Looking for Canon 1Dx mkIII raw video files

NorBro said:
You actually said they don't sell as much as the Sonys...and perhaps most recently they haven't, which is why the R5 for $4000 still makes no sense to me.

Great for us though.
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Miscommunication. I tried to say that Sony positions itself well in sales too (seemed like you implied they weren't as successful as Canon). Then I tried to say that canon would have sold more without cropping 4K etc. They would have blown sony out of the water. But even so yes they sold
 
James0b57 said:
Ha, I read that video's description, and the shooter said they were surprised at how well ProRes grades. Everyone who wants to grade or change the white balance thinks they need to be shooting raw. ProRes LT is still robust enough for what most people need, imho.
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Yeah good enough right... can it look better? I dunno. I mean I think everything below regular ProRes loses some detail...
 
NorBro said:
You tell me?

[Random video. And it's the HD sensor.]

https://www.youtube.com/watch?v=v4_jge5kwO8

Could always bump it up to LT if not.

___

4K Proxy looks much better on the 4K Pocket: https://www.youtube.com/watch?v=UPMF14mKQqU
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The HD looks a little soft to me. Hard to say if it's the codec or some other aspect. But when I transcode things down to ProRes proxy I think they lose detail. I mean the more compressed braw and redcode lose detail too.

The 4k proxy looks pretty good to me. Probably won't see a difference there if you're not looking on a good 4k screen (and not my phone)

My 28Mbps avchd files...I can't see a difference from the 100Mbps stuff. Not sooc
 
For the first one, it's a mix of both; low bitrate 1080p from a 1080p sensor (although it can look better since some of the video is overexposed).

What you see in the second one (4K proxy) is mostly the increase in resolution.

There are plenty of tests on YouTube comparing all flavors of ProRes (from HQ to Proxy), but it's moot because you're not going to get any Pockets.
 
ahalpert said:
Yeah good enough right... can it look better? I dunno. I mean I think everything below regular ProRes loses some detail...
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My comment was more about how un-demanding most people's need actually are, but they still "gotta have RAW" to do minor white balance adjustments for their web videos.
 
NorBro said:
There are plenty of tests on YouTube comparing all flavors of ProRes (from HQ to Proxy), but it's moot because you're not going to get any Pockets.
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Well not totally moot since I could record externally to ProRes or transcode to flavors of ProRes for editing... but yeah I dont think I'll get any Pockets sadly. An A7SIII is probably the smart money move for me. Or an R5 or R6 depending on how everything shakes out. And honestly they're all good enough for most of my needs if not all
 
When I used to work more, I would edit many videos in any given week with very fast turnaround times from content that I would also shoot, so a faster workflow was very essential for me and my older laptop.

I also captured a lot of what I filmed on a recorder in ProRes so it was also by default that I used it.

BRAW is great for people who require more flexibility in post (or maybe any additional DR), and I would have definitely tried it more since certain resolution and framerates are only available in BRAW, but it was out of the question as FCP X doesn't support it.

I could learn Resolve inside out, but my passion is just not there anymore to do things like that.
 
NorBro said:
When I used to work more, I would edit many videos in any given week with very fast turnaround times from content that I would also shoot, so a faster workflow was very essential for me and my older laptop.

I also captured a lot of what I filmed on a recorder in ProRes so it was also by default that I used it.
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I just recorded and am in the middle of rendering two podcasts for the pastoral team at my local church ... Prores 422 HQ in 4K from the
1DX III rendered as 2K DCI and uploaded to Vimeo as ProRes LT 422. Really simplifies the workflow as I light and expose very similarly
each week so my color correction is just applying the previous grade ... 6 nodes ... and tweaking it a bit.

Color from this camera is very nice ...

https://vimeo.com/433697471
 
It looks great and there is no client who wouldn't be happy with it.

However, I really recommend less headroom. (You most likely can't raise them on a platform.)

I know you'd probably like to have the entire painting in the shot, but then it's truly best if you lowered the painting.

But if you can't move it then less headroom would probably still look better (even more than below) even though the painting being cut off doesn't look nice.

Reframing.jpg
 
I agree but I don't get a vote ... :)

Prior to Covid-19 we had four around the table but here they try to keep a bit of distance ... if the four or three were there
no picture ... and the title of the podcast is Around the Table with ....

