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  I enjoyed Phil when he was genuinely putting out useful regular posts. Super 35mm adapters, DSLRs, all workarounds he endorsed. Built his name on DSLRs in fact, wouldn't have a well known blog without them. Now all I see is extreme self love and a formidable self obsession. Pics of Bloom on a plane. Pics of his cats. Instagram self portraits. Fooling about at NAB, Looping Vine videos. Posing here, posing there, posing doing this, posing doing that. It's enough to make you go insane. HAD ENOUGH   The cult of personality has overtaken the filmmaker for me. Hate all the moral posturing too. Philip uses the moral high ground and his sense of humour as defence mechanisms against those he doesn't agree with. His ego HATES any form of criticism however constructive. Sad really, as in doing so one is left with just Bloomies and groupies around you. Say you don't like so many ads on his blog and you are met with standard response THIS BLOG COSTS SO MUCH TO RUN, and he tries to claim the high ground. I know how much blogs cost to run. Very little. In the past I did EOSHD one-handed on a shoestring for years. So make no mistake, the blog is to promote Philip Bloom. It is not only a selfless act of sharing he makes it out to be.   Met Phil quite a few times, each time has been odd. Charming and coldly indifferent at the same time. At Photokina, he belittled me and basically humiliated me in front of two strangers in the name of humour knowing it was inappropriate in the circumstances - very barbed passive aggressive exchanges disguised as humour, really uncomfortable to be subjected to. On other occasions he was fine. I think he has issues.

"C Series and other cameras are what people should be focusing on"   I'm shocked, SHOCKED, that a man sponsored by Canon who's main focus in the last 6 months has been to convince the public that the C series is where it's at would speak against the mother of all hacks that completely undercuts the value of the C series of cameras. 

Does it leave a sour taste because I am being sour, or does it leave a sour taste because I criticised someone you like?   I suspect the latter.   Really, it is time for a more open and honest debate on the merits of our DSLR community leaders I think.

I don't really care what anyone says or thinks. I've been obsessed with the footage from this camera since i first saw it Sunday night. I don't have a mkiii but I do have a c 300 and this footage has a pow factor the 300 does not . I've seen footage here and other places that is stunning. I'm getting one soon. The only thing I'm worried about is canon somehow stopping ML..

I am blown away by the quality. Moving raw photos. Full frame at that. It hasn't been done before. Now here it is for free.   Canon charge you $12,000 for a moving JPEG photo.   Bloom gets excited about that.   Moving raw photo for free? OUUUHH noo thats rubbish. Not shooting with that!   Logic has died a death there.   The mighty dollar and mighty ego rule supreme.

I must admit I didn't really know about this site before all this RAW news, but I have to say it's been a delight to read. I love Andrew's style of writing and the general atmosphere on the site, a perfect balance of technical knowledge and artistic skill.   Good work Andrew!

  Same experience conversing with Phil myself. A lot of nasty tantrums over email and threatening behaviour. He needs to handle criticism far better than he is doing.   Really the issue is not that he doesn't need raw, or finds it impractical, or wants to constantly point that out.   The issue is that he is in a position to help us and help Magic Lantern, and all he can do is moan and post pictures of himself.

  Yes but I am in privileged position of being able to fund my own projects and I DP essentially for myself and my own art, not on a spec shoot for someone else. This was a conscious decision I made about 3 years ago to go down the route of an artist rather than a commercial shooter. Hence the term indie filmmaker. If it was not for my anamorphic guide and GH2 guide I wouldn't have been able to fund my filmmaking. So very thankful to all who follow EOSHD.   I understand the needs of fellow commercial filmmakers a lot of my fiends in Berlin and London, and in the US are working in the industry. I am more an industry outsider in the way I work. If you have a problem with that I suggest you go and follow a different filmmaker.   I'm not the only one to be offended by Philip's attitude. Luke who is close to Magic Lantern devs is and I think the whole team expected more enthusiasm from 'the guru' https://www.facebook.com/NeumannFilms/posts/476670929070347

The biggest claim to relevance most of these cameras bloggers have is early access to gear. Magic Lantern doing their thing openly where anyone can download/install (or even compile alternate builds) and have a play with it really overturns that hype hierarchy and puts the celebrity camera bloggers on the defensive, playing catchup.   I don't want to sound like I'm attacking them personally, but seriously, put any of their "short films" (which are typically nothing more than camera tests anyway) up against real filmmakers and it's pitiful. I mean the whole thing is just so transparently about marketing, the people who are still hanging on their words are a lost cause anyway, unless they're new to all this and haven't figured it out yet.   It is rather amusing to see them backpedal and try to justify the positions they're taking in order to downplay a free firmware upgrade giving 14-bit RAW on a full-frame sensor. I mean just read that sentence a few times and really think about it. Laughable.

