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But it’s a DRY camera heat…
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[Bill Davis] “That comment Black Magic’s Dan May made to me about the URSA being “water cooled””
[Bill Davis] “Clearly, these new sensors are generating a boatload of heat.”
Water cooled? BOATload? I am sensing a connection here…
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[Bob Woodhead] “Have you looked at their (fairly new) cine primes? I’ve been A/B’ing them against the Zeiss CPs,”
Zeiss is more neutral, if not leaning very slightly towards the coolish end of the spectrum, while the Canons are warmer. Personally, I like the warmth of the Canons.
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Sensors tend to get hot at HFR recording, maybe watercooling is there to let the camera reach 60fps or something. I’m all in for new cameras, I liked the BM and AJA, but then I stopped and think, I still have my Red One MX, it is still a great cam, and you can find them used really cheap. Good movies were made with those, reliable workflows were established.
I know 4K looks like the new thing, but it was there from 2008 at least.
As excited as I was with those two cameras, I decided to keep my Red One MX, waiting for Dragon update with my Epic and seriously thinking about an Arri Amira, though I keep hearing good things about the Sony F55, but for my conservative clients, Arri will always be Arri. Tough choice.
Lenses: Canon cine primes and Compact primes are really still lenses cine moded, they are really overpriced for me, and EF mount is restrictive. If you want “cheap” lenses for video work, check the new Schneiders Cine Xenon, made for video and fullframe, wich makes them future proof of bigger sensors, and they are all T2.1 with a consistent look between all of them. I will sell my beloved Red Primes to get a set of Schneiders. I am planing to buy the new Leicas Summicron C also, way expensive, but lenses don’t loose value over time, cameras do, faster than ever. So, if you want to invest safely, buy good lenses and cameras you know you will recover the purchase cost sooner than later.
Santiago Martí
http://www.robotrojo.com.ar
Red One M-X, Red Epic X waiting for Dragon update, Red Pro Primes, Adobe CC, Assimilate Scratch -
[Bob Woodhead] “Have you looked at their (fairly new) cine primes? I’ve been A/B’ing them against the Zeiss CPs, and they look at least as good (in my half-blind, uncalibrated, possibly inebriated opinion).”
I have not looked at their cine primes, actually. I have a bit of an issue with Canon lenses. It is just my opinion as the person who receives and has to spend a lot of time with footage.
I think they have a very specific look that is not always what I need, I think that without the proper handling, that they can be very soft, can have a lot of artifacts, and quality varies from lens to lens (which is true of a lot of lenses).
I think they are wonderful lenses for stills (which, let’s face it, is Canon’s forté) so I tend to look around at other lenses, again, it’s just my opinion.
Jeremy
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[Bob Woodhead] “Have you looked at their (fairly new) cine primes? “
It’s a bit old but worth watching. Canon CN-E Prime Lens Breathing Test https://vimeo.com/54731203
EDIT: also there is a decent discussion in the comments, at vimeo.
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True, Red One overheating was a major factor to consider in the early days. Also the original Sony Cinealta would lose back focus after a couple of hours of work due to heat expansion of the mount plate.
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[Santiago Martí] “As excited as I was with those two cameras, I decided to keep my Red One MX, waiting for Dragon update with my Epic and seriously thinking about an Arri Amira, though I keep hearing good things about the Sony F55, but for my conservative clients, Arri will always be Arri. Tough choice.”
Just finished grading a project shot 4K raw on F55. It is, in my opinion, the least compromised system currently on the market (well, except the F65, I suppose). Compared with Alexa there’s more resolution, a compressed raw workflow that makes shooting raw much more practical, and the camera is much smaller and has substantially better battery life. Compared with the Epic, color is better right out of camera, I find it’s easier to take it in the direction I want it in a grade, and working with the footage is smoother without any specialized hardware than working with Epic footage is even with a Rocket.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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How well does a water-cooled camera’s plumbing stand up to travel in unpressurized aircraft cargo sections, and shooting at extreme altitudes, or in the cold?
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[Mark Suszko] “How well does a water-cooled camera’s plumbing stand up to travel in unpressurized aircraft cargo sections, and shooting at extreme altitudes, or in the cold?”
This was my first thought.
Water cooled computers make sense as they are relatively stationary, but a camera?
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[Mark Suszko] “How well does a water-cooled camera’s plumbing stand up to travel in unpressurized aircraft cargo sections, and shooting at extreme altitudes, or in the cold?”
I think if the cooling system breaks, it exposes the core and causes a chain reaction. Everything with-in 40 miles of your camera is rendered unlivable for 1,000 years.
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