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Looks like this is gonna be the new "But can it run Crysis?" of the film scene. :D

Posted this on Bloom's blogpost. Part of me thinks he realised he dropped the ball on this one and wants the whole thing to go away. Like Andrew said with great power comes great responsibility. AMROTH 19 HOURS AGO Your comment is awaiting moderation. Totally agree with Sam Tansey here. PB as much as I respect your work and like many of your articles, I think this one comes off as more of a convoluted ramble or rant, with too many obvious things like “focus on story and shooting more†. That’s fine though I know your website isn’t just for helping others but also for ranting too. Your response to Sam was a much nicer balanced view of everything, but your article and initial tweets were clearly negative and skeptical towards the ML hack, no matter how much you elaborate afterwards. I honestly think you responded awkwardly to the ML update because you feel left out. This amazing development is simply not relevant to you anymore. Several years ago you probably would have jumped up and down with joy. My only camera is a Nex-5n and I wouldn’t even consider shelling out my savings for a 5DMiii until I saw the videos of this new hack. In your blog post you talk about how much you love using your 1DC which is a $12k camera. Most of us can’t afford a $12 camera with all the toys around it. I appreciate that you try hard to relate to the newbies and the hobbyists as well as the pros and semi-pros, but maybe you should stop trying. You’re in the working pro league for a while now, with lots of experience and gear under your shoulders (due to hard work of course) and travelling the world giving seminars. Instead of constantly elaborating and glossing over everything, I think you just should man up and confess that you reacted to the ML raw hack that way because the whole DLSR community were crazy overjoyed and you simply didn’t feel like part of the party anymore. Not trying to provoke you with this post, just my honest opinion. Amro

Well, you cannot shoot raw on any vista vision sized sensor in the world besides the 5Diii. It is unique . No other camera can do it. I don't care if it's "pro" or not . It's a special tool. It will look differently than any other camera, People will find a way to make it work to get that "look". I wouldn't shoot everything on it, but for certain things it's killer. If you have shot something that looks better than what this guy shot on a 5dii I will eat my hat : https://vimeo.com/8646177. This was a high profile national spot that got prime time play in the us. Watch that an imagine it shot with the raw hack . This is why it's a big deal. Thanks, Tim

Hello everyone,   I started testing my 16F on my red one mx.   The 4k anamorphic mode is quite handy, gives the correct aspect ratio with the 2x squeeze of the 16f. And it directly feeds desqueezed footage out of the camera no need for a monitor that has this function.   Tested on the 50mm and 85mm. Need to see if it is possible to go lower. It should be because there is a 3k and 2k anamode that crops into the sensor so I feel like even if 28mm shows vignetting at 4k, it might not at 3 or 2.   Here is the first vid shot with the 4k ana mode:       https://vimeo.com/66549568     This one was shot with the 4k widescreen mode, giving a wider aspect ratio. And a close to 9k image when desqueezing horizontally...     https://vimeo.com/66459473    

[media]http://vimeo.com/66574661[/media] Download the 3K Vimeo file and playback on a 2.5K or 4K display for best results Download a pack of DNG frames from the original raw files to judge quality The spec sheet is impressive. 4:4:4 colour sampling from 14bit linear raw and 1280 lines of resolution with an anamorphic compliant 4:3 aspect ratio. This compares to the image quality of the Sony F35 (Superman Returns, Tim Burton's Alice In Wonderland) which cost $250,000 just 5 years ago. [url=http://www.eoshd.com/content/10450/3k-cinemascope-anamorphic-raw-on-the-5d-mark-iii]Read the full article here[/url]

Its funny that everyone screams "workflow" problems from the get-go.  Not too long ago we were capturing everything in real-time from tape... remember??  My film-school experience was that we shot on 16mm - had to get it processed overnight (while praying that your exposure readings were actually OK so you wouldn't have messed up footage) and then we edited on pre-final cut pro systems... meaning Steinbeck machines with white gloves and scotch tape and razor blades... And I'm not even old!!   In 2006 we were so impressed when we began producing tv with a big production company that had a TERABYTE!! of storage.   In my estimation - the color on this footage is BEAUTIFUL! - A drastic, marked difference that any non-pro can easily see.  Honestly, this stuff makes me want to buy a 5D3.  An option I would absolutely not have considered two weeks ago.  