I agree. These guys have not been supportive of RAW or other creative technological breakthroughs unless they are on $20,000+ cameras that only they can afford. They're either: A. Are getting paid to tote the C series cameras B. Don't like the competition Or C. Don't want to put in the extra work to required for RAW workflows (and therefore don't want anyone else to either) All reasons are bullcrap. I know Ive stopped listening to those guys a while ago. This is just icing on the cake...

  EF mount even without electronics would make more sense to me as well.   I don't think they are doing it though.   It will certainly be in my feedback, if the Smart EF adapter is going to be a long wait. Don't think it is fair to ask people to buy a different Speed Booster for every lens they have whilst they wait for the delayed flexible Canon mount version.

  It absolutely is the principle of the BBL.  The DI implementation is a means to achieve an approximation of a look that used to be done totally in-camera.  And while I don't know that they invented it, the pre-DI body of work from both Ridley and Tony Scott is filled with the the orange and blue palette that is practically synonymous with the BBL.    The basis of the DI BBL is warm light on talent, cold light in the background, which affects shadow color.           ...besides the whole complementary aspect, even going back to the Old Masters paintings, the eye moves from dark to light and, given a color scheme mixing cooler and warmer colors, from cool to warm.   The latest DI trend just gives it a hue-shift and does it in perhaps a more self-conscious way.

Guys, I don't think we have to focus on PB too much. He can say whatever he wants but he can't change the reality. Thinking people don't rely on opinion of 1 or 2 guys. It's getting a little bit offtopic imho.

Raw compression is most likely impossible in-camera as it requires very powerful processors like the Epic and a fan for cooling, neither of which the 5D Mark III has.   Even Motion JPEG still requires more processing than raw does!

6D is reaching 40MB/s. Double 600D, but still half of what common 1000x CF cards achieve on the 5D Mark III (80MB/s+) so not good enough for 1080p raw.   Alex thinks it is card controller limit not card on 600D. So it may be stuck at the lower resolutions. Let's wait and see.

  I have been saying this for 5 days now.

Canon won't sue their own customers. They will just refuse any liability for Magic Lantern cameras and probably won't honour warranties.   In my view the hardware isn't stressed, isn't overheating, batteries won't burnt into flames. Canon should know this - their engineers will - although maybe some of the advisors and reps will think otherwise. Software directly blow up silicon. Heat does that. Heat is a by product of software that stresses the hardware. Raw is not processor intensive. Compression is! Why do you think Blackmagic Pocket Cinema Camera can do raw with no fan in a tiny case for $999 and the Epic with compressed Red Code raw has to have a very powerful ASIC, big fans and massive heat sink?   The weight of public opinion will be heavily against Canon on PR if they do try to shut the hack down, but really the best they can do towards that end is to scare the devs with legal talk or encrypt the firmware on future DSLRs. There's a precedence here. When Canon tried to shut down Canon Rumors over legalities (trademark), public opinion was against it and they backtracked, quite wisely.   Canon should understand Magic Lantern before making a decision and make the decision for the good of their customers not for political reasons.   It makes perfect business sense to support the excellent third party software running on their cameras. Where would a Mac be without Adobe software?   Should Apple try to sue Adobe because they don't want Premiere running on a Mac? No. Crazy. So why should Canon consider doing so with Magic Lantern. It isn't a liability, it's an asset!!   A potentially huge money spinning one at that.

Okay so the hack means you can now record RAW on a DSLR You can also do this on a BMC The difference is the 5D RAW looks beautiful and to my eyes the BMC looks more drab. However neither camera is better than say an Alexa.   Basicly you have two different emulsions as Shane Hurlbut might put it. The BMC does also somehow look fuller and not as sharpened. For me the 5D image looks filmic and beautiful out of the box I haven't had any decent RAW BMC footage to play around with in colour correction but I wonder if the BMC image can be colour corrected to be similar to the 5D   The magic lantern hack is competition for BMC that was the first to do RAW at a realistic price.   As far as I can see this new option is giving us more choice if we want to work exclusively in RAW   Now there is zero reason WHY a proper RAW video camera should not be forthcoming from all manufacturers. BMC had a years lead but couldn't deliver and have allowed others to steal what should have been theirs for the taking.

