docmoore

Might give IsoBuster a try ... I have recovered a ton of stuff when the FAT was completely corrupted ... mainly from DVD/CDs It will dump any information it finds and is usually able to tell the type of file from the structure.

Why use the record button at all? I routinely record to my external recorder via HDMI without pushing record on the camera ... the signal gets recorded externally and the camera is just idling in liveview. I started this with the original Leica SL as it was suggested that one could bypass internal noise reduction which kicked in when the camera was recording. Since the camera seems to heat up while idling you would need to reset the timer as mentioned in Andrew's article ... but could stop the external recorder to save the clip prior to shutdown of the camera.

I guess the question is how short of a recording will work ... IOW film for 14 minutes. Stop record so the clip is saved. Start a sham record and reset the timer ... lose the sham recording but have another 15 minutes on the timer. Not sure how long the sham recording needs to be for this to work.

I took a 54Gb 15 minute 4K DCI All-I HEVC file from my 1DX III into my iPadPro ... opened in Lumafusion and it played in realtime ... I then exported it as H.264 4K DCi to VLC on the same device ... rendered in under 5 minutes ... and was perfect ... when I transcode the same file type on my 2010 Mac Pro it takes easily 5 times as long. So Max Yuryev is correct ... the new Apple chips will work with the H.265 4:2:2 files without breaking a sweat.

YouTube compression : >1440 VP9 <1440 AC1 think that defined for me the resolution I need to upload ... as AC1 is very poor. I routinely upload 2K to Vimeo ... always 4K to YouTube. Vimeo charges for space while YouTube does not charge

Really just Canon ... Panasonic Fuji Sigma have not .... BTW ... I am full on Canon ... 1DX III ... and if I need more it will be the CIne line.

Still does ... just not getting any love from the media. Don't think that we do not have some of the most productive scientific departments and private industries in the world. Just overshadowed by the Kardashian show ....

When engineers wore pocket protectors and used slide-rules.

I believe that Sony just changed the threshold for the shutdown due to temps .... Electrons flowing through any path with resistance generates heat ... the more electrons per unit time ... the higher the heat generated at the same level of resistance. All cinema cameras have fans ... big ones ... my old RED Epic could dry your hair ... from the airflow and heat. Looks like in spite of a new sensor design the engineers (or their supervisors) chose to ignore the impact of this ... on the camera and ultimately on their company. When I render 4K DCI video from 5.5K RAW ... Canon CRM files ... the AMD Radeon VII in my MacPro heats up my room and generates enough noise that I usually leave until it has finished due to the three fans on the card running at max speeds. I doubt that the S1H fan could keep up with the heat load if it were moving 8K files. BM with their new BRAW for 12K has significantly dropped the compute load ... if it can be rendered on a MacBook Pro. Do not see that coming from Canon ... and RAW usually is not overly compute intensive just writing to a card in camera. I assume that the CFExpress cards contribute a bit to the overall heat load as writing from mine to the computer heats it significantly.

These are Light and Motion Stella 8000 Lumen ... internal batteries ... will run for 45 - 245 minutes depending on output ... recharge in 45 minutes ... but as I am using here will run all day on mains power.

Like this ....

I have not tried RAW with LOG off ... but honestly at iso 400 I see little noise ... but I tend to keep the blacks fairly low. DR is voodoo to a certain extent ... no pleasing image has 13 stops of DR ... but it does allow you to pick where Zone 2 -8 fall ... most of mine are bunched up but just my preference. I am struggling with the DPAF AF choices ... tracking is great and perfect for lighted venues ... less so in landscape ... I am presently trying to make the Canon 85 F 1.4 L work ... it is great for stills but is a recalcitrant beast for video ... misses more than it captures ideal focus ... in tracking spot and small focus point modes ... I may chuck it and order a Sigma Cine 85 .... I can use the MF focus assistance to define my points and easily find them with the 180 (?) degree focus range. All of this was RAW with LOG ... edited with DR Studio and using the Clog2 to wide 709 LUT from Canon ... 7 nodes ... grain added ...

Yes to keep from lifting the shadows and dealing with noise ... Clog2 more so than Clog3 ... but I always tend to underexpose ... if you blow the highlights you are done ... since you cannot guage exposure with the in camera Clog ... it is a bit of a guess as to how it will translate when you work with the Raw. Clog2 gives a bit more dynamic range to play with in post ... but may be a bit noisier than Clog3 where the shadows are crushed a bit more. However ... if you do not blow the highlights the amount of recovery is very good with Clog2.

Sweet camera .... add an external EVF and you smoke the C200/C300II

Canon Raw has the option to decode in Canon Raw Developer or Davinci Resolve Studio based on Clog 2 or 3 ... just need to expose with that in mind.

Hope a firmware update will clear up the menu on the 1DX III ... this one is much cleaner.

The risk with comedy is that occasionally it falls flat ... or is off topic ... or does not work as intended. Deprecation ... sly stupid comments ... sense of timing ... Camera Conspiracies has it in spades ... rivals some of the best standup comics ... but really young, not battle tested ... put him in a comedy club scene for a year and could have a superstar ... or a very damaged ego. But much to love ... knows his stuff ... and appeals to those who are tired of being sold a sack of feathers ... marketed as best camera to come their way. But back to the original topic ... GU consistently defines strengths weaknesses and areas of concern ... pretty brand agnostic ... and well versed in those technical aspects that are important to the potential buyer. I like the fact that he does not pretend to be a media star, expert in film craft, or major corporate DP ... just does his due diligence and shares his thoughts. ZCam has made a great start ... but their response and ability to adapt to technical issues , marketplace desires and perception will define their future. One can get 95% of it right ... the 5% that you miss ... if it is of a critical nature will sink you. But as Gerald pointed out ... they can resolve most of this with a firmware update. If it is hardware related they will probably have two iterations to market before Sony releases the A7S dream camera.

