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I just don't get why people who are working in full time studio setups, where alpha hacks wont be considered, are even checking this out and telling us how useless it currently is. This is 99% a forum of indies, low budget guys, people who will jump through hoops for image quality. Hell, people were excited about 2 seconds of raw only last month.... surely that was a pretty strong clue as to the thought process of alot of folk on here? If it is not the way some of you work, that's fine.... But don't tell us how wrong or unprofessional we are to think about using it. Some of us are risk takers, some of us can afford to be, for one reason or another (doing work for friends, experimenting, open minded clients etc etc). I remember dropping a plastic fish tank and some weights onto the first step of our swimming pool and placing my hvx in there to get stock underwater footage... Is that the way studio guys would do it? Of course not.... Was it stupid? In hindsight, probably..... Did it looks great, hell yea... did it make me money? double hell yea.

For the impatient ones wanting Spartacus shot in raw on the 5D Mark III whilst the code is still being developed on a nightly basis, and for those wanting Hitchcock Rope style continuous takes. JUST WAIT

eyes agree der magic lamping fella alex also said der image is tear ring not sure if he means cryin or tearin assunder my guess is der camera is literally pullin itself apart. eye tells ya canon are not goona repair warrant a camra in 2 pieces. dis hack is the devils work. in der name of jesus jim jannard someone stop these evil doing hacker children. i tinks use fellas should wait for der pocket black magic camera in 2018

  UPDATE: Full book now available - The EOSHD 5D Mark III Raw Shooter's Guide   Here's a quick and easy way to get raw recording setup on your 5D Mark III thanks to the recent Magic Lantern developments. [url=http://www.eoshd.com/content/10352/easier-5d-mark-iii-raw-guide-in-4-steps]Read the full article here[/url]

Andrew wrote.. "Colour cast I notice that noise in the shadows and blacks in general have a magenta cast if you have a warmer white balance and the magenta tint slider to the right but if you put the magenta tint slider back towards green, the warmer yellows go way too green for my liking. This could be a light issue rather than a camera one. Energy saving practical lights do give a green cast. The solution in post was to avoid anything higher than 3200k white balance – this was more keeping with the LED practical light I had for fill lighting in the scene any way."           Usually when developing RAW files, the magenta tint at the dark areas is due to RAW Black Point set at a lower than the correct value. Inverselly if the BP is higher than the correct we take green tint. This behavior is because of the WB multiplicators which are almost always bigger for the R and B channels than the Green. So the result is excessive R and B components which combined gives magenta tint plus less contrast and the combination is magenta fog ...   Canon 5DIII's RAW Black Point (photo mode) is at 2047-2048. Same was the BP with the first gen DNGs by ML, those was not cropped and included the side "optically black" area where one can measure the Black Point value with RawDigger (and I did so ..it was 2047). But ML tags the BP (DNG metadata) a bit lower at 2038. I believe this is an error by ML team and the BP should be 2047-2048. There is a possibility that they chose lower BP to have the beneffit of lower noise (negative and positive deviations counteract) and better gradation at the darks ... and correct the resulting inbalance and lowish contrast with a LUT at a later stage (something that looks to me a very difficult task).   At the moment a user can change this tag in DNG exif (with exitool) or develop the raw with Rawtherapee and set there (in RT) the Raw.Black levels at +10.0.   BlackMagick went the other way .. set the BP higher (to clip what is mostly noise) .. thats why there was the problem with greenish tint developing the early DNG samples.

  I've only ever tried porting to After Effects once, but from what I remember, it wasn't too difficult.  I'll give it a quick try today after work.  Check back later, I will hopefully remember to post an update on that front.

For god's sake, why can't people just be positive.   If your free raw on a DSLR is so much of a hassle or too soft don't shoot with it. Spend $15,000 on a C300 instead, but first ask yourself how many 128GB CF cards you can buy for $15,000.   When you are shooting a live event you will be swapping cards every 20 minutes and breaking the flow, not practical. Don't shoot with it.   For when you are working on the performances, the lighting, the set, or shooting in fits and bursts documentary style the small 128GB card is not an issue. By the time you have shot 20 mins of footage, you will probably have spent an hour doing off camera stuff or shot selection or composition and the million other things that happen to get a good shot sequence together. Changing the card every 2 hours doesn't seem like a chore to me. Then after that the raw is whatever you want it to be. ProRes transcode... Done. Nobody should be archiving uncompressed raw, it doesn't make sense not to compress it in some form.   Raw is only big on the CF card, it doesn't have to be as big on your drive. You're shooting raw - that means you choose your codec.   In my view of it, the 5D Mark 3 IS shooting ProRes. It's raw! You capture the data and send it to ProRes land. View it like that and tell me why drive space is still such a big issue.   Best of all, raw gives you the ability to leave picture profiles and other camera settings like ISO alone and SHOOT. Wrong WB on H.264 and you are screwed. Wrong WB on raw - well there's no such thing as wrong WB with raw unless you blindly fuck it up in post and even then you have a much larger ability to fix a dodgy exposure or other problems which would have been baked into H.264.   H.264, be it on the FS100, GH3, GH2, whatever - is not going anywhere near my serious projects from now on. Raw all the way.

I like this ............

  This is more of a game changer than the Laforet Movi!

I said earlier the image was soft. My stupid mistake I didn't have HD on. The picture in the above video is very very nice.

Click here! See attachment.

Century make quite a few very high quailty x0.8 and x0.7 adapters thay all have great glass as Century are made by Schneider in Germany   you need to find one that has a slightly bigger rear end to your anamorphics front end so measure your anamorphic front diameter   Also Olympus x0.8 is very very sharp and cheaper I use the olympus alot too   both have a plus effect in that they SHARPEN UP your image !! 82mm century http://www.ebay.co.u...=item4ac2ff5049     x0.7 - (I have this one) http://www.ebay.co.u...=item2c6e619d66     x0.8 http://www.ebay.co.u...=item257ceca65b   olympus x0.8 - I use this one too http://www.ebay.co.u...=item2ec7a0e28c   I always use these on my Tecnoir 15mm rod rig to hold it all those adapters are big and heavy!

29 minute limit on the NEX 5N actually, at least on the PAL one I have.

I found the problem was due to spaces in the folder name. Replaced spaces with _ and it worked.   I think a 2GB issue has also been mentioned, and fixed in latest raw2dng so make sure you get latest version.

Thanks to Julian for adding the crop overlay! http://www.youtube.com/watch?v=glL_9aO-EWY&feature=youtu.be

  This philosophy is much more interesting to me, than the mundane practicalities of workaday filmmaking, where reliability is a priority and the image just has to be 'good enough'.   Give me melting image processors any day.   JG yeah Red Code is awesome. Very flexible for many people.

I think raw is awesome and that a lot of the negativity towards raw is that feeling of climbing a mountain. As a GH3 owner, I'll be likely hobbying it out with The Pocket Cinema Camera, and I'll probably roll out a few 'money shots' first on some of my projects. The use of the GH3 for now means I can hit my fast turnaround on music videos, which is usually literally days. Image quality matters and I think this development from ML will hopefully bring these features and more into cameras like DSLRs properly very soon. Canon behave strangely! They could totally dominate the market and choose not to. Oh well. Maybe Panasonic will finally release an FS700 competitor with a lovely RAW codec. (what on earth are they doing?) We shall see!

Jumping through the hoops to achieve great shots is what you do regardless of budget. Danny Boyle's crew ran around slums of Mumbai with cams tethered to macbooks running Windows XPs wrapped in actual ice packs that had to be constantly changed because they were...melting. Whiners would say that's a retarded and unprofessional workflow. Winners are too busy gunning for their next Oscar. :D

  I fully appreciate your point. Raw isn't practical for some people. It is a tired argument though, oft repeated and it only considers one kind of shooter.   Here's an analogy - consider in Tokyo that there's a guy playing some weird instrument for arts sake, the instrument is a pain to transport, a pain to set up, even trickier to play but the results are amazingly artistic. He is not considering anything else but the sound.   Anyway I think the 'difficulties' of raw and most of the impracticalities stem from people who are unable to get a decent workflow going, or can't bear to spend hours transcoding to ProRes, or can't bear to hack their camera, like Philip Bloom for instance. He's overstated how impractical it is time and again. Just because it doesn't fit one person's way of working doesn't mean that it won't fit someone else's. Just make it work. It's worth it.

I'm still stunned that it's taken so long for people to understand the benefits of raw for video. Especially people who were calling for 4K, before raw. But you are probably right, I think that raw will be standard on the >$3K prosumer models that come out in the years to come. I pretty sure this whole 5d raw hack was green-lighted by Canon. Japanese companies love is survey data, and I'm sure it's been telling them that Black Magic was about to eat their lunch.

Raw is already a standard.   And I'm not against compressed formats per see, they are convenient. The problem is not so much the codec, it is the sheer amount of image quality that is bulldozed in the implementation of it. That sensor outputs all the goodness, by the time it sees H.264 there's not much left.   My advice is for manufacturers to get serious about how they process that raw data and compress in camera. Panasonic could use their lovely AVC Ultra on a professional GH camera for instance, and do a full pixel readout of the sensor, store as much of the colour info and dynamic range and resolution as possible in a compressed format. The compression is the least of the problem, why do they have to throw so much out? There's no reason why 10bit 422 ProRes cannot be in a DSLR. It is in the Pocket Cinema Camera.

There was NEVER a good time to buy one. The image is appalling.

