°C outside for about 3 hours but no problem with the camera !

his heating times have now been proven to be off. 
I wouldn't put too much faith in the dr results with these kinds of tests either as they are crude. and don't account for a lot of variables 
I think he was too kind to these cameras which should have been pilloried, but i understand that he does not want to break relationships.
He likely got the cameras early cause of the glowing reviews of the c300 and c500.  

Bottom line:
Canon wants this camera to be used only in certain ways for specific applications. So, they design the R5 for that and that only.
We, however want to use the R5 "our" way. We want it to "fit" into the way "we" work. We pretty much all want to use the R5 "our" way and we are getting pissed that its not working.
The problem is "us". We expect too much from the R5 but we eventually need to learn how to accept it for the limited application it was designwd for.
The R5 is not a pro camcorder. Its not for paid video work. Its made to capture your kids in your backyard in 8k or your cats playing with a laser pointer. Its made for casual home shooting and nothing more.
Its failure us our fault, no Cannon's
CT

Phil Holland uses several REDs to get high resolution images. Over on reduser I’m sure he has described this and stitching process in some detail. Also:
http://www.phfx.com/articles/Filming100MegapixelLargeFormatAerialsOverNewYork/

Beach food shoot. Both with Nikon 24-70

Slightly overexposed while shooting with fill from reflector. ACES grade, Secondary corrector to soften the skin tones and sharpened the reflection in the glasses. 

I'm going to dive into some 3D CAD for this and design an m12-to-D-mount adapter. I figure the space savings of it being smaller than an m12-to-C-mount adapter (and tailored to this use) will allow it to be less destructive of the housing. I assume I'll first print it to MJF for form/testing, then to metal or carbon resin. If anyone is interested, I'd be glad to have insights while I'm designing, and I'll give you a final print at whatever it costs me. You can see some of my other projects at http://coldmaceration.com

@Oliver Daniel go all out with the nanlite stuff.
I own quasar crossfire tubes, aputure 120ds and lightstorms, and, nanlite pavo tubes.
The nanlite products have more features, are often better built and cost less.
Only thing nanlite doesn't make are the tiny credit card sized panels. I use aputure amran al-mc (RGB) al-m9 (bicolour)
Edit: though they do make a mini RGB tube, pavotube ii 6c

There's a few big budget movies that have used a 360° shutter, Public Enemies comes to mind:
 

No SDI-out is a shame.
Also no positive lock MFT mount is sad. Would be awesome to use the few m43 lenses that have proper mechanical focus.
 
I still think a Kinefinity Terra is a better entry level cinema camera: you get RAW and ProRes at 160fps in 4K.
The Terra is just way more expensive now.
 
Z-cams have a mishmash of framerates and codecs. Annoying in post.

I need to build a large, evenly lit light source. I own plenty of paper, cloth, silk, etc, but I need something that will make for very uniform diffusion.
Objective is to make a backdrop that can be rear lit with RBGW strips to dial in any color.
Currently using hard lights with gels but can’t shoot larger than 2 feet without hitting massive light fall off. And when I try to diffuse my lights I lose intensity big time.
 
Ideally I require:
- 3 x 3 feet or larger
- Neutral, no color casts
- minimal light loss
- rigid, no tooling marks, uniform translucency when lit dimmly
 
I believe what I’m after is some sort of acrylic sheet, like the panels used in fluorescent lighting, but I don’t have any experience with these types of materials.
Anyone have any advice?

Wouldn't mind picking one of these up for controlled studio shooting: if sales are poor we might see heavy discounts by holiday season or more likely next year. The original EOS-M bombed and Canon was forced to clear inventory by basically giving it away.

Quite bold of BM to be releasing a new version of the ATEM Mini Pro when they have barely delivered any of the current one but here we are.
As the name suggests, this new one lets you do ISO recordings of each individual camera, audio track as well as the master tracks to a single USB drive.
It then saves your live cuts and all of those recordings (and other media such as overlays and titles etc) to a project that you import straight into DaVinci Resolve onto a timeline for further tweaking.
If you are using BM Pocket cameras then they can be recording BRAW internally at the same time and Resolve has a new function to swap these as the source tracks in that edit with a single click.
With the addition of the ISO tracks this is now some serious capability not just for straight live to air/net productions but also for anyone doing any multi-camera production that you would want to have post edit control of like a live performance recording, sports game, YouTube tutorial etc or even a low budget soap opera !
The developments that BM have been up to with the ATEM Mini series is probably not, on the surface, of that much interest to a lot of people on here but it is very innovative and is a real showcase of their end to end pipeline.
Using an ATEM Mini, the Pocket 4K/6K cameras are turned into fully fledged studio cameras with remote control of on board colour correction and automatic tally functions but without losing their ability to simultaneously still be recording BRAW cine formats internally.
So you can simultaneously do a live production in HD, use its built in encoder to stream live to the internet, hand off a USB stick with a video of the ready cut version to a client, record each individual track for easy post refinement of the mix and still retain the option to use 4K or 6K RAW master versions of those tracks to create a higher resolution finessed version with a single click.
A four camera system that can do all of that for a total of under £6K or £9K depending on whether you go with 4K or 6K is arguably as revolutionary as any of their camera releases.
I can also see it having a lot more applications in the "new normal" and offering some potential new opportunities to anyone who is already invested in Pocket4K/6K cameras.
The bonus is it is a new product launch that can be discussed without reference to thermometers and stop watches 😉 
 

Really guys, nobody is going to buy this camera to shoot S16 (probably one or two who don't know what to do with their money), it is too expensive, so let's stop talking about a revolution in S16, it is not going to happen, forget it, but I agree it is good to see a few people talking about S16 again. The good news about his camera, is that in the next years, we could see a new pocket from BM with this sensor and also having the S16 mode, and if the camera is affordable, around $3K, that's going to be a revolution for S16, and many people will be interested again in S16 format. I will never change my ming that this new BM is a waste of time, it is not oriented to us, so I don't care, I only care about a camera I can get and use, when BM release that pocket I am waiting I will be the first to rise the hands and celebrate like a child in Christmas.

