Phil Holland

Very interesting that it resets the timer. Still rather curious if there's any potential for damaging the sensor though. Like if you do this for a full day do you start to "see things". Not really worried about the CPU or even media bay in this case. Sucks either way. Sounds like some sort of firmware update is coming might have some sort of rate increase, but I think I'd like to know more about if they are trying to protect the sensor itself or if it's actually just crippled. Plus side, images are nice off of it. I'm certain with all of this though an actively cooled 8K cinema camera will be coming to the Canon C series lineup outside of the Japan only one they currently have.

I've only had about 3 hours with the R5 recently and won't have time to dig in much until I just have a body laying around here. Agree with the posters above generally. Theoretically this has nothing to do with the CPU nor the Media (it gets warm and generates heat as well) even, but the accumulation of heat on the sensor itself, which I don't think Canon pushes out via metadata visible to us. It would actually be very hard to monitor specific hot points where heat can do the most damage to the sensor short of taking the camera fully apart and investigating, but even that is a tough one as the guts would be exposed. I imagine without active cooling this particular sensor with all photosites active likely at specific areas behind the sensor are the reason the cap is there, whether it's safe timer based situation or some sort of sensor driven fail safe. The main reason for either of the caps would be to keep it from permanently damaging and/or inducing a degradation of reliability or image quality of the sensor not just in the short term, but long term use. If it's a CPU related heat thing, I'd be pretty shocked. But who knows. Maybe it's a combination of it all. There's lots of reason the more video minded cameras (C500 MK II) have active cooling and this is certainly one of them.

BMD makes a considerable profit from the support hardware that drives much of the broadcast, filmmaking, and streaming industry. Though their cameras sell very well, it's the other products that actually truly drive their business. I have two fist fulls of Decklink products, I have no idea how many little converter boxes, and about to pull a trigger on one of their newer boxes. Good products with a handsome markup, sometimes very, very handsome. But this allows for the continued ecosystem of low priced, decent value cameras while also keeping Resolve "free" or extremely cheap to purchase. BMD couldn't just be a camera company without those other products, the profits from their other activities is what actually led to them being a camera company. Don't know about licensing REDCODE or anything, but rather publicly there's been some sort of interactions between Sony and Atomos along the way, we just don't know the details or even results from whatever transpired. There would likely be a cost/value assessment for licensing any tech, but if you've got something good that makes you unique, it would be tough to fork that over to a competitor without a kings ransom I imagine even if you were to entertain the concept at all. To be profitable on YouTube, and I mean actually making decent money, it requires building a brand and presence. Figuring out your genre, angle, and executing it well is key. Sticking to the tech side of things when you look at a guy like MKBHD for instance, he started out making fairly amateurish looking content. He had the energy and talent, but not the polish and experience. He kept at it, grew, and locked in on what made his content good, invested in areas of production value, and is now a well oiled machine of content generation and in turn has become a brand all his own. Same for Pewdiepie (though it's certainly sometimes quantity over quality with some of that content), Neistat, etc. Those are all personality channels that have led to individuals as a brand. There's other entities who have really popular channels with variety content and all that. Buzzfeed comes to mind and they are full studio producing content at this point. It is at the end of the day about making good content if you want to gain an audience, gaining that momentum, and keeping at it is pretty hard if you are doing weekly or even daily work. Keeping the quality of the content consistent is another hurdle for sure. At whatever point, there's a saturation level where your videos from past to present have lots of views and will continue to do so forever, so you in essence are building a library of material that can make you income for a long time, which adds to the monthly payout. That's outside of any sponsorship or side gigs any of these peeps might have. Neistat is a filmmaker and occasionally does jobs for instance outside of the bazillion other things he's up to. And he's kept his energy up and even opened up about that struggle and pressure from time to time. It ain't easy once you've got some traction.

