C500: Shane Hurlbut going RED

C100 or 300 bot up time seems to be dependent on what memory cards are in the camera. The larger the memory cards the slower the boot up. Why some one would have 2 x 64 GB cards in a C100 doesn't make sense to me. record time offered by 1 64 gb card is 6 hours, 2 would be 12 hours unless dual recording is enabled. Why not settle for 2x 16 gb or 2x 32 gb and sacrifice some record time for a faster boot up?
 
Mark Smith said:
Why some one would have 2 x 64 GB cards in a C100 doesn't make sense to me. record time offered by 1 64 gb card is 6 hours, 2 would be 12 hours unless dual recording is enabled. Why not settle for 2x 16 gb or 2x 32 gb and sacrifice some record time for a faster boot up?
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I like to put two 64GB cards in my A-camera using dual-record and leave the camera on all the time except for one or two battery changes during the day. It's not that uncommon during a wedding for me to film over three hours of footage (usually less, but maybe 30% go over three hours), and not having to change memory cards during the shoot not only simplifies the shoot, but also has less risk of losing any cards.

I remember back in the Canon DSLR days, filming at 50 mb/s (twice of the C100), before 64GB cards were available and memory was more expensive, I'd often use three 32GB or 16GB cards per camera (one for preps, one for ceremony, and one for reception), times say three cameras for preps, five or six for the ceremony, and three to five for the reception, plus a few cards for audio, and there would be around 15-20 total memory cards, going from cameras, to memory card wallets, in pockets of different shooters, to camera bags, etc. Organization was really important to not loose a card and it was really a pain. Now a days I don't change cards during a shoot for the most part and just empty the cameras once I'm home. So much simpler and less risky.
 
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This is one of the big advantages of Dual Record - it simplifies your card management. On the DSLR's I'd never shoot on anything bigger than 32GB, and I'd change cards regularly throughout the day (especially for weddings) in order to limit loss in the event of a lost or corrupt card. With Dual record, you are already covered in the event of a (single) corrupt card, and this opens you up to use a use larger cards and never need to swap them - limiting the possibility of loss.

I really wish the FS700 had a 2nd card slot too, instead of the FMU128GB slot!
 
I have shot with Dragon on numerous occasions and while the highlight roll-off and skin tones look better than the Epic thanks to the expanded dynamic range, it still has a lot of noise in the blacks. The image is solid, but it is no low light beast and while they market the notion of interchangeable OLPF's as a plus, it is like marketing a deficit. How to turn a weakness into a strength. Marketing 101. The reality is the blacks are noisy for highlight retention and the "low light" OLPF allows the blacks to be normal at the expense of the highlights. Pure spin and a pain that the OLPF needs to be changed.

By the way, Shane Hurlbut has never been very subtle or measured in his remarks. Cudos for his passion, but how many times has he said "this thing is the best ever!" Frankly, if he has decided to drink the RED Kool Aid, great, but I will be waiting like a vulture for all the wannabees trying to shift their red dragons with almost zero hours on them because they are not being used and quite expensive paperweights at that, thanks to Shane's throwing into the RED marketing machine instead of the Canon one.
 
Eric Coughlin said:
Okay, yes, but do you film with or without a lens, microphone, and memory cards?
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Eric, I did the test with a Canon CN-E 24mm T1.5 on the camera and two 32gig Sandisk Extreme 95mb/s cards. I did the test a few times and everytime, the fastest I could get the camera boot and to start recording was just over 9 seconds after I turned the switch to ON.
 
Eric Coughlin said:
Are you suggesting that when the camera is on the electrical charge attracts more dust during a lens change than when the camera is off? Regardless, I do it all the time and the glass in front of the sensor (let's remember, the sensor does have a piece of glass covering it on the C100, so your sensor will not actually get dust directly on it) on my C100 is quite clean. If some dust did get in, I could likely use a blower to easily take care of it. If it got dirty with elements that a blower couldn't take care of, or a brush, and I didn't want to use a cloth, liquid, etc., I could pay to send it to Canon for a professional cleaning, and it would still be worth it to me to have the ability to change lenses while recording. I used to always turn off the camera for lens swaps until I read on DVXuser that people were doing hot swaps without problems, so then I started hot swapping and it has been such a godsend to speeding things up on set.
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Yes. There would be static electricity which attracts the dust. Hence I switch off the camera and then change lens.