4K on a laptop? This thread took a turn for the worst.

I can only endorse the outrage (and enthusiasm at the same time) of the majority on this blog. Some of us are "painters", you know? Some of us do not need efficient codecs, nor do some of us need all those features, a "real" camera offers. Some of us, like myself, are painters, and this ML update finally gives me the color palette I need to create lovely paintings. A picture is worth a thousand words and now I have the right tool to not only create beautyful pictures, but also bring them into the dimension of time. Without spoken words, you know? And without having to spend a pile of money on bulky machines, that need countless accessories to actually work. I´m a supporter of the intuitive approach and this is the way I get my work done and earn my money with. Intuition and observation skills. A Scarlet (for example) doesn´t serve my approach. A DSLR does very well and a raw shooting DSLR does even better!   I´m very impressed by the (graded) raw footage of the 5D. These are moving paintings! But it seems to me, no one ever talks about that aspect of "film" making. "Efficiency! Storage! XLR! That´s what we have to care about!"   Aren´t some of you upset, because affordable and uncomplicated raw shooting tools could have been in our hands for years now, but they weren´t, because some money-hungry bastards wanted (and still want) to sell us extremely overpriced toys with "efficient 8-bit codecs"?

The arguing does get tiresome, it's just another great option. Now anyone who wants to shoot can find a way to make it look good for cheap, excellent if they handle the hassle of bleeding-edge raw tech.   The last person who wanted consultation on equipment purchase, my advice to them after considering all factors (including turnaround time, staff training and expertise, portability and ease of use etc.) was to get a C100, which they took glady. The RAW hack for 5D iii could not be further from right for them.   For others, it's great. I'll try it at some point, but I don't own the camera, so not now. At the moment I'm planning out the next short, and I'll probably do it on a 600D, it's good enough. Or maybe on an Epic as some friends are buying one and it's great to use (if a bit big), but it's not a dealbreaker. I can use both, they both have pros and cons.   More options is only a good thing I think. This means in future I can shoot stuff on Epic, then get RAW footage with a lightweight rig off a 5Diii. I don't what can make people so angry about an amazing, completely free  feature. Ego wars are no fun at all, if I respected the people who made the most money or were the most pro, I'd respect bankers, or the people who made the hundreds of pap Hollywood films that get churned out each year. In fact, I'm not interested in either.   Creative freedom plus astonishing quality is, however a dream. I have to pinch myself to think that three years ago I had no way to shoot with a large sensor. It was too expensive. Now they're everywhere. Now I can get RAW as added bonus for free (I am a donater BTW)? You gotta be kidding me. I just can't bring myself to complain about that. I refuse to be that spoiled!!!

Hello Everybody, i'm new here as new to anamorphic shooting and almost shooting in general, I made this vid during holidays with my son and girlfriend in a friends house in ardeche in france, just to have a trace of it. http://player.vimeo.com/video/66394467   Don't go to hard on me, i know these are "trees and shit" :), but that is all i got to shoot. I would like some advices as i'm really liking to shoot stuff, i made some motion design before and my job is to create websites, but i would like to try to make some music vids (with an idea of course not just shooting random stuff). So go on with questions and comments i'm ready arms spread wide open !      As for the technical part, it was shot on a GH3 with "eclatant" profile so i suppose it's vivid in english, way too sharp... Looks weird and camcoder like to me, stupidly i just forgot to go back on my personalised "flat" setting as i gave the camera to my girlfriend to make some photos and she told me they looked "sad and flat :)". I used a canon FD 50 f1.4. The timelapses are made with the well known stock 14.140. The supercinelux is a pain to focus on such small screen like the one on the gh3, and more when it's all streched, so i was thinking to get a external screen or a loupe with a anamorphic function. You'll see some flare porn, i really like the flares from this lens. It's very sharp when focused properly, and as i see it's works really nice from 2 or 3 meters. So i think that's all. Hope to hear lot's of critics :), i'm happy to finally be on this forum. See you soon bye!

Are you saying that you are having trouble or limitations with dynamic range?

