docmoore

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.

Wonderful deal ... signed on today. Thanks!

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 ...

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.

Would have made platinum except all of my Cine lenses are Sigma ....

C70 ... limited codecs ... no RAW internal or not ... adapter only recognizes three lenses ... yea great camera ...

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.

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 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 ...

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.

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.

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

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 🙂