Would be great to do it in 2.35:1. I am constrained in that it is a small office and I am less than 10 feet from them ... no
room in the background for more separation.

When I started the background was an ochre clay color ... at least they agreed to something a bit more neutral.

Oh well ...
 
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Actually I see that there are dozens of videos shot like that already, so it's best left alone for viewer continuity and comfort.

___

And I just read your post above...definitely makes sense.
 
A bit off topic but thought I would share a bit of footage from the 1DX III h.265 4K All-I while we all wait for the R5/6
announcements later this week. From what I can see from the 4K out of the recent Canon ... RAW and H.265 ... I think
most will be pleased with the new cameras ... rolling-shutter and data rate issues aside.

https://www.youtube.com/watch?v=dF48s8qRKIY

Apologies for the sound track ... had something better but had to take it down ...
 
Beautiful. Those colors look great to me. The variation in greens feels like what I'm used to from seeing them in real life or from BM or Canon RAW. I hate seeing a foliage scene were the green hues all trend in the same direction. Very promising
 
docmoore said:
I recently moved from my A9II to the Canon 1DX III ... loving the weight and slam of the shutter ... just like the old days.

But I need a bit of advice ... have been on phone with Canon support twice ... nice folks but a bit flummoxed with my concerns.

My NLE of choice has been Resolve Studio for years ... love the color tools and the ease of grading ... however ... 16.2.3 ... and it looks
like 16.2.2 have been a bit of a step backward ... particularly with the .CRM files from this camera. I can import edit grade and view
without difficulty but when I attempt to render the files Resolve cannot finish without an error of Media Offline ... even though it can see and
edit said Media.

In frustration ... I paid homage to the golden calf ... bought FCPX ... thinking that would allow me to transcode the files to ProRes and finish in Resolve.
Difficulty is that when I load the Canon Raw Plugin for Cinema Raw Light v1.4 and 1.3 ... FCPX 10.4.8 does not recognize the plugin as it cannot import
the .CRM files ... which Resolve can edit but not render.

I have tried this on Mojave and Catalina ... two different computers ... neither can import the files ... I have tried two different CFExpress readers ... two different
CFExpress cards ... and ultimately tried downloading a .CRM from CookingHusband ... nothing is recognized in FCPX. The plugin for Canon Raw Plugin 1.4 is found in the folder that it is supposed to populate ...

I filmed and rendered a session from the HDMI output of the camera to ProRes on an external recorder in Resolve Studio without issue ... it is just the
Canon Raw Light that is problematic ... and of course no one at Canon has a clue ... but all three of those I talked to have little Mac OS experience.

Suggestions?

TIA

Bob
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Just an update ...

... Canon CPS has had my 1DX III for 7 weeks ... it has corrupted the RAW 5.5
capture from day of purchase ... which was in June. After multiple calls without any resolution I
rented a 1DX III to see if it might be my cards(3 512Gb) readers (2 Sandisk and Angelbird) or
computers (2 MacPro 5.1 12 core with Radeon VII 96 GB Ram 50 TB total disk space and a MacBook Air)
The rental camera delivered perfect RAW files at any frame rate ... so today ... I called Canon Factory Service Center in VA as I was driving back from Mexico ... had a lot of time to use when I was within cellular range.

They found no problems although they have neither DR nor FCP, both fail about 40 - 60% of the time
with the RAW files from my camera ... usually a couple of corrupt frames in a 5 minute clip when I try to render the files. They also are "working from home" ...

All 4K internal and 4K HDMI is good from the camera.

So after 6 months of haggling ... the camera is being returned to me without any repair.

My next call was to my dealer who was informed of the problem in June. Day it hits my doorstep it
is being returned to him ... SO ... need to find a replacement. And factor in the $3K loss when I dump the
camera ... Thanks Canon.

Less than funny thing is I sold my P6K for the camera as I wanted better weather sealing, AF, FF, and
get this better support and build.

Just filmed a whole advent season of services on a Sony RX0II as the camera was confined at Canon.

Now whether a BM 12K ... Varicam LT ... or FX-9 ... all need an EF mount as I have 3 Sigma FF Cine Primes in EF that I purchased for the 1DX III.


Bottom line ... three P6Ks sequentially would have served me better than the Canon.
 
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