But no 220 fps on the pocket 4K.  Even if I have a tired old non serviced ill shimmed S16 lens mounted, I still get reframing room and 220 fps -IF I need it. Thats the thing ...its nice to have the choices..IF I need them. When I need those choices I need them, when I dont, I dont think twice about it.
This has been a great discussion and at least has people talking about S16 on this cam which I had not seen anywhere till this. Good Stuff !

If you're an S16 aficionado then the new BM cam is great news. Its not going to change the world of course...who implied that? But it does change the S16 shooting world if thats your thing. If not, thats OK.
But if you are into S16 glass this cam is great news. Its the same size as the broadcast ursa. As pointed out a few posts ago there has been uptake of that body for S16. Why? Because its the only way to get genuine 4K in S16 format. I think its around the $4000 USD mark iirc. Whats nice about that body is it allows one to use B4 broadcast lenses - and some still do use B4. In fact there are some VERY nice HD B4 lenses out there - but super expensive. Its about the right tool for the job. B4 broadcast lenses have a big focal length range. Certainly you dont want the old tired SD B4 lenses, but there are some real gems in the B4 range.
Bring on the new era - which it seems we are entering with the new sensor.
The new 12K Ursa. Same size as the Broadcast Ursa. What does it give us over the older Broadcast Ursa? 4K @ 220 fps ! 6K @ 120 fps ! Plus a new sensor tech that we dont know a lot about yet. That sensor may prove to be a new standard or it may not...we just dont know yet. But 220/120 fps options are HUGE if you want to use S16. Now we can go as high as 6K. Only the best S16 glass will do for this though. But if you have those lenses it looks like there are good shooting times ahead.
If you are not an S16 guy then what I have said here hardly impacts you at all. None of the implications of this cam to S16 would excite you at all. Why would it? But if you ARE into S16 then this cam is hotter then ...well lets leave it at its hot.
The other thing about this cam is its 2 cams in one for me.
I have a set of Mamiya 645 glass converted to PL by Duclos. I have the extremely rare Mamiya 500mm f4.5 APO and the Mamiya 200mm f2.8 APO also converted to PL by Duclos. The 300mm Mamiya is still in the workshop being converted to PL. 
With this cam I can use both sets of lenses on the same body - my S16 glass that I love and my full frame 645 glass with lots of choices in focal lengths from my set. All on the same body with the same sensor with a res from 12K to 4K at my chosing. This is pretty dammed revolutionary! So yeah if that makes me enthusiastic then I am enthusiastic about the cam. I dont see 10K as expensive for what this cam offers.
I still love the 1080p footage from the BMPCC as well. Choose the tool from your box for the job at hand.  

In just two days I become the most hated guy in this community, just because of I showed my profound disappointment and said loudly that the new BM camera was a waste of time, well, it is my opinion and is not going to change, I received downvoted like crazy, probably is a good idea that those downvoted are removed for good from this site.
@techie I hear you man, I hear you!

Cause with all due respect it isn't a good idea. He mentions wildlife being a use case but for wildlife it would be so much better just using crisp EF glass than vintage s16 lenses. How long does s16 glass even get?
No, I'm sorry; if you have the glass, fine. Otherwise, I don't see why anyone would purchase for this reason. I doubt ONE person will buy s16 glass to use with this camera.

I have watched this conversation play out over all the Canon R5 and now BM 12K threads, where one side gets excited and says it's great for their use-case and the other side says its ridiculous because the use-case isn't common / it doesn't align with their experience / it's too expensive / the data rates are too high / etc.
I think one thing is missing here, which is to talk about budget and the state of the art.
The state of the art in cameras is actually quite limited, and there are very very many situations where you can't get more for your money even if you had it.
Here's an example...
I make home videos and I want a small setup that won't attract attention going into parks, museums, aquariums, etc, and I like IBIS.  I use my GH5 for this, but it has limitations.  I would like extra DR.  I would like a 12-bit mode.  I would like dual-ISO.  I would like a bunch of things, but I can't have them.  At any price.  If I was a multi-millionaire, I still can't have them.
Think of how many people lament the Canon offerings, and want a set of features that is not available in any Canon camera, regardless of price.
Think of how many people would love the P4K or P6K or URSA but are put off by the reliability or QC.
Hollywood has embraced the Alexa Mini form-factor because it is portable / flexible / light-weight to the point that it enables creativity that had not previously been possible with their heavier models.  This is because none of the previous models offered the combination of features that the Mini offers.  At any price.
Big Hollywood productions don't care how much a camera costs, they rent for a very small percentage of their production costs.  If a camera cost double and did the job then great.  Triple? No problems.
This is how I see the BM 12K and Canon R5 cameras, and many others.  They offer a combination of features that previously could not be had at any price.
So, if you own a collection of S16 lenses and want to shoot 6K or at high-framerates that was previously not available at any price then why is this so completely ridiculous a concept?
I think that @JimJones enthusiasm might make it sound like the whole cinema world will implode because of this, but of course it won't, and neither did it implode when the BMPCC 2K first came out, but it sure imploded if you were a fan of tiny cameras and shooting with older lenses.