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I'm not a Chinese, but made these adapters if someone need them yet :-) http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=141105605267

I'm just floored that Canon have made one of the most accessible cinema cameras out there -- and they weren't even trying.

That eos-m raw thing really interests me!

I got pretty good at it, it really is what you have to deal with on a modest budget. I would just focus one towards infinity or close focus and then the other. You get used to how the defocus works where it will kind of get sharper but before it does the bokeh will stretch out the other way and then you know to focus the other to get it sharp.   Unfortunately finding amazing deals on anamorphics is not happening anymore unless you are travelling around small shops in the UK, Germany, Russia I just dont think you are going to run into a great cheap find on the internet now a days.   Look into the Bolex Moller lenses, The kowa 16H, 8z or BandH, and maybe even get up to the iscomophot single focus anamorphic lenses. Besides that the iscorama lenses are all over priced. The only other thing I can suggest is the anamophic filters or the DSO Dog Schidt Optics Lenses. You can fit oval apertures and really get a nice fake out of them. No vignetting or anything because its back at the aperture level.   I dont want to keep polluting threads with samples of this but you can msg me for some or look for some of my posts using these.

  Sorry but i gotta disagree. I owned and used a B&H kowa for over a year and got about as good as you can really get with a dual focus system, but the fact is it takes additional time and adds additional margin for error, not acceptable on set. Great adapter for personal stuff, beautiful images, but not practical for any sort shoot where you have crew involved. Look at the above shots, most of them have messed up focus. Look at all the kowa stuff online, half of it is out of focus. If you have plenty of time and are filming your mates/kids/trees etc it's no worries. But a couple of soft shots can really screw you up on a film shoot.   In any case, take your time deciding which adapter to get. There is a ton of info on this site and in Andrews guide which is impartial.   Good luck!

10 bit signal processing is in a $999 consumer camera already! Blackmagic Pocket!

Would I shoot a commercial project with Magic Lantern Raw on the 5D. Yes, I would, but I would have multiple 1000x CF cards that I know worked. Lens Rentals and other places are offer Magic Lantern 5D rental packages so it's safe to use. Audio might be a problem but...who really uses DLSR internally recorded audio anyway? I feel that the Magic Lantern features make the 5D Mark 3 an incredibly versatile camera. Crop Mode shooting is just icing on the cake. I can take a 70-200mm f/2.8 and make it a 400mm f/2.8 and lose nothing IQ wise. The detail is wonderful. This was shot with crop mode on a 24-70mm f/2.8. I can't see myself shooting h264 anymore except for wedding shoots or other event type of shooting. I do like what Blackmagic is doing. I went back and fourth between the 5D and the BMCC and finally settled on the 5D and I'm very satisfied with it.

There are in my experience, maybe 2 or 3 devs that come to mind on the team that seem to represent themselves in a professional manner and give you a sense of comfort when it comes to what they say and produce. Alex and Gheggo come to mind immediately. There are also a handful of devs that know how to program, but don't instill much in the way of confidence. When I had a 6D, the thread for its development would often go freaking binary, and it just started to look like a young smart kid in rockstar mode playing around and talking in code to people who obviously had no idea what he was talking about. I decided to quit before I bricked a $2000 camera. Other than that, the "mature" crowd of ML are basically responsible for delivering the best hybrid camera on the market right now with the Mark 3. A 22mp still camera that shoots 14bit raw full hd. It sucks, because Canon threatened the free world with legal action to protect a $12,000 8-bit camera... the possibilities of the 1DX would've been awesome had ML decided to begin development on it with all of that processing power to work with.

As much as I love ML, and I've been working with it intensively for 3 months now, it is NOT a professional hack and I have no sense that it ever will be.  Each devs work independently to implement cool features that HE wants to work on; they work together only by chance.  There are conflicts and rivalries beneath the surface.  There is no ML leader, I can see, who sets priorities or goals.  However, yes, if you're happy with a build and it shoots fine there is no reason it won't work forever.     It appeals to me because video is a hobby and I love photography.  I get the sense from other posters that followers are either old farts like me (relatively speaking) or young aspiring film-makers who can't afford professional equipment.  This isn't to say people aren't using it professionally; they are.  But you want to be realistic.  If you're shooting something important enough where you have actors showing up, grips, lighting, an audio person, etc., you're going consider renting equipment, or going with something like the BM cameras that are designed for this purpose.   As great as the video is from the 5D3, it remains a STILLS camera designed for stills.     In short, the 5D3 on ML "CAN" do professional video, but you may not want to.   The real benefit I think you'd see from getting a 5D3 and doing RAW on it is the learning experience.  I've learned more about photography in the past 3 months wrestling with RAW than I could ever imagine.  In order to do it well, you have to learn about RAW non-bayered images, and all that goes into making them usable.  So if you feel you're still learning, and have the money, this is the camera you want.  (I don't have a 5D3 by the way, I bought a used 50D and EOS-M.  You don't have to spend a lot of money to work with ML RAW!)