I try to look at things from multiple perspectives. I shoot for myself and also for clients so I have to look at things in a different light. The practicality of the 5D raw is important to look at. However, not in the total misunderstanding way some professionals are (heating). I think recording time and the CF cards price:footage ratio is something we have to look at. There is practical things to be considered. I can't for the life of me understand why one wouldn't find this breakthrough exciting. It's simply amazing what the ML team has done and it should be treated as such. Where I differ from Andrew is (unless they fix the recording times) I wouldn't have the 5D raw as my A cam. Well even if they fix the recording time I may still use it as a B cam. Reason being not all jobs require raw and I rather not have to shoot h.264. It can be my A cam for certain things that require stealth and doesn't require controlled subjects. Thinking nature type stuff.  So I would go for the BMCC 4k + 5D3 raw. BMCC will handle my main stuff, but I can always go to the 5D for those full frame needing shots or establishing/scenery shots. I can get wider on the 5D and I think I can use that creatively. I'm also a fan of 16mm since I came from shooting on the Bolex and Arri-S. I will still have the pocket camera in my arsenal. Sometimes I need a greater dof etc. So for me I think the 5D raw fits into my system. I agree that the practical aspects need to be considered, but it's very early in the development and this is a free upgrade on a old camera. I never the type to go with one camera so people may not like this post of mine. I find using each cameras' strengths works best for me. I'm not married to any one of them. The dismissiveness of some of the bloggers is frankly annoying.

Somebody has to explain to me WHY anyone would care what Laforet thinks. WHY? He was at the right place at the right time five years ago and made a couple of low light tests, which he called "films" (hello a "film" has to have a story, a plot), Canon rewarded him by letting himd direct one of the C300 promotion films and.... and that's it. All he's done since then is to heavily promote the most expensive equipment and vendors in this industry, who, btw, sponsor his site. And like someone else said, why would anyone be surprised by the fact that he said "we should be focusing on the C series..." You're asking Canon's public relations guy to tell you what the best choice is ... come on! I'm a Canon user myself, but I need to find the best tool for the buck and all Canon has done since they accidentally started the DSLR revolution is to try to push everyone upmarket by rationing technology.

I didn't say I don't respect him.  But, he is a salesman - plain and simple.   Honestly, it's a touch disrespectful that you would assume I was being disrespectful.     My hypothesis - Vincent Laforet and Philip Bloom are salesmen.  Prove me wrong?   This is Vincent Laforet's IMDB page. http://www.imdb.com/name/nm3667064/?ref_=fn_al_nm_1   &   This is Philip Bloom's imdb page http://www.imdb.com/name/nm2423275/?ref_=fn_al_nm_1   As I said, I genuinely like Philip Bloom as a personality.     But (mostly) everything they're listed as doing coincides with the release of a new camera or gadget.   They aren't filmmakers, they're bloggers and salesman.   Stanley Kubrick would have jumped all over a full-frame RAW digital camera that could shoot 12,800 ISO with his 0.96 lens for $3k.   These guys are here, as pawns, for a BOOMING industry of camera technology.  *my opinion.  (and again, Philip is cool)   A hacked camera that is 1 year old (especially one that they both took a blogger's dump on) isn't profiting them in any way.

You are right again, and your examples two posts above prove it.   Could you accept the view that in the wake of the Matrix success a lot of films exaggerated the BBL? It's not all about highest color contrasts, colors (not just two) do influence the mood, the emotional impact. And it's not a very original look anymore.    My fellow projectionist test-viewed Avatar. He studies film and happened to learn color correction then. He said we obviously projected the film in the wrong color space or whatever, because the faces had a green cast.   Cameron almost made a parody of the BBL in Avatar. The schema is only prominent when the stubborn military is associated. But even there, he broke the Maschwitz-rule (I call it that because I first heard of it in the Prolost-blog), that 'porange' (Maschwitz again) needs to be protected. Quaritch in the image above looks down to the Pandora forest, and the green forest reflects subtly on his face, giving the impression he was filmed with a GH2, before someone could apply Andrews WB-shift (The EOSHD-GH2-guide, page 79).   Of course, green and blue are not too rare in Avatar :mellow: .   And elsewhere humans are'nt protected either. Lights, computer screens and natural light are allowed to eat in their skin tones, obviously intentionally:   For my own taste, there should be another rule: If there is a color in the image, it has to be justified. There must be a source that may plausibly have emitted this color. I don't know how you feel about it, but I am getting used to realize the BBL as something very artificial and lumpen. Some make the look so extreme, it doesn't help the least, it's only distracting (Swordfish, CSI Miami).   The BBL is like the slice of tomato you have to put onto your beefsteak before you shut the hamburger, the better to counterbalance the dry saltyness. The necessity is confirmed scientifically by ecotrophologists. Add remoulade, and a Big Mac tastes the same all over the world. Films resemble each other visually more and more, they turn McMovies. I admit, the colors are merely a symptom, hardly the cause.

