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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.  

I for one will be waiting in the wings with my trusty GH2 until the dust settles. This RAW camera turmoil isn't over by a long shot. I personally doubt it will seriously hurt Blackmagic in its current form. The truth is, the Blackmagic cameras and Canon cameras are completely different animals in more ways than just the codec. Add on top of that the fact that the Blackmagic cameras are purpose-built for RAW right out of the box, and it really is hard to say they'll take a hit from this. If faster CF cards come out and MagicLantern can really get this nailed down and reliable, then maybe. But even then, it is a modification-type solution, not a purpose-built RAW camera. There's something very appealing about recording straight to SSD. There's something very, very appealing about global shutter. And on top of that, full frame photographic is not an industry standard and will not play very nice with most cinema glass . . . whereas the Blackmagic 4K cam certainly will. I'm not saying that what MagicLantern has done is not significant, it is. But when something is this amazing for free, a better solution will probably show up as a product soon after. In my book, Blackmagic are slowly moving into prime position to deliver a true knockout hit. Sony could certainly do the same tech-wise, but they price too high. What MagicLantern has proved is that Canon could tech-wise as well, though they either weren't smart enough to implement this or were unwilling to do so for some reason. So I'm going to sit tight and see how it plays out. Sooner or later a real pro-quality and full-featured cinema RAW camera will be available from one of these companies. Until then, I'm going with the GH2. It was and still is very inexpensive, yet perfectly capable in the right hands, as many of these cameras are. But I've become increasingly aware of other features besides RAW that are almost more beneficial, like built-in ND, XLR or similar pro audio inputs, Zebra, Peaking, and alternative aspect ratios (for anamorphic). Such things seem basic because they've been around for a while, but their benefit is not lessened by that.

LOL . . . The EOS 50D - an ancient camera back to life . . .

        I wholeheartedly disagree.   You are not a professional, you are an amateur, and perhaps you consider yourself a skilled amateur?   Then the best way to prove it is to film and edit a wedding. Don't raise the expectations of your clients too much, but assure them they will be happy with the video.    Know, that filming a wedding confronts you with considerable challenges. You spend maaany hours with the family and friends, you can't be tooo much in the way, you can under no circumstances lose or botch important moments, you have to film them in clean images, beautifully, without shaking or trembling (but also very often without tripod), you have to get usable sound (in the beginning you will probably not wire the pair, but be aware you have to capture their voices really well!), you have to control the light for perfect exposure, in an environment where very often your only way to influence light is how you position yourself (and keep in mind, don't be in the way tooo much!). There may be no noise, there may be no clipping, but there may very well be creepy darkness. Or, almost worse, a parc in the harsh sunlight, with beautiful green treetops that cast green shadows on the faces of the lot, alternated by veeery bright stripes. You get blinded, hands sticky ...   Perhaps you have a talent to master all these problems or never experience the worst. You produce excellent images.   But having technically good images, perhaps even with glamour to them, is not enough. A good videographer is very rarely also a good narrator, let alone editor, and vice versa. Finding images is fundamentally different to arranging them. So if you are not a very good camera operator, but a good editor or the other way around, you have to find a way to become good enough.   You have to know where the moment you witness and record fits. You have to realize the moment. Often you have to make it fit. People react to you. They act to you. They know their expression and their remarks will be seen by their hosts, they absolutely have to come up smiling. You have to be charming. You have to direct them. You are not 'an eye', you are not a participant with a camera, you are the Ghost of the weddings past.   You really learn a lot about how people like to be, to be seen or to become. You are their magic mirror. An invaluable insight if you ever wish to do something dramatic.   This is so much more than an industrial image film. Who never made weddings doesn't know.   Next step is editing all that. The first time you will curse the day you said 'I do it', and you rue to have followed Zach and me and not Moongoat and /p/.   The second time you will try to follow a concept.   The third time you will talk with the pair in advance, find funny stories, write down a draft. You will get your clients to accept that you keep it short, you will have enough experience to face difficult situations calmly. You will edit in one day, in a relaxed mood, seeing that your preparation fruited.   The fourth time you will say, allright, I like you, that's why I charge only $1000.      And if you have improved your skills the first three times, you can actually enjoy it.

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.

  OK let's see what you've got.   You are welcome to post footage in this thread.   I have also made a group at Vimeo which has the rather catchy URL of https://www.vimeo.com/groups/raw   Thank you Vimeo!   You can add any of your Vimeo clips to that group as long as it is shot with the Magic Lantern raw module on a Canon DSLR. If embedded video in this thread please use your original Vimeo URL not the Group one.

  aaAAgGHH!   ...   well look I have something for people like you   l l l l l l l l V  

Story matters most. Sorry.

