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Somebody has to say it, so i'll go first. 2012: BMCC (Black Magic Cinema camera) 2013: MLCC (Magic Lantern Cracked camera)

Commander Chris Hadfield onboard The International Space Station has posted this amazing pop video he has shot a revised version of David Bowie's Space Oddity,   Stunning shots from space -   is this the most expensive pop video ever made to date???   the cost of building the station and flights to it means it must be!!   Some nice post production anamorphic flares added to it       https://www.youtube.com/watch?feature=player_embedded&v=KaOC9danxNo  

And here is my night (dark) test of the new 14-bit raw ML firmware vs. factory default: <iframe src="http://player.vimeo.com/video/66083408" width="800" height="303" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> Let me know what you guys think. :)

Lol each week a new cow is chased through the village. just like people were all freakin out when the bmcc was announced, just to find out it wont be available for ages, jello etc. and then everybody jumps on the next bandwaggon. the mkiii doing raw sounds superb, but lets wait till a big crowd uses this in real life conditions and checks this for flaws intensively. if it passes that, then i will get all excited.

It is ALIVE!!!! Meanwhile, somewhere at Canon HQ...

I've been testing this today.   Magic Lantern are geniuses and the image is STUNNING     Just for the record NFS bug the hell out of me. They put absolutely minimal effort into their posts in an effort to get traffic. Everything is cut and paste from an internet browsing session and none of it is actual hands on experience. In other words, always someone else's hard work they are selling ad space around.   Frustrating to be testing and shooting with something, and for the surprise to be spoilt with such a poor attention grabbing article.   Forget 1440x1080 you can do 1920x1280 to the card at 24fps for anamorphic, I'm getting data rates upwards of 90MB/s to the 1000x CF card.

Greetings all, This is my first post here but I've lurked for quite some time, particularly in the anamorphic forum. I recently bought an Iscorama 36mc 1.5x anamorphic lens from another member here (QuickHitRecord) and wanted to share some of the results I've been getting.  This lens has quickly become my favorite lens!  A refreshing change from the perfect/sterile "Canon L glass look". http://vimeo.com/65643270   Camera: 75% Canon 5D Mark III (more towards the beginning) 25% Blackmagic Cinema Camera (more towards the end)   Lenses: Vivitar 28mm 2.5 M42 mount + Iscorama 36mc 1.5x Iscorama 50mm 2.8 M42 mount + Iscorama 36mc 1.5x Canon 85 mm 1.2L + Iscorama 36mc 1.5x   Adapters: Genus 77mm variable ND filter Polaroid 72mm Close-Up +1 filter (only on a few tighter shots toward the end.) More thoughts in the description on Vimeo.  What do you think? Also, I don't know how first posts are supposed to go or what's considered cheesy but I just wanted to say I look forward to becoming a more active member of the community here.  I hope to learn much and contribute where I can. John DuckDuck Collective

Lmao. I wonder what the might of their legal team thinks of this one. "Alright assholes. We'll leave your 1DX alone."

KomputerBay is your friend. These El Cheapo CF cards are amazing for the money. I've had no issues (albiet short term so far) with mine which I bought for the 1D C shoot a few weeks ago. 64GB 1000x one cost me just 80 euros.

Is there any camera that can do this? I never done it or wanted to do it.. but I'll give it a try. @Andy: I'll check!

It's funny seeing people talking about Canon freaking out about this. For me it's obvious they saw it coming. The folks at Magic Lantern have been hacking the Canon cameras for years now. And then, out of the blue, they find a "hidden" feature in the camera left there by "accident" because Canon would never imagine anyone would find it? This is the only way Canon would evolve the specs on their cameras. Us, the low budget enthusiasts will buy tons of cameras, the pros wont compromise on reliability and will continue buying the expensive toys. Everybody will continue buying Canon glass. Anyone daring trying to undercut them will suffer, just like Black Magic. It's a win win win for Canon. Kuddos to the ML guys for making this happen. You guys are so awesome that Canon was counting on you to do this. I'll be donating and hopping this comes to the cheaper models as well. I'd sell my 60D and get a 7D or 5D2 in a heart beat. Even though I'd miss the rotating screen. :)

I would love to be a fly on the wall at the Canon headquarters when they find out about this

Wait till you see how the original DNGs grade. Here's some! Put them in Photoshop and dial the magenta / green slider back to normal.   http://www.eoshd.com/uploads/5D3-raw-eoshd.zip   And here is one from my 3.5K clip which had a few dropped frames...   http://www.eoshd.com/uploads/5D3-raw-3-5k.zip