Andy, I thought you were in the business of creating fantasies, not destroying them  :(

Seems legit.

Isn't it time to remove stills from our HDSLRs?!  :P   Stills have plagued our video cameras now for years!   The sacrifices videographers have made for the small niche of photographers is enormous.   The mirror box in our video cameras is completely redundant and the viewfinder doesn't work.   The flash is completely useless as a video light.   Instead of a conveniently placed video record button, we have to put up with a spongy shutter button. Why!?   The LCD is photo-shaped and not 16:9 like the video standard.   And don't tell me to use a proper video camera, I can't afford $20,000!   An undesirable flash sync port replaced our headphone socket :(   All the manual focussing aids are for stills  :wacko:   The tripod thread lacks a pin to keep the camera from shifting on the quick release plate.   Bloody photographers!

Hi my anamorphic friends ! Here are some new stuff taken with my favorite light and sharp anamorphic combo. Tell me what you think ! Thanks for watching !   https://vimeo.com/78594325     This movie has been shoot a week-end mid october in Bordeaux, and first week-end of november in the countryside.  I'm glad to have now I think the perfect anamorphic set combination for my baby Hypergonar anamorphic lens. I bought few weeks ago a used Qioptiq C-mount lens, usually used in industry. This lens is very sharp, even at it's fastest aperture (f1.6) and this wide aperture is still usable with the anamorphic on it ! Some of the shot of the movie had been taken at f1.6.   The Filick'r album : flickr.com/photos/43243778@N04/sets/72157636631334626/   It was not possible to screw directly the anamorphic lens on the Qioptiq prime lens because the front barrel is turning when you focusing. So I ordered a special machined flat step up ring to attach the two lens. I've unscrewed the ring on the Qioptiq that is maintening the glass, and replace with the special machined flat ring. Then I screwed on it the original small Berthiot clamp that can align the anamorphic lens. Then I put the baby Berthiot hypergonar in it. The combination suits perfectly ! The weight of this anamorphic combo is quite light. The Hypergonar weight is 57 grams, the clamp maybe 20 grams, the Qioptiq is 210 gram, then the two filters (diopter + variable ND) and step up rings maybe 150 grams. So the total is around only 400 grams ! And finally using the OM-D with it's 5 axis stabilization system with an anamorphic combo is very useful ! Olympus om-d e-m5 / 1080p 30 Art4 "light tone" mode no color correction qioptiq linosMevis-C c-mount 35mm f1.6 baby hypergonar 1.75x anamorphic lens tokina close-up 0.5 variable ND filter Cokin Pure Harmony Xume magnetic filter attachments music / soundtrack vangelis / blade runner   Here is the first part of this pocket anamorphic set : vimeo.com/77265744 And here is a movie taken with this lens alone : vimeo.com/75065010    

A few thoughts: At the end of last year I purchased a 5D3 (refurb, end of the year sale...screaming deal). My reasons were that I wanted a full frame camera for both video and stills, and ideally one which was at the cusp of gaining some quality improvements due to Canon's announced 1.2.1 firmware update with "uncompressed HDMI out." When the firmware arrived, and after reading up some enlightening posts, I was almost ready to sell the camera. When Blackmagic announced their new BMCC 4K and the Pocket cameras I was planning on putting the 5D on eBay asap. Then a small miracle happened, word spread quickly that ML was on the cusp of something big. I stuck it out, read anxiously as those early reports indicated that capturing RAW data was a real possibility, and eventually took a leap of faith and installed ML on the 5D3 and put in my order for a couple of Komputerbay 64gb 1000X cards. I haven't looked back since, the improvement in quality has been stunning to say the least. I have completely rethought my purchase and I now think it's one of the best decisions I have made. This has been strengthened by the delays in the BMPCC shipping, and some of the issues plaguing their Pocket camera. Further, I have been able to record at 1920X1288 resolution without any issues, this is a good format for anamorphic shooting, or subtle re-framing in post. Having said that, there are a few caveats which might or might not be deal breakers for some: 1. As of yet, no audio. This might or might not come back at some point. 2. Playback is a bitch. Currently in-camera playback is limited to a low frame rate b/w image, not something you want to show to your client for on-set approval. 3. External monitoring is kinda buggy, it definitely has issues but it's useable for basic needs. 4. Post production is a bit more involved, and the footage does take up a lot more space than h.264. 5. While I wouldn't call the learning curve steep, there is a lot to wrap your noggin around at first. 6. There are some issues with some CF cards, particularly Komputerbay. Order 3-4 and be prepared to send a couple back. If that doesn't scare you, and you own a 5D3 (or even a 5D2), then you should jump in because the quality upgrade is definitely worth it. BTW, I made a short video that shows the differences between footage captured with the 5D3 Raw, the Alexa and the BMCC as how the intercut together in post, you can watch it here if you want: