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Anyone who's done a bit of photography knows the power of raw but it's way to much trouble for anything  more than experimental work. Someone earlier asked for advice on a camera for events, well, nothing comes close to a gh3, you can have the mother of all hacks that gives you 4k,8k, doesn't matter, it's a hack that has severe limitations and in the end you can't risk go to a job with unstable gear. First I was excited but then I thought, if you have the money you can have c300, fs700 with future 4k upgrade and already amazing ISO that obliterates 5d mark3, sure 5d  is nice but serious event videographers are switching to the real deal, real cameras designed for this. Now about the gh3 vs tons of DSLR's that offer better iso, sure 5d gives way better iso, even Nikons do now but then you look at other things, silent autofocus, touch screen autofocus, wayyy lighter and easier for long steadycam shots, sharper image, articulated screen, tons of settings for making it easier and faster. Then you think about the ISO, when do I ever use iso 6400 or even more, in events ( by events I mean weddings ) almost never, you light it or carry a lamp is need it but with a fast prime you can go anywhere, so you probably max at  3200 and very very rarerly, and you have neat video to clean up the footage. In my opinion if it is for events go for cheap gh3's or expensive c100,c300,fs100,fs700, market changed in what it can offer, if years ago DSLR's where the only thing to give amazing iso and easy SDOF now we have a hell of a lot of choices.

[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]

  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.

This test was prepared jointly in cooperation with Rudi at Slashcam - here's his take on it (in German / in English) In the battle of the 1080p cameras, the game has changed. Here's how the 5D Mark III in raw recording mode compares to the best 1080p output from the Canon C300 and 1D C. [url=http://www.eoshd.com/content/10475/canon-1d-c-vs-5d-mark-iii-raw-and-c300-gh2-resolution-comparison]Read the full article here[/url]

1. Convert to DNG with raw2dng 2. Open all DNGs with Photoshop CS6, this opens up ACR 3. Press Select All and Synchronize (upper left on screen) 4. Grade, do noise reduction, etc. 5. Press Save All and save to JPG at 100% (grading is done, so 8-bit is OK). 6. In Premiere CS6, import first JPG, then press checkbox for Image Squence. 7. Modify clip- Interpret Footage as 23.976.   This is pretty fast once you do it a few times (much faster than an AE workflow), and plays back in real-time in Premiere. To get a 10-bit 422 workflow, Cinema 5D recommended saving first to 16-bit TIF, then converting to ProRes (Mac. On PC can do DNxHD, etc.).   A 4GB RAW file produces around 270MB in 100% quality JPGs (47 seconds).

Well the 60D will do 3sec (71frames) raw bursts when in Movie Mode@1080p - the files are 1730x1152. You can get 115frames in 720p, but its not ideal for anamorphic shooting. All 3sec bursts shot with Iscomorphot s8/x2 & the trusty Helios 44-2. The opening TL was with the Kowa B&H (yes shot through dirty windows!).   Pretty amazing really, but i think the BMPCC will be much better (well user friendly), if it does get raw files.   https://vimeo.com/66664702  

  That's the thing, though... it's NOT free. Not everyone owns the 5D. Most I would say actually don't. And if it's a choice between buying a $3,000 camera that shoots a few seconds of unstable raw and buying a $2,995 or $3,995 camera that shoots stable raw at a higher resolution, I'd say that Blackmagic still wins when presented to undecided customers.   If anything, I'm still tempted to buy the Blackmagic Pocket over this. 1080p raw for $999. Take the two grand you've saved over the 5D and go out and buy some nice m43 glass to go with it.   I agree this is a nice treat for folks who already have a 5D, but I still don't believe the raw abilities of this camera as it currently stands warrants a $3,000 purchase.   But again, if Magic Lantern can actually make this stable and eliminate those image-tearing motion and vertical line issues (that I notice Andrew keeps conveniently ignoring) AND gives us TRUE continuous recording that last for several minutes before dropping frames (which by the way should absolutely make it a total dealbreaker) then I'd be happy to drop the money and buy it.      It's getting there, but it's not quite revolutionary yet. 

