docmoore

Final Cut Pro ....

Merry Christmas vignette from the R5 .... https://youtu.be/3vYaZpx4lOk Best wishes for a wonderful holiday and a better New Year ....

gorgeous footage and truly a voice that needs to be heard. Not the homogenized drivel that seems to be the standard music fare these days ... Reminiscent of Sean Rowe ... better sense of timing and swing. Canon CPS has had my 1DX III for a month ... and are struggling to admit a problem with my specific camera ... So looking at a replacement ...

Beautiful footage ... the slider moves looked great. Look forward to seeing the RAW.

Point taken ... I do not use variables ... buy a set of decent NDs and meter the scene ... If your ND adds a shift to green ... throw it away ... get one with hard stops and decent color.

Just stack a 2 or 4 stop ND with your variable so you do not reach the X point of the crossed polarizers ... which usually occurs near the top filtration point. You can fine tune the filtration but at a lower level.

Here is a link to Ollie's Film Production Company https://www.korro.co.uk/

Just watched the Pro-AV stream ... where one of the contributors uses a C200 (couple of them) and transitioned to the C300 MK III. He is a professional "colourist" hired to correct others video. https://www.imdb.com/name/nm8304151/ His take is that the picture out of the DGO sensor in XF_AVC All I is preferable to the Raw out of the C200. The DR of the sensor, low noise and color obviates the need for RAW ... and with the new Canon Speed Booster the lack of FF may be a non-issue. So the best sensor in his mind is the one in the C70 ... I have begun a conversation

Long-term revenue stream ... they hope you will never cancel so in the end pay more ....

You have made great progress ... I wonder how specific the MP4 header is and whether is has a similar temp file that is converted to the final MP4 header when the file is finalized. I assume it holds the key to interpretation of the file by the NLE Fun to see this unfold

I did not use IsoBuster for these ... just copied the .dat file to the desktop. Other than structure ... since both files are unique ... with regards to time of filming and microstucture of the capture elements ... it may be of use only in finding the commonalities that exist in them. Not for the feint of heart ... reverse engineering without a manual ... This engages me more than the camera specifics ... too crippled to warrant purchase.

It was completely avoidable ... those EOS Cine guys must be the alpha dogs .... I assume there is a good reason for the limits ... and that they chose the easy quick path to get the camera to market. You want video ... sure ... and when it hurts bad enough join us in the big leagues. If they had included a cooling system then they have no excuse to protect the EOS Cinema line.

Check messages ...

Easily done but would you rather have a file that is not Canon Raw ... their Canon Raw Developer and Davinci Resolve ... I assume FCP ... are needed .... I can record clips in 4K DCI all-I @ 23.976 if that is better for you.

Very short recording ... only 1.38GB but that appears about right for the 5.5K RAW it was recording. I believe you are correct ... the question is how to add the container and whether the EXIF data can be written.