Interesting ... I assumed that my Sandisk reader would be dodgy but it loads the cards and reads without issues ... unless the dropped files are related ... however the Angelbird reader does not rectify the bad recordings. Longs are done with an external recorder over HDMI to PR 422HQ and are flawless ... no issues. I will try to format the cards with the Mac OS then re-format with the camera ... hope that makes a difference ... Thanks!

The two Sandisk 512 CF Express cards show intermittent errors as does the Sony G Tough 512 which supposedly has a slightly faster write speed than the Sandisk. I use a Mac Pro 5.1 upgraded to 12 core 3.46 Xeon (Dual 6 core) and 96 GB 1333 MHz DDR3 memory ... PCIe 2 Tb Samsung 860 Pro SSD for initial rendering. The older Mac Pro has USB 2 native ... have added a PCI USB 3 board ... thought that might be a problem but even with the native USB ... or trying to convert directly from the CFExpress I still see intermittent errors. And never had an error using the USB 3 with BRAW 3:1 ....

Hopefully Canon will address the issues you raised ... but the whole thing makes me wonder just how sorted the R5 will be on launch. Almost bought a C200 as the prices are so low ... but honestly to have one camera that will do stills and video is best for me. I have decided to play with conversion to CineDNG and do a proxy recording 10 Bit HEVC for the files that cannot convert ... not ideal but if this issue is resolved I have few other issues with the camera ... external recorder helps when I dont mind the added bulk ... and I assume that a decent Zacuto EVF is a future addition. Have to say that I love grading the PR 4444 from the camera raw.

I feel that I came across as a bit negative in my previous post ... no personal slight intended and my apologies if so taken ... just find that so much of the hype for the recent crop of super cameras is undeserved ... they are all flawed and one has to pick his poison. At my age ... AF for quick situations is a necessity ... like most I can frame compose and focus a slow set ... but not any movement at this point ... so the better the AF the more likely I can make it work ... Hence theA9II ... poor video codec and minimal support led me to move ... hope that with time the 1DX III issues will be resolved ... if not ... I will dance with the next best thang ...

Glad you are pleased with a camera that relies on DFD ... and cannot focus worth a damn. Almost bought a Varicam LT last year ... but the need to restart the camera and the poor implementation of software drove me away. The DR on the S1(H) is great ... but relying on LUTS from a different sensor (Varicam ... ) beggars belief ... do they really assume we cannot see a difference. Again ... ProRes Raw is dependent upon a dodgy HDMI connection ... give me SDI and I might buy in. IBIS ? 99% of my stuff is locked down on a video head/tripod ... not an issue ... and I rely on ... at present a MIX PRE-10 II ... sound and video are two markedly different issues that may be combined ... but best done in post .... Oh Lenses ... focus by wire ... guess I am showing my age ... not something that is repeatable and no hard stops .... better pray your AF is beyond reproach ... which is not the case with the Panasonics at present. Sorry for the irritated tone ... just a bit chaffed at the marginal kit that they are all telling us is beyond belief ... not the case and buyer beware.

Just a note of caution ... after looking at the RS on the A9II and Sony's glacial release of an A7SII replacement ... add to that a catastrophic fail of an Atomos HDMI mini cable ... I moved to the 1DX III ... robust ... internal recording of great codecs ... lose a HDMI cable and you can still record internally with something more that the marginal 8bit 4:2:0 of the Sony. However ... may be a case of the Emporer's new clothes ... BM Resolve 16.2.3 cannot render the files without error ... Canon Raw Plugin 1.4 for FCPX does not work ... and the Canon Raw Developer 2.5.0 has a 40% failure rate with files from ... Sony G Tough 512 CFEXpress ... Sandisk 512 CF Express cards ... so raw on the camera is not something you can use ... Imagine the following ... OK shot the scenes but now lets do it a couple of more times ... maybe one of these will stick ... Only camera I have had that has been so good ... and so crippled by the inability of Canon to provide a coherent post development workflow. When it works ... great stuff ... but God ... even the BMP6K can deliver files that work. And the amazing thing is that no bloody review on camera called them out ... So schade ....

My Favorite ... https://www.bhphotovideo.com/c/product/403002-REG/Denecke_PS_1A_PS_1A_Portable_Single.html

Not walking on eggshells .... I recently logged into RedU ... joined in 2011 ... initially had a Red One then an Epic ... upgrade ... It was the same ethos/gestalt/shtick then as now. Cult like ... with all the players dancing around the flame. Say the wrong thing and ... gone. Say the right thing and praise be! To be brutally honest ... RED has a great raw workflow and Graeme has done wonderful things with their color. Forward thinking with storage and hardware .... there is a core of dedicated good DPs who use RED ... and a contingent of wannabes who hope to leverage the name for personal gain ... they tend to be the shrill massed voice of approbation for any dissent ... and since they will open their hearts and credit cards ... seem to find great support from the team. So schade ... without a doubt the company and the cameras are good enough for them to drop the adolescent sex/power/anger posturing and join the rest of us who value great hardware ... good workflow and color science ... and value the contributions of Jim and Jarred who shook up the sleepy corporate giants ... forced them to compete ... Its a bit of the Burning Man gestalt ... rock till you drop ... and I get the thought. But going forward ... they need to find a way to embrace the faithful while encouraging others to join the fold. Won't happen over eggshells ... Gracious acceptance and embracing the confusion/questions/criticisms will lead them to a new level of acceptance and overwhelm their ability to deliver product. RED has historically been a bit challenged to step up manufacture of product ... the present California lockdown has magnified that liability but if they could ramp up production they could challenge the status quo .... perhaps forcing Canon to release a true Cine cam with RF mount. Go figure ....