They enabled the bad pixel filtering, that processes and reduces any dead pixels on the sensor.  So this helps the image and has removed the vertical lines from earlier builds.  The Fixed Pattern Noise however is the sensor noise and that has yet to be worked on.

So, anyone thinking about the Sigma 18-35mm  F/1.8? 27-52mm F/1.2 !! The lens looks big and heavy, and probably expensive, which defeats the purpose of my acquisition of the GH3 for general lightweight-ness on rigs and travel... but man, would be a sick set, low light n' general use. 

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!

  Everything else under $10K is going to. The 5D3 HDMI or RAW won't be as clean and high-res as we see but at least it can be wrenched into place to crosscut with it, especially when using Canon glass of the same marque (i.e. L's or non-L's). The RAW leaves lots of latitude to align with. The Panasonic color science is dismal, I mean, gross greenish yuck, you won't want that. I mean, look how lovely that C300 frame is, that's pro gear and the rest are hobby toys, including the clunky BMCC.   Consider avoiding 2000+ quid of disappointing "bargains" a 2000+ quid discount on something that's actually going to work.

It's irrelevant. GH2 resolution is not improved by any hack. Unlike Magic Lantern which is reverse engineered new firmware providing a lot of new functionality the GH2 hack just alters internal registers that control how the image is compressed & recorded.

I got to disagree here, sorry. Particularly on the comparison of the 1DC to the MKIII. We have both and use them extensively.   The 5DMKIII's sensor was measured by DXOMark at 11.7 stops total. The 1DC gets around 12.5 in Canon Log at ISO400. It's not possible that the new 5DMKIII RAW has more dynamic range than the sensor is capable of seeing. I suggest you get a dynamic range chart before posting that sort of claim. :S   In reality, the difference in clarity is actually far greater than your crops show. As we punch in to 1.3x we are actually fighting a losing battle against the resolving ability of the glass. if anything, it should get relatively softer since the glass has been optimised to resolve detail at full frame. Apply sharpening to the LOG, as you have to, and those tests show how poor upressing is as a solution.    Sorry guys, not a 1DC fan boy upset about 5DMKIII RAW nipping at the 1DC's heels - I love the fact we now have a viable B cam for the 1DC on 1080P deliveries, but i've seen both first hand and you just cannot compare the 4K to the 1080P - it's not a fair comparison. The 5DMKIII RAW is great - but we're still rolling with the 1DC in Log simply for the ease of the post process in a high volume environment.   It's nice to want to believe that the 5DMKIII is almost a 4K beater. . .but it just aint the truth. . .yet! :) Still hoping the Magic Lantern guys bust it open even further and despite Canon's pithy threats, turn their attentions to the 1DC to see what they can do with some real horsepower. Fingers crossed.

  The BMCC sCMOS have a dynamic range quoted at >16,000:1, 14bit is 16,384. So it is not 16 bit unless there is 2bit of noise.   http://www.scmos.com/files/high/scmos_white_paper_8mb.pdf

Thread cleaned. I agree no more off topic stuff about Bloom. It's wrong to criticise religion.

  I think that all stems from instagram filters being really popular. Just my theory.

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Those vertical lines I've seen in three videos now with infinity focus skies.   It's not a screen artifact, it's currently some kind of bug in the RAW footage.

So, until i purchased a C100, i'd never known the love i would find in focus peaking. But raw is raw. I'll be snagging a 5D3 shortly. To my understanding, you can't playback any of the raw video normally just yet in cam? Can you use something like a Ninja 2 to do a pro res backup reference for playback of what you have...? Or will it not let you do it? It's got peaking, and a lot of other stuff too. I dunno. It references the 4:2:0 clean out crap, not the 14 bit raw stuff.. This is where i see it defeating the purpose.

ETC does have banding agreed, but hey what DSLR has anything like that, its limitations are there but its totally unique anyway? I think that Nikon and Canon need to provide evf based shooting at some stage for a proper hybrid experience for joe public, until then Panasonic are currently in a league of their own. The G6 is perfectly pitched to really give Nikon and Canon a bloody nose this time? if people just realise what the evf brings I would not understand why anyone would pick say a D3200/5200/D700 etc over the G6.