Agree with Leica50mm. Let's focus on the amazing 5DIII raw video story, rather than the celebrity bloggers.

Why on earth are they being so obtuse about this? First NEX over m4/3, now Leica over EF in m4/3. It's like they don't want to make money. Meanwhile the whole video landscape is changing so quickly that what looked like an amazing and somewhat indispensable new piece of kit is going to be an also-ran while everyone shifts over to FF and APS-C again (assuming the RAW hack gets fleshed out on non-mk3 bodies). I mean I understand we have a skewed vision of what the market wants, but seriously? They thought Leica was a better fit for this over EF, even dumb-EF? Must be a stills thing.

Naysayers and narcissistic brand pushers can poo-poo all they want on ML's raw developments. They can hide their jealousy through honest and thoughtful posts on why the general public doesn't need what pros need. They can pretend like they are excited only just a little about the raw developments. However, their relationship with Canon is too important and they will continue to push the 8-bit cinema line as "the way to go." People are clearly seeing this and these industry heads (who gained all their popularity due to the HDSLR-revolution) are losing credibility they'll never win back. My bet is pretty soon you'll see positive posts from some of these industry heads to go into damage-control mode to try and regain the credibility they already lost. I'm so glad we have honest people like Andrew and Neumann Films who are genuinely excited for the sheer image-qualtiy now possible, FOR FREE, that was previously hidden from our 5D's by Canon.  

Put together a reel of material from the C100 - Ninja 2 combo.   https://vimeo.com/66351764  

I like the image so much that I have decided to adjust my strategy for the cameras I shoot with.   Out goes the Sony FS100. That was my main low light tool but now the 5D Mark III with raw is that.   Blackmagic EF mount version will also be sold. I have the Pocket Cinema Camera and 4K AND MFT versions pre-ordered!! I don't need all of them and can use my EF glass on the 5D. I am heavily invested in Micro Four Thirds glass so will likely keep the MFT Blackmagic for a while. 4K and global shutter will be interesting on the Production Camera.   I need to clear out some of my other DSLRs. Nikon V2 don't need, got it for raw bursts! Amazing sensor technology, nice as a stills camera too (very good AF, very light, very compact, lots of other cool stuff) but now the Sony RX1 is by far my most compelling stills cam and it wasn't cheap.   Nikon D5200 can go too. Nice bargain but it's no longer competitive with the image on the 5D Mark III.   Canon don't deserve this, what a crazy situation.

Who cares what Vincent Laforet thinks? What matters is what you think. May I ask, why do so many websites put Vincent Laforet on a pedestal? Why? Just curious, I'm not meaning for that to sound negative.

"Vincent: " – and can the body TRULY survive doing this over time (heat/damage?)""   1. I bet it runs a trace cooler if anything. 2. Even if it did eventually do something (and I don't see how it would anymore than using Liveview a lot would) look at the price of it!

Best use of a Blackmagic cage to date!

Bloom has a wicked sense of humor and blunt delivery whether talking about RED's or BMCC's faults and I respect that. He wouldn't appreciate RAW because he is a broadcast guy who shoots long docs that have to be edited and delivered fast. I do have one beef with the man, - Philip, if you're reading this, - stop picking on "RAW" spellers because spelling this format as "raw" simply doesn't communicate the epicness of being able to manipulate your footage to death. :lol:

I had the same issue. I entered my computer admin password into the macboot.command window and then it successfully prepared the card. Now on to the next step..

So I remembered I had a 2 channel mixer at my house. It has XLR in and I am using the CD/TAPE out (red and white cables) to 3.5mm with adapter on for 2.55mm in my GH2. It works fine and I can hear myself through the headphones on my mixer, and it records fine, but there is this loud hiss going on or some feedback when the mic is on. On my other camera I would just turn down the volume and it would take care of the hiss, but this seems way more loud than usual. Any suggestions?