Brett Munoz
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Posts posted by Brett Munoz
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29 minutes ago, Andrew Reid said:
Lame AF is showstopper for Alexa then too.
Use case for Alexa = on set with a crew, use case for an SLR = 1 person, running and gunning.
- Phil A, Vintage Jimothy, chadandreo and 2 others
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On 7/25/2020 at 8:56 AM, Andrew Reid said:
Looking at the internal circuit layout, it's amazing how many hot components Canon put close together.
CFExpress media is almost backed into the image processor.
The image processor is surrounded on both sides by what appears to be RAM.
Behind that circuit board is the warm LCD backlighting when flush to the body.
In front of the circuit is the warm sensor.
There is literally nowhere for all the heat to go and worst of all it is centrally concentrated on the most thermally critical piece, the DIGIC X CPU in the centre.
Without even a thin copper heat sink or slim heat pipe (like in a high end smartphone), there is no way of guiding the heat away from the critical components like the CPU.
It really is no surprise then, if the camera is borderline defective.
I agree, should have some sinks there to mitigate. It would have made a dent in the short record times however, the weather sealed form factor combined with Digic X still not conducive for intensive processing. Put your computer in a plastic bag with no active cooling, only sinks and see how far you get.
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On 7/25/2020 at 10:49 AM, SteveV4D said:
Actually, a camera this size and price, shooting 4K 120fps fullframe 10 bit 422 continously without overheating is unheard of. Probably because it is impossible without making it slightly bigger and incorporating a fan.
I'm sure the R5s unique features will be matched by competitors eventually, maybe as soon as next year; and will probably be more reliable and useful as well. Theres always a price for early adopters.
What's the point of innovation if many of us can't use it practically?
Exactly! Weather sealed form factor not suitable for high quality capture.
On 7/25/2020 at 11:57 AM, Cassius McGowan said:You forgot a BMPCC 4k & 6K. They won't overheat.
Are they weather sealed?
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1 hour ago, Andrew Reid said:
You are talking out of your arse I'm afraid.
Processors become more efficient and use less energy by an order of magnitude every year.
Moore’s law has been historically true. However, what I’m seeing in the computer world for “processing” power (as a network tech), only solution has been more cores and multi-threads. Speeds remain about the same. PCs these days are running hot af and power requirements have gone up as well (applies to latest and greatest). After a gen or two I do see power draw and heat go down. Don’t know full details of digic X but if it’s anything like what I’m seeing on the computer side then this all makes sense. Still buying this camera, I’m a fan of Canon color and a hybrid shooter.
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Cooling a weather sealed body with a powerful processor, it’s almost an oxymoron. Although processors have gotten more powerful, energy requirements and heat have gone up with it. Until processors become more efficient and use less energy, this form factor will continue to not make any sense for power hungry codecs.
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Lmfao. BBC is impartial?! That’s a real knee slapper. Quit your Trump shit posting and stick to cameras. Love this site, please don’t ruin it. As for Apple, tax laws have made it favorable for them to repatriate cash and expand: https://www.google.com/amp/s/www.cnbc.com/amp/2018/04/30/apples-plan-to-repatriate-285-billion-could-be-a-boost-for-investors.html
Free trade, trade imbalances, central banking are bad for the world. They centralize wealth, debase currencies and cheapen labor. Trump (but really the American system) getting attacked for attacking their system, the Anglo-Dutch liberal financial system. Lots of propaganda out there. Mind you Obama made it legal when he repealed the Smith act. Trump will win in the end, has the backing of the military, it’s really CIA vs NSA duking it out. Let’s focus on what we love to do cause in the end our voice is but a piss in the wind.
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Adobe Rant
In: Cameras
Had many failed attempts to log in so that I can say one thing, FUCK ADOBE! My timelines constantly crash and do not play. A lot of times I have to revert to CS6 using XMLs. This issue always has to do with using nested sequences. I tried getting help from their customer support and forum but after a few days, I gave up. Also, LIGHTROOM! WTF! It takes what seems like forever to render an image to begin to edit. When I edit in Bridge, it renders pretty quickly. I have tried modifying preferences and import settings and nothing resolves lag issues.
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What are they actually saying?
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Omg, hilarious. Made my morning.
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I agree that the 80D is WAAAAAY overpriced however, the softness doesn't really bother me. Actually, at least for doc or short film work, a super sharp image bothers me for some reason. At this price point, and time, at least give us LOG or 10 bit hdmi output.
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Killin it Andrew!! FS5 next on my list.
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4K is the future. 5K display already on an iMac. Can't tell the difference? I don't think so. C100 II will be obsolete in a year and you will have to sell it and get the C100 III with 4K. Also it makes no sense to spend $5k on one when you can get an FS7 for $3k more which is 3x more future proof - 4K, slow-mo, 10bit output. Personally I need 180fps 1080p of the FS7. Even if you don't, then I fail to see what the C100 II offers over the FS7. If you are laying down that much money for a camera, the stretch to the FS7 isn't a huge problem. Unless you can barely afford or justify the C100 II, in which case you shouldn't really be spending $5k on a camera in the first place. For the commercial shooters these cameras are aimed at, $5k or $8k - doesn't matter, the camera will pay for itself. For everybody else, stick to $3k and avoid the nasty depreciation of pro gear. That's my advice. Invest in lenses and ideas instead.
