docmoore
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Posts posted by docmoore
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Wonderful deal ... signed on today.
Thanks!
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Andrew
It is the reason that I moved back to Sony and the FF FX6 ... love Canon colours ... but the new Sonys are just
as compelling ... take the Slog3.Cinegamma into an ACES workflow and it is very neutral and just works.
To replace my 1DX III with Canon meant another 10K for the C500 II ... made a lateral trade to the FX6 .... and
have spent half that in lenses and peripherals ... but clearly am ahead of the marketing scheme that relegates us
to accepting and living with the compromises that all the manufacturers foist upon us.
I use the Metabones EF-E Cine smart adapter to lock my Sigma Cine Primes onto the camera ... you could stand on them
and not have any movement ...
My prolonged dealings with Canon USA CPS have convinced me that the organization lacks a brain ... acting like an
amorphous mass of unrelated elements ... not a good feeling going forward ... I have a choice allocating resources and capital
for a system ... and Canon has given no indication that they could give a shite whether I ... or anyone ... is adversely affected by
their corporate intransigence ...
Sadly their overall largess will protect them from the fallout of poor marketing and response to customer complaints ... but one hopes that
they will continue to improve their line based on feedback ... doubt it but at this point I am in a different dimension ...
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12 hours ago, omega1978 said:
You can use more lens, tamron 24-70 g2, canon EF 35 1.4, 16-35 2.8 III tested myself.
i think can use any EF lens...
Actually my quote was based on CVP's review of the focal reducer ... where only 3 Canon EF lenses were officially supported at that time ... Time 4.07 following ...
I am sure that others will be added ... but a short list at introduction.
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5 hours ago, gt3rs said:
Ohhh wow I would not have accepted at all. Here I’m platinum CPS (here is based on your equipment and is free) I had one issue many years ago with a 1D III and they gave me a loan replacement in 1 day and I had an issue with a lens 5 months ago and the turnaround was 2 days.
Would have made platinum except all of my Cine lenses are Sigma ....
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C70 ... limited codecs ... no RAW internal or not ... adapter only recognizes three lenses ... yea great camera ...
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On 3/5/2021 at 12:08 PM, Django said:
That said 1DX3 is definitely the last of the mohicans as far as I'm concerned and definitely deserves some kind of in-class award in that regard.
I purchased a 1DX III in June of 2020 ... replaced a Sony A9II which replaced a BM P6K ... because the camera had unbelievable codecs, build quality, and still used EF lenses that are not focus by wire ....
Sadly ... mine was unable to capture RAW without corrupt files ... after six months ... in the Covid lock-down ... I sent it to Canon USA CPS ... after 10 weeks (during that time I was attempting to record a weekly blog with a RX0II) ... they finally sent the files to the Canon Cinema Support group in NY ... ultimately replace the camera.
As a Canon CPS member ... 10 weeks without a camera was a major disappointment.
With the new camera in hand ... great RAW ... I looked at FF replacement potentials and decided not to invest my time with a company that denied ... then after a lot of disputation ultimately admitted they had provided a broken camera ... to their credit. But they transgressed the promise of a professional solution for their client. Talking with my dealers ... two ... Canon has a dismissive imperious front ... rather face a Texas rattler than expect a decent outcome from Canon USA.
They ultimately did the correct thing ... just too late and did not engender any sense of support ... which I had paid for.
So at the first opportunity I traded the lot for a Sony FX6 .... and will ultimately add an Alpha 1 ... the conversion has been very costly ... but worth that in the assurance that I do not have to deal with Canon USA going forward.
In short ... great camera ... one of my favorites ... from a company that needs a wake up call.
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Final Cut Pro ....
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Merry Christmas vignette from the R5 ....
Best wishes for a wonderful holiday and a better New Year ....
- Rinad Amir and PannySVHS
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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 ...
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Beautiful footage ... the slider moves looked great.
Look forward to seeing the RAW.
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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.