One thing to keep in mind is that the Digic 5 is probably going to be Canon's main processor for many years as the Digic 4 was. And so its performance spec is probably well overbuilt for the current generation of cameras. We know now that the 5D3 was capable of a lot more than spec. I think we're only scratching the surface in fact...if it does 120fps 6K MJPEG I will be impressed but I won't think laws of physics will have been broken nor will I think the thing is going to melt down. One thing we might discover is that some Digic 5 units (photogs call them "copies" for some reason, but that sounds like a knockoff to me) are higher spec than others just as we do with overclocked CPUs. But ML won't be overclocking the chip, just asking it to do more than normal. I think Canon is artificially scheduling the rollout of capability across a core technology cycle...and ML can skip us ahead a few years on Canon's roadmap. It isn't entirely Canon's fault...fast enough CF cards as we see aren't readily available yet and Canon wants to ensure everyone has a good experience. Computer performance is an empirical thing. ML won't know what the system can do until it asks it to, and then as we see a lot of optimization can be done to do even more. The 1DC shows we can do 4K (8MP) MJPEG at 24fps with a couple Digic 5's. I have doubts that both Digic 5's are needed in fact...they might have chucked two in there just to make people think it was a more powerful body, and the heatsink in the 1DC is most likely just window dressing (there is no active cooling system or other improvement in heat dissipation out of the body, so what does it do exactly?). We know Canon indulges in kabuki theatre...it's established now. We can't defer to everything they do as being technically necessary. Let's see what ML can do with the 5D3. I think there are bigger surprises ahead.

Hi Andrew,    I have been reading your blog for a while and have always liked your posts but have probably become a regular only now that the whole RAW thing came up, that alone exceeded even my wildest dreams! First of all I'd like to say is: Thank you! Ever since I can remember I am running around with (video - the name alone somehow sucks) cameras pursuing my life long dream of capturing cinematic images (and I did not have the pleasure of a formal education in the field with the chance of ever shooting on real film) it has been a long way full of disappointments, getting the 5D2 was a great leap ahead, not only because of the camera itself but because of how much more information became accessible to regular folks like me. And this why I'd like to say thank you! Thanks for sharing and for thinking of the community! Thanks for the passion and for making all this magic accessible to the people! That said, I'll probably have to stop visiting your blog; seeing all your toys (especially all those anamorphics!) just makes me way too gear porn addicted, then you top it up by putting my favorite song of all times (of the probably most complete album ever created) onto your latest video, too much for me to handle really! No but for real, thanks a lot!   Greetings from Kenya,   Raul  

  The problem with MJPEG is the CPU power to debayer and convert raw to JPEG inside the camera. That takes a hell of a lot of processing power. The easiest thing for the camera to do is raw! Not H.264. Not MJPEG. Not ProRes. Not anything. Just raw.   Saying the camera could do 2k 60fps in MJPEG makes no sense at all. The CPU would not do it. Also the sensor mode only goes to 60fps with a vertical resolution of around 670.   With the newest builds we are seeing a 16MB/s improvement in buffer write performance to the card and that makes 1440x540 possible at 60fps. Pretty nice. If you want to add a massive overhead to this lovely raw performance, the quickest way to do that is to convert o MJPEG in camera... It ain't gonna happen!

If you're going to shoot weddings on Canons, check out Stillmotion tutorials on Vimeo. The 5D has a very flattering image with a shallow depth of field that makes the footage look very fashionable if matched with fast primes. Get a 24, 35 and 50mm. It's also a rugged camera and looks "Pro". Make sure to get a LCD loupe for better focusing. If moire patterns of the Canon concerns you then a GH2 with SLRMagic or Voigtlander primes could be an option. When hacked the GH2 provides continuous recording (not sure if the 5DII can too with Magic Lantern). Another camera to look for is the upcoming Panasonic G6 that has the same video quality as the GH2, but with better a LCD, 1080 50/60p and focus peaking. Both cameras have a swivel LCD and an EVF, an advantage compared to the 5D. Get 12, 17.5 and 25mm primes. Manfrotto 561BHDV and Merlin are battle tested in wedding situations. Good choices :)

If you can't see the difference, then great for you!

I'd say there's nothing in that F35 shot that the 5D Mark III can't match in raw.

You're really fortunate... what an incredible backyard! The surfing footage was unique, especially the whale shot at the end.

Yet more big news, a large manufacturers decides that since hacking is good for business and boosts sales, and is also inevitable if a camera is popular, they may as well open source the firmware!   :)   Exciting times...       http://photorumors.com/2013/05/18/the-code-of-the-samsung-nx200-and-nx300-mirrorless-cameras-is-now-available-as-open-source/   (feel free to edit my title to NX2000, I mistyped it)

Funny you should say that, but after i upgraded the graphics card for Premiere, I could run Crysis maxed out. YEAH! BRO GRAPHICS! :ph34r:

thanks for the comment. i´m soooo sorry not to have the same opinion than you........

Then be gone, troll.