The best I can say regarding that concept. Open source is rad and it works in some circumstances. Specifically some companies who have provided open source code that has become popular are funded by profits of their other endeavors or occasionally funded by "the people" or a horde of individuals involved. When it comes to codec development, optimization, broad adoption, and deployment you are looking at things that take a fair bit of time, effort, and money. Making a bulletproof codec isn't that easy, same for the SDK required. It's not as easy to make something "free" when all of it costs something to produce. Good programmers are $$$,$$$ a year, a few great ones higher than that. You can get it done on the cheap for sure, but it would be a real hard sale despite being free if there's no deep support behind it. The first several years of a codec being out there are really days of sink or swim. Case in point. Whatever was the case and journey with BRAW on the BMD side of things, one thing a lot of people forget is nobody on the software side was truly supporting or funding hardcore development to keep CDNG relevant even outside of patent concerns that were hinted at. Adobe removed it from the LAB in 2017 as well as general support in their own software due to performance issues and perhaps even due to BMD competing in the NLE space now. Really won't ever now the full story there. At least with partially debayered BRAW they have an ecosystem they can control, update, and innovate towards at their own pace. So many were grumpy about BRAW taking over, but every post house I've ever been involved with had very negative things to say about CDNG in terms of workflow along the way. FFMPEG is indeed unofficial ProRes, it's one of those things. There's been several paid for plugins that no longer exist even that tapped into that because whoever went after them. I'm sure a few pennies from a monthly Adobe subscription these days goes towards an Apple ProRes license now that it's supported fully on Windows via CC. But it costs coin to do it right. ProRes was actually done well. DNxHR, though a bit late to the party, similar. It became easy to deploy via SDK and everybody had hardware that can support decent playback.

Replied to your "let's take this off the forums" apology email Ed. Please don't contact me again.

Sigh. Ed. I really don't want to be involved with you and I answered this on Facebook, but since you are clawing your way into my life. Yes, I was a beta tester and clearly privy to a lot of Hydrogen info (if you're really curious I'm testing several upcoming pieces of gear from manufacturers right this second), still a mod on H4Vuser. Not on a payroll, just somebody who's trusted opinion is valued. I can't control what a writer writes, I'm listed as a Hydrogen Team Member on H4Vuser because I was the first mod there mainly and certainly early to the party in terms of using a beta phone and discovering fun ways to use it and break it. The only stuff RED has ever paid me for in the ways you are aiming is back when I used to do the RED Masterclasses, which were indeed a hell of a lot of work to put together and do. Similar to the compensation I get from other camera, lighting, and lens events if I'm serving as instructor/presenter or whatever. Even then, some of those classes were actually paid by the companies hosting them as they wrangled me in as a "RED Expert", which is a moniker I'm okay with I guess. Yep, I've been able to test a few RED cameras before they were out, just like I did the Alexa in the late 2000s, just like the Genesis much earlier than that, just like the Varicam 35 3 months before it hit the market, just like when the first 8 F65s were around. Most of that effort is to assist my professional activities in relationship to studios, productions, etc.... And yes, I'm going to continue being a moderately useful friend to the industry in general. On a side note and certainly on a lighter note, through messaging Andrew on Facebook just a second ago, our first interaction was him covering my "3 Years Later, DSLR Video, One Man’s Perspective" for using the 5D Mark II on jobs, which I wrote up for Michael Reichmann when he was alive. Nice to be reminded of a few good things despite shit being slung my way: https://luminous-landscape.com/3-years-later-dslr-video-one-mans-perspective/

One last reply I guess Ed, I didn't "threaten to sue Bruce", I said "now I need to get a lawyer". To which I sought legal council about defamation and misleading information and attempting to protect myself. Though I'm pretty involved with the RED and REDuser community, I'm pretty damn far from whatever the hell his intentions are versus RED. I'm staying out of it, but right now there's a small handful of people who are chomping on the bits to harm RED, the RED community, and individuals at the moment. You're playing a clear role in the process which is why I don't want to be anywhere near you.

Ed, this will likely be my last time communicating with you after the facebook discussion some time ago. I'm close with all of those companies and remain to do so because that's the industry I'm in, I interact with filmmakers around the globe who use all of these tools outside of the fact that I own gear from all of the companies listed and respect them deeply. I can't trust a quote coming from you or an anonymous source or anything you are pushing regarding your agenda. To many people are just "trusting things they read on the internet" in regards to the anti-brandism being pushed. Nobody here is a patent attorney or a tech lawyer that I know of. It's fine to have opinions, but most of what's being slung lately is accusations which people who don't have the ability for themselves to do the appropriate research about just fall in line with because they saw it, again, on the internet. It must be true. The patents have been contested, I think most publicly by Sony. Whatever transpired between the two companies is there business. Neither of them went out of business in the process of whatever the hell that was either. Andrew, EOSHD is a great industry resource, hell I signed up years ago. Just tend to it more responsibly if possible. It's just my advice man, it's a small industry when it comes to all of this stuff. I know you've been through some bad stuff here with RED, but at the moment people are looking for people like you to exploit in situations like this for their own agendas. Be well, and I have removed the posts btw.

