Canon R5 Announced with 8k

mico said:
This is good. Maybe if you're not shooting continuously the overheating thing is a non issue. Haven't used a canon in a long while. Is there a half press to get out out of live view so as not to record.
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Good question, as it's never really been needed before on the previous Canon DSLR/mirrorless'. Kinda like a quick "spin-up" to check the shot "for real" before really rolling.
 
Joshua_G said:
The BMPCC 6K uses fans, though, they are completely silent. One can shoot with it for hours on a row.
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Re Sigma, it’s doing RAW internally but only 8 bit ?

The P6K is also substantially different because

1. BMD use active solid state cooling as well as the fan (like Alexa)
2. BMD use FPGA’s instead of ASICs. They tend to use more power and therefore generate more heat.
3. BMD are doing internal 12 bit log RAW.

Cooling and thermals are one of the hardest things to get right in terms of performance. If you’re making a weather sealed camera with IBIS, it’s really really hard to maintain the sensor temp.

AND

Common misunderstanding re overheating....

It’s not really overheating like something will smoke and melt “break” and that it needs protection from heat....

But if the camera is hotter than what it’s been calibrated and optimised for that causes the noise floor to rise dramatically, and dead pixels to show up that are normally invisible.

RED for example have a way of storing different Black shading calibration tables that you do at different operating temperatures.

Like Arri and BMD, they use an active cooling approach to maintain a consistent sensor temperature operating range. On an Alexa it’s + or - 0.5 deg C, which when you think about the places you take cameras is pretty amazing.

So overheating protection is about your noise floor not changing over a long take. You’re not cooking anything, but it’s hard to have the sensor perform to spec if it’s out of it’s optimised range.

This is why supercooling is also used by Astro photographers to hot rod their cameras to be better performing.

The cooler the sensor, the better the sensor performance. (Check out the image examples at the end of the link)

https://petapixel.com/2018/06/01/these-modded-cameras-have-sensors-extracted-for-extreme-cooling/

JB
 
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Downloaded one file so far...waiting for others to finish.

Random LUT. The face appears to be slightly out of focus.

aGEWR6A.jpg


Credit: https://www.youtube.com/watch?v=UskTIP40HTQ
 
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Yeah John. It's something I've been thinking about for sure. Noise from heat. I need to see R5 night footage with the camera hot.
 
I'll tell you what though...C-Log is the same as it's always been; not flat (barely).

IF C-Log3 makes it to this camera...oh, my.

a7SIII will have a strength there with their wonderful S-Log3, presumably now with a high bitrate.
 
John Brawley said:
Like Arri and BMD, they use an active cooling approach to maintain a consistent sensor temperature operating range. On an Alexa it’s + or - 0.5 deg C, which when you think about the places you take cameras is pretty amazing.


JB
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That is DAMN amazing. I know there have been countless times my cameras have been so hot I could barely touch the body. I used to keep small mylar sheets handy to "balloon" around my VariCam when doing LS's out in the sun in the summertime. It amazes me that we don't have more cameras go down during shoots.
 
Does not work for many 1DX III owners ... multiple complaints about bundling a card that cannot handle highest FPS in Raw.

I am having dropouts on the 512 cards ... in contact with Canon service but they are all working from home so not sure they will
be able to diagnose or fix this any time soon.

Shot 300Gb this morning ... 5 clips out of 25 that I rendered have "Media Offline" errors ... this at 23.976 in Raw on Sandisk 512 cards.
 
docmoore said:
Does not work for many 1DX III owners ... multiple complaints about bundling a card that cannot handle highest FPS in Raw.

I am having dropouts on the 512 cards ... in contact with Canon service but they are all working from home so not sure they will
be able to diagnose or fix this any time soon.

Shot 300Gb this morning ... 5 clips out of 25 that I rendered have "Media Offline" errors ... this at 23.976 in Raw on Sandisk 512 cards.
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This may be the hidden Achilles Heel no one is talking about (besides people who own the camera, lol).

The cards may not even be fast enough yet for continuous stable writing...happens over and again in camera history!
 
I'm still going to try it though. At this point with the overall uncertainty, why would you get something more expensive, right?

It should support a few seconds here and there.

It's the continuous writing I mentioned in my last post...that's a real shame if you're having trouble with the 512GB too!
 
ahalpert said:
2j isn't enough if your client needs 4K. Otherwise I'd be out there rigging a speed booster to an Alexa like Hunter
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Exactly, people go around saying 2K is adequate, but it doesn’t change the reality of the situation.

Camera companies make products that sell. If a feature is not important, it won’t get made.

Pleanty of people said we didn’t need 4K, now we do. Plenty of people saying we don’t need more DR, or we don’t need AF, until we do. Some things make cameras better, and other things are trade offs. So exchanging DR for RS is a trade off, that is sometimes worth while, but no one is out there saying the Komodo has better image quality than Alexa because it downsamples perfect 4K, has global shutter, and adequate DR. No, it is a trade off, not a “surplus”.
 
Right but none of my clients turn away my cameras because they have "less than 16 stops DR" or "RS longer than 25ms". They may tangle with the effects and develop a preference. But they don't quantify it like resolution

Ok I lied - there's HDR. But if you surpass the minimum, they may not request a higher DR figure than that dunno
 
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NorBro said:
It's the continuous writing I mentioned in my last post...that's a real shame if you're having trouble with the 512GB too!
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Hard to complain too much ... all my corporate (pro bono) work is external recorder ProRes HQ ... no errors. My personal stuff is
Raw .... and I am re-rendering a 24 GB 10 minute 4K DCI file that had 4 errors ... I now have a workflow for this that is fairly good.
Render out to ProRes LT ... view in VLC ... import the LT file and place it over the Raw ... scrub to the error points ... edit the Raw ...
then re-render the final.

I will upload the file to YT ... link when done ... probably tomorrow ... 24GB takes a fair amount of time. I could have done a more aggressive
edit but just want to get some footage up for the camera ... and looking at this today ... 8K may be amazing ... this will do me for a significant
amount of time going forward.

The second half of the video was shot with the following:C24 Small.jpg
 
I truly love the AF capability of the Canon ... but Sigma glass does not allow for slow AF pulls.

This lens allows for Focus Confirmation in MF ... box and arrows ... although when I magnify the screen
it seems a bit off at 10X ... but can be corrected ... so for MF pulls ... I pre-determine the distances on the
very detailed focus scale and then just use those.

Need to discern if this demo lens has less that exact scales at this point.
 
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