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I don't know if 1080 cams will be obsolete though, its great for editing, reframing, zooms but don't think TV will be delivering 4k programming anytime soon. They just spent millions upgrading to HD and that took years. Nat Geo films I can see 4k working but movies for some reason all the detail bothers me. I don't think I would ever buy a 4k TV, there is just too much detail.
Man, had too much time on my hands last night, had to resurect this old ass thread. No doubt it's an increase in resolution. An improvement though? I guess it is, albeit an unnecessary one for consumers. For acquisition its amazing! TRUST ME though, know lots of people working at networks, NO ONE is planning on broadcasting in 4k any time this decade. Nat Geo shows will for sure look great in 4k detail, I'm sure you will be able to stream it in all its compressed glory somewhere. 4k cinema in my home though, on my TV 10 or 15 feet away is another story. Don't mind it in the theater though cause it's a big ass screen I am typically 30-50 ft away. Totally agree with you, story is KING! It's weird though, I still get people asking me for DVD's in SD!
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4K is the future. 5K display already on an iMac. Can't tell the difference? I don't think so. C100 II will be obsolete in a year and you will have to sell it and get the C100 III with 4K. Also it makes no sense to spend $5k on one when you can get an FS7 for $3k more which is 3x more future proof - 4K, slow-mo, 10bit output. Personally I need 180fps 1080p of the FS7. Even if you don't, then I fail to see what the C100 II offers over the FS7. If you are laying down that much money for a camera, the stretch to the FS7 isn't a huge problem. Unless you can barely afford or justify the C100 II, in which case you shouldn't really be spending $5k on a camera in the first place. For the commercial shooters these cameras are aimed at, $5k or $8k - doesn't matter, the camera will pay for itself. For everybody else, stick to $3k and avoid the nasty depreciation of pro gear. That's my advice. Invest in lenses and ideas instead.
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I don't know if 1080 cams will be obsolete though, its great for editing, reframing, zooms but don't think TV will be delivering 4k programming anytime soon. They just spent millions upgrading to HD and that took years and years of logistics. Nat Geo films I can see 4k working but movies and regular TV, I find that all the detail bothers me for some reason, it doesn't seem natural. I don't think I would ever buy a 4k TV...... http://www.cnet.com/news/why-ultra-hd-4k-tvs-are-still-stupid/
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B+H just put up a used (10 out of 10 condition) c100 MARK II. I assume it was some sort of return. It was $4000 with the Ninja. I had to do it! Looks like FS5 high frame rates will have to wait and I will be using Twixtor when needed for now. Regardless though, 60p slo-mo for a music video where vocals are present is plenty. I am kind of bumbed though, the electronic ND on the FS5 is sexy but on the other hand, it would of been $2200 more with the metabones.
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Mark I leans toward a green tint. Still a great image. The best feature about the Mark II is the DPAF. If you're using it for events and weddings you'll drool over how amazing it is to use. I know they offer the DPAF upgrade for the Mark I so I'd look into that.
That's right, that is a cool feature. Especially to avoid follow focusing on non-cinema lenses. Been manually doing it on the 5diii would love to have that but not sure I "need" it. These are tuff decisions for us peasant folk who can't afford it all.
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I am starting to think I should just buy the C100 mark I for events and weddings and save my money for the FS5 for music videos. Does anyone notice any difference in the C100 vs C100 mark ii in terms of quality after color correction? They look very similar to me with perhaps the Mark ii edging out slightly better detail.
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I'm not sure I agree. The way the image is constructed is pretty similar, with each pixel over-sampled from multiple photo sites rather than interpolated 1:1–it's just that Sigma has the three photosites stacked rather than four adjacent and no AA filter. So there's a bit more sharpness and a bit less error. Both have some aliasing, but aliasing is far more acceptable for stills. But the per-pixel sharpness and look are similar.
As regards sharpness, the C300 has the sharpest and close to the most detailed 1080p image available, assuming your lens is sharp, including the Alexa (which is fairly soft as things go) and 4k downscaled from other cameras. That said, it does exhibit aliasing with red and blue fabrics and the tonality isn't great. And if you downscale a 4k image with nearest neighbor interpolation from another camera, you've got something super sharp, too, but again–not as great as regards tonality. The anti-aliasing filter is also weak on Canon's range. I'm not saying the image is better than the competition–it's worse overall than 4k debayered at 4k and downscaled intelligently–just that per-pixel, it's super sharp. And looks like what you'd see 1:1 on a Foveon-derived image.
