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Tony Wilson has probably forgotten more about cameras and lenses than any of us will ever know. Do yourself a favor and take a minute to really grapple with what he's saying. Of course he has a sense of humor too.

Peaking: works during recording, can turn it on and off during recording, works in magnified view. Auto ISO: works in A or S (and probably P) Changing ISO during recording: works in all modes All shown in the video:

[media]http://vimeo.com/66206596[/media] The 5D Mark III is already a very capable low light camera. In its factory guise whilst not quite as clean as the Canon C300 or Sony FS100, it is the best DSLR for low light shooting (though the Nikon D5200 puts up a good fight). But that was before the latest developments with ML Raw. Has low light improved even further? [url=http://www.eoshd.com/content/10338/low-light-test-of-5d-mark-iii-raw-vs-h-264]Read the full article here[/url]

The other day i put down a preorder on a Mexican wrap at a food stand in Soho. If enough people put down a preorder I might get the wrap next year, so everyone do it! I had my preorder on the one with the sour cream but then they announced sourcream and chilli so I changed my order. All this time I've not been eating because I've been chasing sauces. I think I might just go and buy a sandwich and actually have lunch, at least then I can spend my time enjoying food not worrying about a potential wrap.

And here's an example with the 5D footage enhanced as well...5D on top, BMCC below, 1:1 @ 200% ...even enhanced, there are far more areas that do not resolve out to see blades but remain clumps. Because the structure and detail has to be there to be enhanced.

This isn't "perceived detail", or false detail. This is blades of grass: ...that's unaltered 5D on top, BMCC on the bottom, 1:1 to each other @ 200% ...if it were "false" detail then further enhancing wouldn't further resolve maintained blade structure, here still at 1:1 to each other, 5D on top and enhanced BMCC on the bottom (mild de-moire + my LCE scheme). ...and here we have 5D on top and BMCC on the bottom scaled down to 1080. The comparison would be even worse for the 5D if you were to go the other direction.

Okay, when I started working on this film I new I wanted to shoot anamorphic but I was entirely not acquainted  with doing so. I found a place to rent an ISCO from for a pretty decent rate and just jumped in. There was enough time before shooting was set to start that I could do a very decent number of tests to get comfortable with the system.    At first I was not sure which camera we were going to be going with so I tested a few. This was the first video test we did. It was the ISCO with a ISCO 35mm mounted on the 5D MKII with a Small HD DP4 on top. I just put the entire thing on a pistol grip and went out into a field and shot handheld. I knew after this test this was going to be a blast. I had no plan on what we were shooting that day, the lens had literally just arrived and we rushed out to catch the sunset at golden hour. I wanted to get some idea of how it looked so i could start making decisions.    https://vimeo.com/49436068   Then after that test I got access to a FS100 and decided I'd give it a go with that but had not really tested anything with it, or seen anything. Then I stubbled across this video: https://vimeo.com/28203770     and knew that I had to shoot with the FS100. And following that decision we shot this simple test video. The only lit segments are in the kitchen. Which have a 575 HMI through a silk coming in from a side window. Flashlights and such were placed intentionally to test the flare intensity.    http://vimeo.com/49528017 After I made this decision, but before shooting on the film "seek" started I was commissioned to shoot an action adventure in the style of the goonies. We were planning on using the FS100 with the ISCO and shooting was going to happen over the course of 4 weeks. Sadly this project was cancelled, but I brought the FS100 along with me for initial location scouting. These shots were done for the sake of feeling out the space and I did them as quickly as possible. This was thrown together for the director to get a sense of what choices we had open to us. Watching this still pains me I did not get a chance to shoot this film. The FS100 would have been a spectacular fit for it too. (and would have been super convienent since I already had the FS100 for a long term rental)   https://vimeo.com/52070462   Working with this setup was a fantastic experience. It was not without its difficulties as getting used to using diopters and an achromat was quite the learning curve. It came with +1,+2,+4,+10 diopters. This thing could get amazingly sharp macro focus shots. This mantis was only the size of a dime, and here it fills the entire frame. Crazy.          Let me know if anyone wants anymore details. 

@Andy: Looks pretty centred to me! Editing Auto ISO and peaking demo right now!

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..

Huh? Look, there were people animating DSLR stills in the early DV days, and making music videos shooting literally 1 frame at a time like animation back in the 90's...Smashing Pumpkins and REM videos did this with it's own stuttering aesthetic ....so sure, there will always people who will break there backs and make amazing things, no matter the tools. You don't have to work how professionals work, it's true...and in many cases you shouldn't...but... It's a potentially (we're still finding out the details) back breaking, tedious process, outside the norm of practical production, no matter the budget, or crew. And with a $3500 camera when there are other options in that range. At least know that's what you're talking about. Whether slating, requiring playback for music, shooting "go agains" in one take, camera moves, or just framing, and hitting marks... 40 seconds is intrussive. It would make post a nightmare during a period where workflow is already having some growing pains.

best iscorama ever :) the holy grail in the old days the last one with the beaulieu part had damage and was over priced for condition. if it is a relist it is worth 1400 euros. in perfect condition it is worth at least 3000 euros .   in the future more. with all this raw hacking even at pure 4k that is still super low resollution for the iscorama. cinegon is a schneider name meaning they worked with isco on that lens and beaulieu.. the same schneider people also worked with leica on the leicina camera 4 different teams of top optics guys.. working on optics for cine cameras the only down  some of the cinegons around well most of them that where  made where latest  modern spec so a little higher resolution and multi coat. super rare mc even rarer single coat. super expensive in it's day more expensive than the cameras. as time goes by i think we are going to see more bruised and battered iscorama coming up. if that is the case min of 500 euros should be knocked off the price unless you are rich and do not care.

