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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Canon enables RAW video recording inc. 160fps @ 2k

Philip, now you only need to get a RED into your hands! :wink5:
 
The latest official response from Jim Jannard was to roll about the floor pissing himself laughing!
 
Philip Bloom said:
i shall be shooting RED with the MX in just over two weeks. Hopefully Red will forgive me for this. :)
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Hehe.. never!

BTW, I really like what you've been doing. I can only think that you'll do better than ever with shooting on RED.
 
Philip Bloom said:
i shall be shooting RED with the MX in just over two weeks. Hopefully Red will forgive me for this. :)
Click to expand...

I'm sure they're chuckling, especially since they dropped their own announcement just hours away from yours !
 
Lee Saxon said:
You know what the most alarming part of this post is? We've documented at least two people who readily admit to being Canadian.
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I have dual citizenship so I/we, am/are, one/two, person/persons, who admit to being Canadian/American.
 
Screw you Philip. I read for about 10 minutes, got super excited, hugged my 7D and cried and then looked at my calender. That would be great if it were true. Well, guess it's back to Scarlet.
 
Joking aside, we all know Canon will eventually release this for real. They will produce cameras that don't line-skip and will record full motion in RAW. It's not a matter of "IF", it's a matter of "WHEN".
 
RAW would be cool...hold me till I can get a Scarlet for the low cost productions...

Shame this is April Fools...

Still holding out for a low profile cam that does shoot RAW...
 
Fools day....

Fools day....

I know everyone loves R3D for the ease of use, for now.

While the RED camera can produce good results, when underexposed the issues with the odd compression used and some other odd (non standard) things they are doing to the data can be more noticeable.

When I do see the issues, I think, if they DID have a raw port, how much better could the results be from their great sensors?

If they had gone through with also having a true RAW port we could know that, but as it is we will never be able to do a side by side in our own tests using various tools to de-Bayer the data which can make a big difference in the end results.

As time marches on using the full sensor output will become easer and easer, already 2K is easy, and up to 4K workable, but in 10 years it won't even be an issue so much. It seems the future of RED is based solely on using REDCODE only and forever. If they increase the REDCODE bandwidth more than they are using now you get to a point where just recording true RAW uses about the same bandwidth and does not have some of the issues, cost, and power use that REDCODE brings into the process.

Not having a true RAW module to tap out the Scarlet and Epic sensor data, leaves one way for other companies to make lower power use, lighter weight, cooler running Digital Cinema Cameras that also might give better image results under some conditions, or at least give less cooked in problems, like the blue spots the guy was complaining about (seems caused by not having the back balance done right before compression, if it had not been lossy compressed their would not have needed to have been a data loss, since the full sensor data would be there to re-adjust the black level in post, and do the dark field subtraction.)

Canon's sensors are not fast-enough to compeat with the RED sensors it seems, so for at least two to three years RED will hold the edge with regard to slow motion. I don't think Canon wants to get into the RAW recording at over-cranked frame rates, and I don't think they will be making anything in a DSLR that can do that in my life time.

What is bazar about Canon is that they do not offer a DSLR model with a heaver OLPF and or sensor MADE for the movie mode. If people are going to purchase the cameras JUST for the movie mode, why degrade the images with the still mode options? But then they had no manual audio control and no 24.000fps so it seems they want to make something less than useful for some reason?

At least RED knows what a Digital Cinema Camera should be and given where they started got most of the details right from the start.

The people in Japan should figure out what they want to do by talking to filmmakers before they make their features list, or better yet hire people who have USED movie cameras before, not just video cameras... I find it a bit odd that they seem to make the product then listen to the complaints about what they should have done in the first place, why don't they set up a web site to ASK what features people want and what shape the camera should be before they make them?
 
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