I saw Upstream at Sundance earlier this year and Shane Carruth gave a lengthy Q&A afterwards. I loved the film, both style and content, but it certainly won't be for everyone. The plot becomes somewhat inscrutable by the end and disintegrates into a kind of symbolic drift that I found intriguing but my partner hated. (Postmodern narrative disjunction, disintegration of stable identity and all that business. Yes it's been done before but not in this way, and the intrigue holds together until the last 20 minutes or so. I actually got the sense the film should have been about an hour longer, or possibly two parts in a series.) I love directors that take risks and put forward an idiosyncratic and clearly personal vision that will alienate some viewers while entrancing others. Not to mention the film is visually gorgeous from front to back.    I had no idea it was shot on the GH2; in fact, Carruth deflected multiple questions about the production (the theater was full of amateur dps, so this was their primary interest) preferring to focus on people's emotional/psychological reactions to the film, which was understandable. Apparently after Primer he was in talks for years with a big studio to make a $XXXmillion sci-fi feature based on a partial script he'd written, but found the process so tedious and soul-numbing he decided to walk away and make Upstream independently.   Despite his reticence I would definitely be curious to know more about his setup, GH2 hack, glass, etc, if this information is out there. One thing this film does is demonstrate the crucial importance of good sound work. The sound effects and mixing are phenomenal and play a large part in the storyline. Would also like to hear about the recording process for the film. 

Here is the narrative music video 'Don't Stop' that I have directed & shot with my lovely BMCC : + few DNGs to play with : https://dl.dropboxusercontent.com/u/...tStop_DNGs.zip Lenses used : 21 & 35mm Zeiss CP.2 - Tokina 11-16 + Mikkro Nikkor 55mm AI-S Softwares used : Resolve 9 - FCPX - After Effect and Mocha Pro I would love to get some feedback ----- Produced & directed by MARC LINNHOFF - marclinnhoff.com Music by BROAD RUSH get the full version here : hook-up.fr/broad-rush-dont-stop/ Backstage photos from P-mod : flickriver.com/photos/p-mod/sets/72157633312056426/ Starring : Joffrey Schmidt - Clarisse Hagenmuller - Denis Jelly - Nina Schouler - Pierre Riff Camera & post-production : Marc Linnhoff Lighting : Ludovic Haas - Dom Pichard/P-mod Make up : Anne-K Lejeal - Elsa Parmentier Special thanks to Yoko Tsuji, Jacques Roth, Tsaki, Arnaud Masson, Jessi & Michel..

Huge thanks go to A1ex, g3gg0, 1% and the whole Magic Lantern team. I have no other words to describe it - this is huge news. Magic Lantern have done the seemingly impossible and given us a continuous raw recording mode on the Canon 5D Mark III. Once activated in the menus the 5D Mark III becomes essentially a full frame Blackmagic Cinema Camera and amazingly mine has not yet exploded. No more short bursts of raw, this is the real thing. Read the full article here

It would be awesome if some of this could be included in the next update to the EOSHD anamorphic guide, at least for then more popular/common lenses.

Don't use the sharpness settings in Camera RAW, or noise reduction for that matter. Here's what it looks like with unsharp mask instead... (view at 100%) It's stunning! Look at the skyline!

Here is all material we used for that music video.. ;) Lenses : 21 & 35mm Zeiss CP.2 - Tokina 11-16 + Mikkro Nikkor 55mm AI-S Softwares : Resolve 9 - FCPX - After Effect and Mocha Pro Bebob Universal Rig and battery Redrock shoulder Mount Redrock FF Redrock Mattebox + Schneider ND filter Eclipse Variable ND Tripod Vinten Vision 5 External Monitor : TVlogic VFM-056W Cineslider + Elektra drive with Oracle controler Travelling 5m Kinoflo Diva Light Arri Fresnel 300 + mandarines

Ok, so there are different explanations as to what is happening from the sensor to what is recorded. I will use my limited understanding to try and suppose what might be happening. The 5d mk3 is interesting in that its native horizontal photosite resolution is 5760 which happens to be 3 times 1920. which means that 9 photosites are being used (or should be being used) to get the values for one output pixel. The image bellow shows how this would apply to a small section of the sensor. 5d mk3 bayer pattern to 1920.bmp As you can see there are 4 possible pixel types. Thomas could be right in saying that the output is YUV. However RGB to YUV conversion could happen regardless of how the RGB values are obtained from the sensor in the first place. There are 3 rough methods I can think of for obtaining the RGB values: Method 1. The most information would be obtained by reading all photosites of a particular colour and averaging them to obtain a colour value for that output pixel. All photosites would be used. So for example in the top left group of 9 photosites, 5 green samples would be averaged to for the green value, and 2 blue and 2 red samples would be averaged for their respective values. Method 2. If however Andrew is correct that no calculation is done on camera, then this would mean only 1 photosite from each group of 9 would be used for each output colour value. Meaning you are throwing away 2 thirds of the sensor information and therefore 2 thirds of light gathering ability / noise performance. Method 3. Or if it turns out the final image still needs debayering then this means only one colour is being recorded for each group of 9 photosites. Which means only 1 photosite out of 9 is used: 8/9ths of the information thrown away! If Method 3 is the case then I would say this is quite poor. A 4K raw frame from the 4kBMPC from would offer 4 times the resolution (even after downscaling the BMPC) and 3.1 times the light gathering ability (taking into account sensor area difference of 2.9* but not photosite size) If method 2 is true then the 5D MK3 and 4K BMPC will be fairly evenly matched in terms of resolution and light gathering ability. If the Method 1 true, which is probably unlikely, then the 5D would be simply beastly. It will be interesting to see what the case is.