I travel a lot within India and remain away from the main metros - which have canon service centres - for the duration of my shoots. Sending the camera back to Canon during that time becomes out of question. And to make matters worse, I do lot of deep depth of field work as well. One dust spot can ruin my plans. Couple of years back, with the C300, I had dust spot on some nice footage of leopard cubs. I don't want to repeat such a situation. Hence the precautions.

I used to clean sensor of my DSLRs with a product called Arctic butterfly. However, I think it is always better to allow Canon to handle it rather than we doing it. The C300 footage is going to be blown up many times (when viewed in large screen), so any imperfection ie sensor dust/cleaning smudge etc has got more chance to be noticed than a DSLR.

Something may make perfect sense for one person, but may not be right for the other because of different situations, conditions and style.
 
Eric Coughlin said:
Do the Canon cine lenses have any type of electrical connection to the camera?
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The Cine lenses are EF lenses and they transfer information to the camera like Lens model, focal length, aperture value and focus distance and they even have custom lens profiles with the camera.

So after considering all theses things, yes the camera boots much faster then the original C100 (which I also owned before and used in the same configuration)
 
indiawilds said:
Yes. There would be static electricity which attracts the dust. Hence I switch off the camera and then change lens.

I travel a lot within India and remain away from the main metros - which have canon service centres - for the duration of my shoots. Sending the camera back to Canon during that time becomes out of question. And to make matters worse, I do lot of deep depth of field work as well. One dust spot can ruin my plans. Couple of years back, with the C300, I had dust spot on some nice footage of leopard cubs. I don't want to repeat such a situation. Hence the precautions.

I used to clean sensor of my DSLRs with a product called Arctic butterfly. However, I think it is always better to allow Canon to handle it rather than we doing it. The C300 footage is going to be blown up many times (when viewed in large screen), so any imperfection ie sensor dust/cleaning smudge etc has got more chance to be noticed than a DSLR.

Something may make perfect sense for one person, but may not be right for the other because of different situations, conditions and style.
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The static problem isn't as big of a problem with the Cine cameras as the sensor box is sealed. If dust were to be on the protective glass, your artic butterfly would work perfectly and you would never have to touch the sensor.
 
There's a focus distance display on the C-series LCD/VF display when using Canon Cinema lenses? I didn't know that. I miss that from back when I used it on my Canon XH-A1s. Though, I'd have to say that C-series auto-focus is more useful for my workflow than having a focus distance on the camera display on a non-auto-focusing lens.
 
Eric Coughlin said:
There's a focus distance display on the C-series LCD/VF display when using Canon Cinema lenses? I didn't know that. I miss that from back when I used it on my Canon XH-A1s. Though, I'd have to say that C-series auto-focus is more useful for my workflow than having a focus distance on the camera display on a non-auto-focusing lens.
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Yep there's a focus and focal length display (focal length display is amazing with Canon Cinema Zooms) and it also works with Red Cameras. The Focus Display is very accurate and can be much more useful than you think though. I don't use auto focus on any of the stuff I do so to me this works great!
 
I post this tweet from Shane Hurlbut as a response to the original question

Panasonic VariCam 4K w/ Michael Cioni of @light_iron . WOW. Post workflow will shake the apple cart. @PanasonicBdcst
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Are we to perceive Shane has jumped ship again? That would be silly as there was no ship to begin with, just what works for different situations.
 
jameshealey said:
The static problem isn't as big of a problem with the Cine cameras as the sensor box is sealed. If dust were to be on the protective glass, your artic butterfly would work perfectly and you would never have to touch the sensor.
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Prevention is better than cure.

As I had said earlier, I travel a lot and don't carry a spare C300. So I can't take the risk of cleaning the sensor myself using an intrusive method like Arctic butterfly or any other. When we say sensor dust it is dust on the "protective glass" or low pass filter or whatever you would like to call, which is infront of the sensor.

Even after the Canon introduced the enhanced sealing, I have had sensor dust issue with my C300. So once bitten twice shy. :) I shoot in some incredibly dusty situations - deserts, sea beach, cities, villages, wildlife safaris, sports tracks etc. I understand that your situation is different and hence your response.
 
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