Hi, I was wondering if it is possible to simultaneously record a sequence of images on both cards in the Mark III? I think this could be a solution to reach larger image resolutions. You could spend 12 images to SD and 12 images to the CF from every second of shots. Thanks

The fact that the mkiii is in the same conversation as the F35 is pretty scary. The F35 is not even raw, lol. And the doesn't handle low light well. And it is huge and unwieldy compared to the mkiiii. And it's old and obsolete. And it probably costs 10k to have it repaired. Give me the mkiii with raw ALL day long if the image is comparable in any way.

I agree, good to know the info. Thanks Miguel.   It is good to bear this in mind with any bayer sensor. Red is interpolating to get 4K resolution, whilst the Sony F65 over-samples from 8K to do true 4K and true 4:4:4 colour.   With the anamorphic mistake - totally put my hands up to this one. In my haste to get on with shooting, I assumed I was getting 2.39:1.   It is actually 2:1 and the horizontal resolution should be 2560 not 3000. This is quite handy actually as it perfectly matches the native resolution of my Dell display.   Here are the other anamorphic resolutions for 4:3 and 3:2...   2x anamorphic from 4:3 (1770x1280) = 3540 x 1280 (2.66:1) 2x anamorphic from 3:2 (1920x1280) = 3840 x 1280 (3:1)   1.5x anamorphic from 4:3 (1770x1280) = 2580 x 1280 (2:1) 1.5x anamorphic from 3:2 (1920x1280) = 2880 x 1280 (2.35:1)   Do those aspect ratios look right? I'm not too sure.   I'll re-upload the video and it should look perfect.

No offense dude but that looks awful imo! If you want to have a big laptop i would rather go with something like this: http://powernotebooks.com/Sager-NP9370-gaming-laptops-notebooks-sys-5373.html

" I'm CG-artist, and make CG for movie. I need RAW. I'm used to work with RAW, and float-point in CG.   I don't care about the Market you say in "Unless it is the Market YOU yes YOU are involved in". I want, I need RAW for my hobby: music clips, based on footages. If you don't need RAW - don't use it. What are you doing here?  

Read the comments. This probably isn't as big as it looks like. They use some open source code, depending on the licence, it means they have to make it available again under the same licence.   Probably it's only the open source part of the code (or the modified part of it) that Samsung released. They can still keep the camera closed by not releasing their own code that isn't based on open source.   I hope I'm wrong though :)

NIKONNNNN CAN YOU FEEL MY PAIN?

  But see, that's the thing and the thing that before a week or two ago Andrew was one of the biggest proponents of.  Done well, hacked GH2 footage cuts well and plays well in pro shoot-outs when you have RED and other un-compressed cameras shooting the same subjects.  It doesn't beat those cameras but in blind "taste tests" it fairs better on average than any other DSLR on the market, including the 5D before the raw hack.     Regardless of the "EOS" in the name of this site, that fact has been the prevailing mantra of this site and others for pretty much as long as the GH2 has existed (thanks to the GH1).  One could make a very compelling case for that fact perhaps buying, directly or indirectly, the 5D that Andrew is now enjoying so much more than he has in the past.   That didn't suddenly change, or get suddenly negated with this ML business.  It means the 5D moved up from its previously less-than-stellar showing, less-than-GH2 showing, to compete directly with the higher end cameras available on their own terms rather than just trying to fair well against them in controlled circumstances.  There's no more reason to hope the illusion isn't shattered by some uncontrolled picture event that reveals the ugly truth.     Why wasn't all, or any, of the "revolutionary" ML-empowered 5D test footage churned out the last couple weeks anywhere close to what James Miller did in "Genesis"?   Just one shot as immediately communicative that something new is going on inside that box in their hand?  Until the ML-generation is producing on an upward climb towards that level you're going to continue to see GH2 footage that fairs well against ML-5D online.

Or actually wait. Native res on the 5D3 is 5760 x 3840.   Slay the Dragon.  :o

This is the thread for raw2dng for Mac.  But it can't process files larger than 2GB.   http://www.magiclantern.fm/forum/index.php?topic=5508.0

I had a film at the International Wildlife Film Festival last year, and I talked to many nature doc DPs about their techniques and some of the cameras that they were using. I was surprised by their answers. The Panasonic Varicam came up a few times, as did Red Epic, the Weisscam and even the AF100.   As a sidenote, I am actually contemplating doing another nature film, perhaps with the BMPCC coupled with the Panny 100-300mm. With the crop factor, that seems like that could be an insane combination for nature doc work.

I wasn't sure.. so I looked for it and.. bang!   http://philipbloom.net/2010/04/01/canonraw/     this is PB's april's fool in 2010, saying there was a Canon firmware upgrade giving RAW :D   the funniest part is when he writes: "Canon have done exactly what we wanted. RAW baby, RAW! "

  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.

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 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.

I was trying to stay done with this thread and this topic but...I just had to say...I love you man. I haven't heard or seen anyone use that phrase in years. I missed it. edit: PS, you wanna get really annoyed? I saw in a thread on a GH2 facebook group that PB is ebaying a bunch of old gear at the moment and the stuff is going above MSRP, because he touched it I guess.