Hi Andrew, it's been a while, but I'm going to take that down that you have correctly changed the title of your piece from "APPLE SUES RED" to "APPLE v RED as lawyers petition for cancellation of RAW patent claims". I'm not trying to agitate you man, I'm attempting to keep you out actual trouble. You don't realize it, but you're being used and focused for somebody else's intentions. Be well, thank you for correcting the title, I'm basically trying to fight against disinformation and FUD as it's harmful not only to RED but individuals as well.

Thanks for the kind words guys. This was a fun and sort of insane shoot. I've written up a few words on lens selection, lighting, and post workflow with some BTS stills here: http://phfx.com/articles/forgedIn8K/ To answer a few questions. @Dan Wake - Editing native REDCODE RAW is something I've been doing for a while. This shoot was done this way using Adobe Premiere Pro CC which has GPU acceleration and adaptive resolution settings while editing. I even ran some of these files through my laptop and was able to "work" effectively. While this is not the only way of working, especially on longer projections with more content and assets, it's certainly something that doable not on a NASA supercomputer @araucaria - 8K is interesting. For display purposes I would prefer 8K to hit theatrical and exhibition use before it hits home. At the moment and for a long time, like a decade plus, UHD 4K is going to be the focused format for home use. Especially since every major studio has now come to an agreement on a UHD Premium Standard via the UHD Alliance. The resolution itself can be down sampled of course and that provides certain advantages as you mentioned to the debayering process. However, 8K will indeed land on screens and screens smaller than you think. I wrote up a paper titled "The Window Effect" that explains much about resolution and optimum viewing distances not too long ago. Here's a link to it: http://www.phfx.com/articles/theWindowEffect/ @Jimmy - Thank you Jimmy. IMAX theatrical presentation is one area I'd like to see this camera used the most. @DPStewart - Thanks Stewart. Resolution is all about "what type" of resolution it is. I have a great deal of experience in the world of motion picture film scanning and film's resolving power purely comes down to what format you are shooting, what stock you are using, and the glass you are shooting with. Super 35mm for instance resolves about 4K-5K worth of detail. Typically we scan it in at 6K and over sample to down sample to yield better quality results. At 6K resolution Super 35mm film's grain is globular and larger than a pixel. It isn't exactly sharp, but it's rather smooth. Most higher end digital cinema cameras that are using Bayer Pattern sensor tech are somewhat emulating that effect to a degree. When we get to larger film formats like VistaVision 8-perf, 65mm 5-perf, and 70mm IMAX 15-perf the resolution increases based on the negative size. If you've seen a full optical release of a properly shot IMAX film, it's still a tremendous visual treat. @Mattias Burling - Much of what I'm after with my images is due to my film background. I'd say not until fairly recently, like around 2013 did we actually get into the true potential of digital film alternatives when it comes to motion picture production. Film still has that magical quality to it that's something hard to truly define, but at this point there's certainly quality alternatives for those who choose the crazy world of digital capture. And it's a very controlled yet flexible format at that. Much of my earlier work before RED hit the scene and even before the PV Genesis was making digital cameras look more like film. Adding grain was one aspect of that, but I'll tell you 10+ years ago it was much harder to do than with today's cameras. Especially if you are using high resolution scans of actual film grain. @Goose - Thank you. Seems like 20000 people like it and about 3 don't so far But boy do those negative comments sting. @AaronChicago - Guardians of the Galaxy Vol.2 has already begun filming on the first batch of 8K Weapons and it's going to be interesting to see how that translates to VFX and post workflow for sure. I think they are aiming for a 4K finish if I'm not mistaken. The standard in 2020 will still be mostly 4K, but 8K broadcast trials start this year and in 2020 NHK is hoping to broadcast the Olympics in 8K "somewhere". As for the next 10-15 years, yep, a lot of UHD 4K with a growing trend of 8K for productions that are looking to explore that world. HDR is going to be the next big thing that comes home it seems. @richg101 - You hit the nail on the head when it comes to glass Richard. That's the main reason I went with the Otus primes. However! I did also use a few several decades old Olympus OM lenses in there as well as a Leica-R and Canon 200mm (so I didn't set myself on fire). I have a feeling the Otus trio will be something I'll be shooting a lot of content with on the 8K. And much of this was f/2, with a few f/1.4-f/2.8 shots in there. There's something truly seductive about this format size and focusing on nuanced detail in my opinion. @Dan Wake - That flicker doesn't show in my ProRes masters here. It appears it's a YouTube encoding artifact. Had to watch both a few times to make sure I wasn't crazy. Seems to be minimized when watching full screen on a 4K display, but it's certainly weird.