    That's right.  The last time I posted a topic here, I was working on a plugin that handle highlight rolloff better.  Unfortunately, that plugin was incompatible with many common tools such as RGB Curves and Magic Bullet's Colorista II (just to name a few).  This meant that it was less useful than I had originally hoped, so I abandoned it.   In order to overcome the limitations of my past efforts, I decided to create my own tool for adjusting exposure and contrast, Clean Contrast.  This tool uses the same technology as the last plugin, so highlights don't suffer from hue shifts.   But with Clean Contrast, I went a step further.  I was unsatisfied with the results I was getting when I added generous amount of contrast with the current tools.  I determined how these tools worked and I figured out why they were giving me bad results.  Adding contrast is a pretty simple task theoretically, but the colour-spaces that we work in don't favour an easy calculation.  And I believe that the folks at Adobe & Magic Bullet haven't realized the issues with their algorithms.   I hope people will find Clean Contrast to be useful and that they will consider using it for small and large adjustments alike.

This is awesome. Great look and editing. Goes to show you can shoot within the current limitations and produce an awesome piece!

It is confusing, even looking through the ML thread. Near as I can guess it was the earliest versions, perhaps, that were successfully writing using the YUV422 and raw wasn't working but at some point perhaps they switched to writing true raw. Somewhere in that 30+page thread there might be the "eureka!" moment. I didn't find it. Confirmed though, what they're grabbing from, at least, is 14bit RGGB. Stu didn't like the early mix of terminology either and wasn't going to stand for it so he got a direct response: prolost (http://prolost.blogspot.com/2005/05/log-is-new-lin.html) Also something to keep in mind, that's been distorted some through some overzealous comparisons. This is 14bit linear color. The BMCC records 12bit logarithmic color. It takes 14 linear bits to equal 12 logarithmic bits so they're essentially recording the same precision from a math standpoint (with theories over logarithmic sample steps being a better representation of some aspects of photography while linear steps offer advantages in others).

lol

Sure, if you already have a 5D III, but under that philosophy you shouldn't be shooting raw or 4k at this time. 12 minutes beats 49 seconds any day.

having downloaded some of the 5D raw files that have been posted this past 2 days from various people I think the images look good very detailed , fine grain structure , good low light and blacks BUT dropped frames and some wierd artifacts at random points plus this 49 sec record limit for me means it still has alot of testing and tweeking to do before we can use it for commercial jobs at all. There is also a lot of 'confirmation bias' going on here as people are willing it to be the next best thing since sliced bread..... be patient and use your eyes ....and not looking at vimeo or youtube as its compressed to hell on those channels - download the files to see properly.

stuff can be repaired it can still be used the main issue is the theory goes top wack..top price perfect condition. crap condition or not perfect less money simples. many sellers price for perfection regardless of  shit condition. on auctions sometimes the high bidder does not help. at some stage in the future someone is gonna have to break the lens down and repair. that price should be minus factored by a least 300-500 euros.

this is a superb optic... in the owners video he is wearing a gas mask do not be scared the owner is not a pervert just an anamorphic lover. maybe lover is the wrong word in this context any way the lens  is small compact and great quality.   http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=300905958653

Roger Avery (Tarantino's writing partner and basis for scripts up to and including Pulp Fiction) did his rough edit for Rules of Attraction in iMovie on his jellybean iMac, if memory serves.

that video is great..great way of showing off corner to corner sharpness real world. simply superb sharp optic you got.. worth more than bell howell i think.   these would of come from the 8z optic batch elmo would of tested and rejected some. from a factory situation emoscope like this should be mighty fine.   the clamp needed is out of stock i did one which had 62mm thread with a retention ring gonna be a few weeks before i get around to doing more.   i have a new design one now but it is 52mm so a little more distance but still ok. nice job on the video : )

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

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.

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. 

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.

I shoot with D5200. when using manual lens, i tried de-clicking the lens... (turning it back from the perfect fit position) so that the electrical contact is broken, while the lens still fits the body nicely... I could easily change the aperture ring and the effect was clear in the live view :-)

ok, here's a quick and dirty focus test of the B&H Angenieux RF 10mm f1.8 using a Metabones C-M43 adapter. The first shot is as you'd expect to use the adapter, with the lens on fairly tight. Not going to win any awards with this one... Next, I unscrewed the lens a bit. Getting better... Next, I stopped down to f5.6 with the lens still loose. Now we're getting somewhere... Last, f8 still loose Best of all I think. Even with a bit of vignetting at the corners, I like this lens. I prefer 2.35 anyway... As I say, quick and dirty test. I'll try to get something more photogenic during the week. Right, I'm off to make some shims...

My Metabones C-M43 adapter arrived today but I've only had 20 minutes to try it out. What I did discover with my Angenieux 10mm is that if I tighten the lens into place I can't achieve good focus. However, if I unscrew the lens on the adapter, about 1/6th of a turn, it pops into focus nicely. Basically I will have to add a shim between the lens and the C adapter. Not too difficult. Try it on yours, It may work. Be careful not to loosen it too much, as I said, I only undid mine about 30 degrees - very carefuly! Also, to get the best out of the 10mm you'll need to stop down to it's 'sweet spot' which will be around f5.6 I'll upload pix when I get a chance. (Which means when I've figured out how...)