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10 minutes ago, docmoore said:
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 with my dealer about dropping the 1 DX III for the C 70 ... and I have all MF glass. Canon have not addressed a flaw
in their Raw acquisition ... still getting corrupted frames in the lowest frame rate with their favored CFExpress cards ... great color workflow and
resolution but chasing bad frames adds 3X the time a normal render ...
Here is a link to Ollie's Film Production Company
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1 hour ago, Andrew Reid said:
I am wondering why the put the best chip and image in the stills camera.
Full frame.
8K.
RAW.
So why not put that in the more expensive model as well?
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 with my dealer about dropping the 1 DX III for the C 70 ... and I have all MF glass. Canon have not addressed a flaw
in their Raw acquisition ... still getting corrupted frames in the lowest frame rate with their favored CFExpress cards ... great color workflow and
resolution but chasing bad frames adds 3X the time a normal render ...
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Long-term revenue stream ... they hope you will never cancel so in the end pay more ....
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6 hours ago, horshack said:
I found the .DAT area on the interrupted-SD image and spliced in the 128KB MP4 header from the .MP4 from the good image. The file plays...and I hear a quick snippet of sound, but no video. So there is work to do there. But at least it demonstrates the basic integrity of the full MP4 is in place.
To get this working on R5 images we'd have to determine how to build the proper 128KB MP4 container header, the same as how the camera builds it when the user ends a video recording. This might be as simple as splicing from a "good" .MP4 image, but probably requires a lot more effort, and then graft that 128KB header data with the the .DAT file to reconstruct the full .MP4
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
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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.
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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.
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15 minutes ago, horshack said:
Oops, forgot you mentioned raw. I definitely want to focus on processed first. Can you shoot a pair of H.264 4K 24P videos? I'll work on H.264 first then consider H.265 and/or ALL-I
Check messages ...
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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.
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14 minutes ago, horshack said:
Thanks. That probably saves me from buying ISObuster for this effort. Was the size of the file about what it should've been for how long the video was? If so then the file may have all the salvageable data recovered and just needs to have the tail of the MP4 container repaired as discussed earlier.
I haven't been getting the .DAT but just realized it's because I'm using FAT32 whereas everyone else is likely using exFAT. It defaulted to FAT32 due to the smaller card I was using (32GB), which I chose to make the imaging/recovery experiments faster. If I switch the same card manually to exFAT then the .DAT file starts showing up after an interrupted recording on my Canon RP. I'll be focusing on exFAT in my ongoing work since that's what most are probably using.
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.
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2 hours ago, horshack said:
It was with an in-camera low-level format, which doesn't actually wipe the entire card because it completes in just a few seconds. After I posted earlier I did another experiment where I completely wiped the card with 'dd' under Linux, then did an in-camera low-level format and repeated the test video w/battery pull. After that IsoBuster only found a single file, named Recovered File 1. mp3 with a size equal to the full capacity of the SD. Which means it's actually less encouraging than before, at least the idea of using an off-the-shelf program rather than engineering a custom solution.
Just ran a short clip on my 1DXIII pulled the battery and extracted the DAT file to my desktop. ISObuster attempted to convert it to mpg but the resulting file
was unplayable in VLC, unrecognized by FF:Works and Davinci Resolve Studio. The conversion in ISObuster was at 2.1MB/s ... so even if it were readable the length of time
to convert would be untenable.
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12 minutes ago, horshack said:
It's definitely a start. The file sizes are off though - it shows only 96K for the MP4 and put the remainder of the card's capacity in bucket labeled .mhk. Not sure if the extraction would successfully reconstruct the file.
It is possible the the MP4 is an older file ... if a low level format of the card was not done ... it may still appear if deleted and not overwritten by a subsequent
write operation. I assume your file is the .mhk
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It is really a good program ... I have had it for close to 15 years ... easily justified the cost in my case.
And it is great to see that the files are on the card 🙂
4k dci vs normal 4k
In: Cameras
Posted
Should be less of a performance hit if any as it is a direct downsample ... and I shoot everything that I can in 4K DCI and render 75% as 2K DCI ... love the look.