How dare you try and be reasonable on this forum!? :D

This is awesome news for anyone about to release Full Frame friendly 2x anamorphics to the world :P     I feel quite delirious LOL

Here are the cropped images for the Computar 12.5 f1.3 Focused to infinity at f16: Focused to infinity at f1.3: Wide open DOP:

  Andrews test video is in 1920x1280 (3:2), so 1707x1280 (4:3) would be nice! That would make 3414x1280 with a 2x stretch. Pretty sure it will scale up nicely to 4K.

To be honest, I actually like the look of the BMCC footage more. Yes, it's weaker in low light and less clean, but it has an intangible 'cinematic' quality to me. It's just very pleasing, particularly the colours, and the widest DR out there for prosumer video helps too. I don't think this necessarily needs to hurt BMD either. Their 4K model with no rolling shutter could see a sales boost after this. Let's not forget that if you don't own any raw shooting camera, you could buy three pocket cameras for the same price as a Mk III. Also, Vitality Kiselev needs to step his game up, heh.

A super 35mm raw camera for under $600? Where do I sign up? Could be great once they get their new APS-C sensor out there. Panny need to sacrifice their pro division (as if it was making them money, heh) and put this stuff in as an official feature in GH5 (or GH3 via new firmware) or else it's over for M43 for filmmaking.

In order for this to be successful this feature has to trickle down to the Rebel cameras as well. If the Magic Lantern team can get this on the 550D, 600D, 7D, and 5D Mk II...game over.

For the most part, I don't think pros don't want to mess with hot-rodded cameras. The C300 will still be preferred for it's amazing out of the box IQ and ability to deal with artifacts. Anyway, we'll find out soon enough. If you are right (and you probably are) Canon may freak out. That'll be fun to watch! :lol:

lol, I guess all i have now is one more stop of DR! It really does make me wonder if Canon might be behind this, They were finally feeling the heat from the BMCC, and maybe they decided to finally unleash the beast on the 5D3. I wonder what they will say about this publicly. This is great. Can we call it the 5D-C now?

Oh BMCC, look what you've done!

If this comes in a crop mode to MKII, you know, 1920x1080... lol imagine that!! A camera from 2008 now doing raw! lol!!!!! This will be the most amazing thing in years to happen!!! A full kick muay thai style in canon's face! lol

I'm in shock.

  So happy to hear it. Can't wait to see your results!

I think in later posts it's stated that this is already working, the routines at least, no?   So this would make the 5DmkIII the first and currently only camera shooting RAW motion pictures with the Full Frame aesthetic.  Nifty.

Quick grading test (wetransfer) GH2 original - G6 original - GH2 curve - G6 curve (same curve). GH2 @ 1080p24 65Mbps - Smooth -2-2-2-2 G6 @ 1080p24 24Mbps - Natural -5-2-0-5 ISO 160, same aperture and shutter speed. I'm really impressed. Shadow detail from the G6 is so much nicer, as is the grain. Even in the unedited footage of the hacked GH2 you see some dirty noise in the shadows. With the G6 it's a fine grain.

You already know from my Vimeo comment : really nice image, I wonder when I will have the chance to have one ! :)

Warm welcome! Lovely images, nice grade!

Looks every bit as detailed as the GH2, but with better codec out of the box and of course 1080/60p, better screen, etc.   I wouldn't be surprised if it beat the GH3 on image quality in video mode too. Need to test that.   If the camera is so detailed with sharpness at 0 or -2 there's no need to sharpen in post any more, something I had to get used to with my FS100 and 5D Mark III footage.

The ISO3200 example is sorta academic, to me. I'd rather see more realistic comparisons at something like 640/800 where too much above that you're pretty much in a horrible lighting situation and just hoping you get an image you can use and then it becomes a contest of "which camera would I rather have when I'm not lighting anything and my light is shit?", more or less. Some differences between the ISO160 examples could also come from the Standard profile reportedly not giving a correct exposure for medium gray on the GH2. According to Shian Storm (ColorGHear) and his tests with scopes and handheld light meter (unconfirmed yet myself) only Nostalgia measures medium gray exposure @ 50% and the others are closer to 40%. Perhaps they fixed this anomaly in the G6?