Why do people insist on pushing their methods onto someone else, as if there is only one way to do something? Maybe you and i work in very different ways, on very different clients.... As long as i'm getting paid and the client is happy... then surely my methods are as valid as yours? Even if i jump through a million hoops to make it work. What would you prefer, if you had a blank canvas.... a 5dIII with this raw hack or a HVX200? Some will take the 1st and do a great job, some will take the 2nd and do a great job.... Some will do a bad job regardless.

Well, I think Andrew is right about the file-spanning issue being at least as fixable as it was on the GH2. That sorta begs the question why they didn't just implement a trivial fix already, given the nature of the hack itself and the size of the data being written. Worse than the limit is folks thinking that, if the limit isn't lifted, it's a perfectly workable caveat. That's just absurd.

No, definitely not. It is incredibly, incredibly naive to base any assumption on shooting lengths based on final edit lengths. People are not robots. They do not instantly come to ready at the same time. They do not get their head into the game at the same time. The more people involved the more ramp-up time is needed. 40sec isn't enough time to slate in some cases. If you're doing something difficult or emotionally charged, you may have been rolling a minute or more before a take actually begins. If ML does nothing more than where current development is at today, they have to get true continuous recording or this thing is a big toy.

The answer is NO. Because of the way ML's module work, the Digic processor is actually doing less work by writing RAW than it does by writing H.264. H.264 requires a lot of downsampling, up-sampling and compressing. RAW is a "straight file save from sensor to card" no processing in between. Therefore, expect the camera to actually consume less power when shooting RAW with no overheating issues!

Dude, 4K projection does not equal 4K. They're not projecting 4K DCPs exclusively or even as a majority. It's not the size of the screen it's the size of the screen relative to viewing distance that determines optimal spatial resolution. You're argument is invalid without taking into account viewer distance from the set. A 50" set is on the threshold of making 1080P worthwhile at a viewing distance of 10' (but not decidedly better than 720P in this case)...you know, like on the wall, with a coffeetable in front of you, sitting on a couch. 10' is a luxury for some (certainly in Los Angeles or Tokyo) but at 10' a set would have to be way over 100" for 4K to be beneficial. And this doesn't take into account we don't even have good 1080 transmission yet, because it's compressed all to hell. edit: here's an interesting aside, since this guy mentions 4K projection. 4K Sony projection makes, if you're not careful, Alexa and F65 footage look like absolute garbage. I was totally convinced that Killer Joe was shot on some ENG camera after seeing it in 4K projection not too long ago. I was so immediately distracted by how video it looked and I came to the conclusion, before just watching the film, that times were tough for William Friedkin and he just made the movie as best he could (good movie, looked horrible in the theater). I got home only to find out it was an Alexa shoot. Wow. Similarly, and I still don't know where the producers spent $17M on the latest Evil Dead movie, but that thing was shot on the F65 and it looked like digital video, ironically projected by a 4K Sony projector. Just terrible. I bet it will look better on BD though. Same for Killer Joe. My point is, we haven't got the current stuff figured out and playing nice together or maintaining quality at all points. We don't have anything close to unadulterated quality in the home at current standards or even in the theater at current standards.

Not meaning to come off as patronizing Sorry if you got that impression. Music videos and demo pieces are awesome. I love them as much as the next guy. I just work in a different medium inside the business. If I tried to produce a TV show 40 seconds at a time I'd blow my brains out. There's just no way. I'm simply stating for all the hype about this cutting into Black Magic's thunder, if you look at it from a realistic and practical use standpoint, while this technology is cool, there's no way it can hold a candle to other RAW cameras on the market. We can argue about image quality all day. If I can't get on set and use it continuously and comfortably, it's not worth the hassle.

What you do not know is that this has been in the works for months. ML already has working compiles of the software that allows them to write to exFAT formatted cards. Many users have already implemented it. Breaking the 4GB limit is fairly easy. The hard part was RAW. Now, it turns out that RAW may, in fact, be better for the camera than H.264 because incredibly, Digic uses less power to write RAW than it does to write H.264 - and it's all done without overheating the camera! This is a testament to the fact that these cameras were meant to be "RAW war machines" and it implies that h.264 was basically the product of Canon's market segmentation strategy - Low-end users, ProSumer users and High-end users - different price points for different users. All-in-all, this is bound to change everything. Expect, by this time next year that RAW will be the film standard in the industry. And get this, I'm going to go even further and predict that this will also greatly impact the TV manufacturing industry. With 4K becoming standard, you can bet that TV manufacturers and broadcasters will follow suit in order to accomodate the new, better content- expect 4K TVs to start popping up everywhere . . . Let's wait and see.