It's part of the excitement, all this discovery to get the perfect image. :) You're doing a great job ploughing into it, Andrew. Keep it up!

  You're right, it's wider than 16:9, but it isn't as wide as you think, and it's stretched. Funny how your brain compensates if you've been looking at it for a while, though (which is something I've noticed before).   Here, look:   Top is the original aspect ratio.   Bottom has the video frame (including black bars) compressed to 3:2.   Blue circle added for easy comparison to the hoops in the background. Speaks for itself. ;) You can't argue that the hoops are at an angle, because they would be taller vertically and they are not. So, the conclusion is that it's stretched ever so slightly, but enough to be the first thing I noticed when I started watching your vid. Shoot a perfect circle head on if you want to see it yourself. Just trying to help.  

Hey Andrew, I think the aspect ratio is off in your video (the first one). It looks stretched horizontally, but compressing it so that the video frame (excluding black bars) is 16:9 fixes the stretch. As you're shooting in 4:3, you will get 16:9 with an anamorphic lens (which was the original use for the Panasonic anamorphic lens - to make a 4:3 camera record in 16:9). Just thought I'd let you know. :) Stunning footage regardless!   Here's what I mean:   [URL=http://imageshack.us/photo/my-images/12/80767918.png/][/URL]   [URL=http://imageshack.us/photo/my-images/809/65037090.png/][/URL]

It's not only bullshit, it's also how most, if not all, of the (digital workflow) movies you ever watched were edited. Editors work with lower res files, often ugly looking with timecode and sequence/shot info printed on top. Once they have a picture lock, they replace only the used clips with the high res raw versions, and that's what you use for grading. Technology might catch up soon, but in the meantime editing raw files is cumbersome and hurts your editing workflow more than it helps.

No offense but you must be dutch regarding the way you handle this thread. Yep I know how to use Google very well. Last months this was how I worked my way through hours of google learning all the different aspects of filmmaking from scratch - story tellling, lightning, audio etc.   As this is a forum for filmmakers I thought hee let's hear the opinion of other videographers who already used this camera. This is what I think a forum is for isn't it. Sometimes even when the manual says class 10  - there are opnions among videographers stating a higher read/write class was better for several reasons. Not all class 10 cards have the same writing/reading capacities.   So no ofence + thanxs for the answer!

You can edit 4K red footage on a laptop, but a lot of people use laptops where they could be using much more powerful hardware, then they complain raw is a pain to edit. All the time people clamour for image quality and then they get it they claim they don't need it. Maybe raw doesn't need them :)

with the new firmware and clean hdmi out, my assistants are complaining about a lag in the video now which makes pulling focus a little harder, any word if that is really a consequence of the new firmware upgrade, or has it really been there all the ime, ive never noticed it until the last shoot.

  This is the main issue I have as well, I find to be told that story and content are important is downright patronising. To be constantly reminded of the obvious, and that raw files are larger than compressed files is no help to me at all. I love the challenge of gearing up for the future and learning raw is a big part of that. It's why I built a Hackintosh and it's working beautifully. So much fun. So much gain in image quality.   Am I in competition with Philip's blog? If I am then I think there's room for more than two websites in the world. Have you seen how many there are out there?!   Philip's blog is separate to me as Philip the person. If I don't find his advice or blog useful any more then it shouldn't reflect badly on him, I just think we're taking different paths with our approach to filmmaking.

I think we need to get off the whole PB thing. He's reaction was measured, and not really that controversial. His aversion to raw on the 5d3 is the same as it was for the BMCC, so he's been pretty consistent about the raw revolution (unlike some of the people criticizing him). He thinks it's great for the image, but huge a pain in the ass for the workflow, and that's unsurprising given the volume of footage he shoots.