I'm not sure in what respect the C300's image isn't more Foveon-like than anything that isn't Foveon-derived. Both images are constructed similarly and oversampled and have good subjective color if slightly inaccurate color, and greater per-pixel sharpness than debayered and/or downscaled images especially when viewed at their native resolution, but fewer pixels in total than the competition.
I get that you don't like Canon's business model, but the objective qualities of their first generation cinema cameras are what they are, for better (low light, color matrix and lack of chroma clipping) or worse (codec, dynamic range compared with the current generation, skew, very limited slow motion options). I'm not saying it's better overall–it isn't. Nor is sharpness that important compared with tonality, which is why I prefer the Alexa to anything else. Just that it's what the image looks closest to, and the closest imagining pipeline for sake of comparison.
I agree with the sharpness part. I almost want to go for the c100 mark 1 because its softer but yet looks pleasing (and not in a 5d kind of way). If it had the mark ii's color and 60p I would much rather go for the C100.1.
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What he means is that the sensor outputs all pixels (4K) for extra RGB data when producing the 1080p image on the processor.
Andrew, if I do go with an FS5, what adapter do you recommend? I keep hearing horror stories about the metabones. I have it for the GH4 but Sony users seem to have more issues.
Also, have you ever tried matching color with FS5 to a GH4 or 5diii? I imagine it wouldn't be perfect but I am wondering how close.
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Although the C300 does have 1920x1080 pixels for each colour channel it isn't a Foveon-like image you get out of it, far from it.
I believe the main reason Canon wanted to buy Sigma (they were rebuffed) was to get hold of the Foveon patents.
I believe they are desperately trying to come up with their own design, but had they been successful I would have expected to see it by now.
I am on the verge of buying a Sigma DP3 Quattro for timelapse (nice built in intervalometer). Resolution in terms of detail matches an 8K bayer sensor, maybe even upscales to 10K. Colour is on a whole different planet. It's certainly not the versatile stills camera the Sony RX1R II is but it offers something completely different in terms of how close the images are to film (which is also mutli-layered).
I am so glad Canon did not absorb Sigma.
Yeah, that Sigma camera has an organic look to it.
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He's right. Read the C300 white papers. I forget the details, but what it boils down to is that the 1920X1080 red pixels, 1920X1080 blue pixels, and one set of the two sets of 1920X1080 green pixels are added together as if they were stacked on top of each other (they're not, but close enough). The last set of green pixels is used for noise reduction or oversampling the first set of green pixels. Or something.
So the 1080p image is derived from 3840X2160 pixels, and all the pixels are used to construct it, but there's never a UHD image anywhere in the pipeline because there's no debayering that takes place. There is UHD raw but it's processed directly to 1080p. This might be why the image is exceptionally sharp, like a Foveon image, but also why there's some aliasing in red and blue fabrics and some people feel the image is over-sharpened.
If your clients demand 4k, get a 4k camera. If they don't, don't get one. The best buy is whatever offers the best return on investment, whether that return is financial (as a pro) or in enjoyment (as a hobbyist). What makes the decision hard is when you're something in between.
What hobbyists admire most about a Red camera–the ability to construct and process an image with no internal noise reduction in high bitrate raw–is what makes it super obnoxious to pros and expensive for producers because of the added time to do that work... The question is: do you want to do the extra work because it's a hobby you enjoy or are you paying, out of your own time or someone else's, to do the extra work? If you're somewhere in between the two, what matters most to you? If I had a 4k tv I might be more inclined to buy a 4k camera, for instance, even if my clients didn't request it.
Notice all the Reds being used on low budget music videos? And all the Canons being used on high end corporate? Corporate pays a lot better than music videos. It's a lot less fun. I'm a very big fan of Canon and Arri, but that's just one opinion.
Thanks so much for your feedback!
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What he means is that the sensor outputs all pixels (4K) for extra RGB data when producing the 1080p image on the processor.
That is what I thought I asked the guy at Canon, does the C100MKII scale down from a 4k image to produce a 1080 image. His exact words were, "no, there is no 4k hardware at all inside the camera."
Regardless, at $4600 with Ninja, do you think the C100mkII a good buy? I really want to like the FS5 but something inside of me keeps telling me to go with Canon color. Especially since my B cams are a GH4 and a 60d, 5diii.
Why did Canon remove so many EOS R features on the more expensive EOS R6?
In: Cameras
Posted
What other mode besides manual matters when shooting video on a full frame? It's a non-issue but I understand the frustration. The cripple hammer definitely there, why go from 30 on the R to 20 Mpix on the R6?! Shit makes no sense.
Got the R5. For hybrid shooting at events it's perfect. For shooting stills and as a C video cam on set its good. The one thing really pissing me off right now is the wobble on the IBIS. I feel it is too severe when shooting wide. As a hybrid shooter, this was a major selling point since I wnat to get hand held clips on the 15-35 at events. Everything else I can live with as I am using it mainly for stills with occasional video clips.