I remember reading in a thread on DVXuser some time back about a guy using a 72mm threaded 0.7x adapter (by Century Optics) in front of his Isco-36 and getting great results. I couldn't find it again, but will keep looking.

It is not specially the anamorphic. If I use the Fotga on the Helios-44M by itself, it produces the same errors. So the problem with the anamorphic setup is that the taking lens is too long (focal length), I guess. Canon 50mm 1.8 and Jupiter-9 are bad too but my friend used the Fotga happily on his Nikon 18-55 kitlens. So it is not about the elements but the focal lengths.   Wide angle adapter is for wide but not that wide lenses I think.   There are relatively cheap chinese adapters out there. Buy one that you may be able to use on another lens, if the anamorphic gear doesn't like it.   I'll recharge my batteries and I'll make some pics.

ah yeah it'd be interesting to see what kinda rate we can get at 720p. Also, can you use a compact flash to SSD converter, and just trick the door sensor into thinking it's closed by taping something in there? Then you get huge write speeds and capacity with a 480GB SSD.

As a designer, photographer and videographer.... I absolutely love it. Amazing value.

We're not even through the middle of 2013 and the camera scene has been turned upside down twice already this year. 2013 - the year of RAW wars!

Thanks Julian! I'm sold :) This is everything I wanted in a GH2 upgrade minus having the SD card next to the battery. Better get some 128Gb ones :) I already have continuous power solutions for the GH2, so this is gonna be perfect for event shooting. Any idea whether G6:s bought in Hong Kong will have the PAL 29 min time limit?

Nahua, I'm always envious of you when I see your footage. That is some luscious green scenery and beautiful Hawaiian sunset. It's nice to be able to enjoy them both at the same time!

Beautiful! The indoor shots of the Kendo practice had amazing colors and dynamic range is there! But what's going on right at 0:54, I see two garbled bars show up... compression issue? I've never seen a video do this on Vimeo so have some worries with the hack :/  

Tony Wilson is a very special visitor. As you can see he has posted before, and apparently speaks his own dialect. I think what he is saying is, "whatever makes you happy, makes you happy. So believe what you want to believe, because everything is an illusion."

Needless to say, it looks extremely good. :) Yet, the workflow is for huber geeks only and I'm afraid it will stay too geeky for long time, plus reliability will always be a concern. Unless there will be developments that will make an hacked 5d3 practical to work with, I would use it, only on tests, my own training and personal shooting that does not involve any production costs or involvement of other people time. The new Black Magic with the super 35 sensor will always be a more practical solution. And if time has a value to any of you guys, on the long run BM would also be a less expensive solution as well. BTW, I'm pretty sure canon knew this was going to happens, and they will be very happy to sell more of these cameras and not having to bother to honor any warranty. Plus it will hardly put a dent on the other Canon expensive camera sales. Who can afford them, have not time to bother with these hacked thingies.

wtf?

Nope you are making it two times too scary :) . It's about 3.5MB and around 4.4GB per minute. Still yikes of course though.

Thanks Julian. You've helped to settle a long running thread on the DvxUser website about the G6 being able to show focus peaking while recording. Will making focusing while shooting a lot easier.

The MoVi is way too expensive but I found the technology exciting. Rather than be hyped about RAW cameras and the latest Blackmagic camera, I'm more interested using my current camera and using new production gear to pull off more complex, interesting, cinematic shots with small crews, tight budgets and timeframes.     So anything below the MoVi is of great interest to me. Much more so then all this camera talk! I do ideas, not specs ;)

- (Please notice all the moire throughout this edit with the BMC footage) If you like a tiny(relative to full frame) sensor, moire and aliasing, terrible form-factor, limited internal battery, poor touch control and a hard-to-see lcd screen, the choice is clear, go with the BMC. The slight increase in resolution is moot when there's moire all over the place. Also, in lowlight the BMC stands zero chance up against the 5D3.

Which craze about the MoVi? There was anticipation when we didn't know what it was. Laforet announced it. Most people said 'Meh'. I haven't heard anyone about it since.   Funny though. Short after this 'next big thing' from Laforet, there have been a few REALLY big next things! Pocket Cinema Camera, BMPCC 4K, Canon dslr's shooting RAW...

Haha no worries,! Love this topic and the anamorphic eBay topic btw, keep up the good work! I got this one in today. It is definitely more than +1. With my Iscomorphot 8/2x it lets me focus from around half a meter. Oh well, I can do anamorphic close ups now :) Not bad!

RX100

Awesome music and video. Good job! I love the special effects also.

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

Is there some technical reason why the raw images have to be written to the CF card when Canon just released firmware for the 5D3 that gives a clean HDMI output so that a Ninja or Hyperdeck Shuttle can be attached as SSDs are cheaper & larger capacity than 1000x CF cards.