Amro Why did you write that? Seems like a waste of good internet space if you ask me. Everyone has an agenda of some kind. Andrew competes with Blooms site. So what We all have our favourites and vested interests. Where the conflict arises is when somebody is deceptive or when you get gurus who act like gods and trash the truth. There are websites who want you to praise the cameras their sponsors advertise and wont accept a bad word said about them and allow lies and deceptions from their members about them. That is annoying. But Phil Bloom doesn't do that. He does however give some very good reviews for FREE. So you can bypass the ads and get the facts. He is being called out over the 5D Hack but is that actually reality. What he has said so far has been fair. Those using this hack will have many problems that are just not there with the BMC. For the majority of stuff most will as things stand shoot prores. The only time you need raw is when you have no control over lighting. The 5D processes an incredible amount of data Maybe to much work for most. Hacking the 5D PROVES technology has been held back but it is not a game changer or the biggest thing ever. It is simply competition for the BMC Kineraw Digital Bolex all at the lower end of the scale. The footage from the 5D colour wise Looks amazing but after settling down a bit I don't believe it is as cinematic as the BMC. The colours I've seen so far tie in with their lenses Bright and perhaps oversaturated. The best that can be said is it is like having a new film stock. Having one minute films with bright and pretty colours will not neccesarily translate into a watchable feature. It's not about how pretty the image is its about the story The acting The lighting The emotion. Maybe the 5D is oversaturated and maybe the BMC is under so maybe through colour correction there is a middle ground they should both reach.. Lets be fair although the Hack is great for the lower end The pro's will still be using the Canon C500 and not the 5D. But the lower end is certainly looking healthy now.

if this camera could shoot 6k raw I would want that too

Looks like the 'Real Filmmakers' have arrived *sigh*

Here is a more human subject oriented test I shot with a friend yesterday. Really cinematic image. We tried to shoot in a more short film like style/setup.

whatever man. I had respect for this site, but you can go with the haters. BTW, My jobs have always separate sound with a separate sound mixer and boom operator. Simple image from the C system? Do you know anything about the C300? perhaps you should read some material about it before being so firm. Raw whatever. I am a still photographer as well. If I need raw I rent or buy a RED o similar. I'm certainly not going to rely on my flimsy 5DIII for a job that requires me to shoot raw. That is a professional contradiction in terms.    My last post here. Hate at your pleasure. 

On my 5D Mark III whilst recording raw internally to the card, HDMI is flawless. I've been monitoring with it all day, not a hitch. I have no doubt that you will be recording ProRes on an external recorder via HDMI with 1.2.1 once Magic Lantern get to it, and raw internally at the same time. Handy.

  Even in this early pre-Alpha, pre-release development code Alex has experiment playback working already.   It is very basic but will improve massively.   People are saying same things about raw as when 1080p came out... Big file sizes, can't figure out the workflow, don't need the extra resolution. 1080p became the standard. Same will happen with raw. Today's terrabyte is tomorrow's megabyte.

Some of the best footage i've seen yet:

Its funny when they show development of new raw camera or raw hack like everybody is instantly ordering or selling without waiting how this camera or hack will really perform in all aspects. What a hype :) Before it was like only few wanted to be guinea pigs with first generation of gadgets and now you show just first picture without drops from laboratory and crowds are yelling shut up and take my money :)))) Funny times. But I love this RAW hype, we deserve it after long years of fidling with mushy fuzzy pictures and industry crippling cameras. Vive la revolution, vive le ML, vive le camera engineurs!

This break through is history in the making. We are witnessing cinematography history with what Magic Lantern is doing. I can understand the calls for caution BUT....come on now. EVERYONE knew Canon was BS-ing with the 5D3's video capabilities. Straight BS. I'm a Canon shooter and I'm heavily invested in rigging my 7D for video. Mosaic Engineering filter and all the other odds and ends to help me shoot better. I don't have to money to waste on system jumping, lens matching, adaptors, etc. I shoot everything from weddings to music videos. Blackmagic caught my attention but still highly annoyed me for many reasons...shipping delays, menu ergonomics, form factor, battery, ssd, resolve not running on my 2010 Imac...etc, etc. I'm not dealing with micro 4/3s right now so no gh2/gh3. Been trolling canon rumors for updates for the 7Dmk2 and nothing. No way in hell am I paying $6k for a C100. This break through has made my purchasing options clear. Hopefully they will be able to get it to work on the 7D. With the proper lighting, ND filters, sure I can make h264 bit look great and low light wedding shooting with h264 on the 5D3 works great for me aslo...but now combined with some shots in raw. This gives me the shooting agility that I've been looking for.

  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.