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https://www.magiclantern.fm/forum/index.php?topic=23041.msg216899#msg216899 Background: user TheBilalFakhouri has unlocked correctly framed real time preview for EOS M and Danne has ported it to 5D3. Previously, Magic Lantern high res modes had a preview image that had either correct framing but in unusably slow frame rate black and white or real time colour preview with wrong framing. Now, however there is high res, real time preview with correct framing. Kind of fun to try if you already own one of the supported cams 😁

Got my hands on Red Komodo to test for a few days. I'm impressed. A few more images can be seen here: https://imgur.com/a/HAWFShe

Yes did tested it, works great on Canon 5D Mark III. Really happy as 2:1 is my favorite aspect ratio. If one day real time live view in crop mode is fixed it would be truly a great Super35 RAW camera. Was thinking of selling my Canon 5D Mark III but now with latest development, no way it will stays with me. As one of the greatest DSLRs and great Super35 RAW camera too. Same for EOS M -2.5K 2:1 and 2.8K at 2.35:1 ratios are now possible. Again if real time live view in crop mode is fixed it will be a great Super16 RAW camera. Much better resolution than first BMPCC at Super16. And EOS M is already a decent Super35 RAW camera According to Bilal real time live view in crop mode will work also over HDMI. So external monitoring in crop modes will be possible too. Cross my fingers this real time live view in crop mode make it to the builds soon. It will release also additional bandwidth for writing. It means stable and longer recording times in high resolution crop modes. Really impressed with what ML (mostly Bilal and Danne the last 2 years) have achieved with EOS M and Canon 5D Mark III ! No 60fps and certainly not in high res crop mode. Only 45fps at 1080p. There are better cameras now for 60p.

I'm so sorry you feel offended by my previous post.😘 As you admit yourself not having any geek knowledge to determine the exact usage a NVMe drive; I was just trying to clarify the post you where sharing. It was, in no way, an attack to the filmmakers community that knows shit about technical stuff but still keep re-posting absurdities. My only goal is to make this great forum a better place with my real life experience (and love.🥰) I always had a commitment to support the filmmaker community. I can only bow to your message and ask you for ultimate forgiveness.🙏 please, please. I hope my personal hack last Sunday, on this forum, with an easy way to reset the Canon R5 timer is enough to be absolved. Please accept my full apologies if you felt I was having condescending tone or look like I was some kind of geek. Even if my degree was related to computer science, believe me; I have tried to stay away from techies and other complicated process my entire life. A quick fact check on my previous post and personal blog should reassure you. The truce is far less interesting. It's almost sad, even. I'm a very simple camera guy. I have been shooting only few days so far; made a count last year and it was just about 1,000 shooting for the past 15 years. I have put this in my humble website if you like to give a look by following my profile name. I know it's a low and this is obliviously due to my lack of skills as a cameraman too. I really sucks at everything I commit. My client are obscure companies like Disney, IBM, Apple... as you may check. My eyes start to be full of water when writing this down. The "Filmmaker" title's is way beyond my reaches as my old age is now a translation of back pain and loss of eyesight. I might be retiring without even getting the glorious title of "DoP". Ok, you are making me cry now. It was not a good idea to write about this.😢 And you know the worst of all; I don't even own a Canon R5. I had to ask for help here from a fellow member to test and validate my findings. Only this way it have been proven to work. The saddest thing of all;I have invested on two Sony FS7's few years back and may never be able to shoot with a DSLR. I',m stuck using cine lens and other heavy gear forever. That mean that I will not use my hack for myself and will donate the entire result to the the community I was hoping to join once. Thank you for listening. Here is love again ❤️💖❤️for you and the beautiful movies you have been making all over the world that I can see nowhere.

Interesting DR comparison between the S5 and the BMPCC 6K :

@Andrew Reid could you do a side by side video with the r5 and you s1h? I didnt found any comparison videos between these 2. I wonder how much difference of DR there is in real life and how bad the AF is on the S1h in comparison and stabilization. But also how smooth do the files edit? Does the s1h have an edit codec advantage? Thanks!

For EOS M RAW video tutorials - visit Zeek's channel on youtube: https://www.youtube.com/c/ZeekEOSZ/videos It has piratically everything including how to set latest versions, etc.

Why, BRAW is more about 12 bit colour than DR. You can see that in the colour holding up in my opinion better on the Pocket 6K footage, aside from some red clipping. A fullframe sensor is obviously going to be less noisy than a S35 one and this test focused very much on noise in shadow areas. Again comparing H264 to RAW, can be comparing no NR to some NR.. The advantages of RAW are more with changing ISO and WB and working with 12 bit colour. Given the S1 and S1H has better DR than the Pockets, its not hard to expect the S5 to follow in that line.

One recent development that is of particular interest as @stephen mentions above is card spanning to CF and SD cards on the 5D3 to allow for higher write speeds, therefore higher resolutions and/or longer record times. I may have jumped the gun here though, claiming real time correct framing for the 5D3. 😳 But if it brings people's attention to the fact that Magic Lantern is still alive and delivering the goods then that's a good thing I guess!

I couldn't take a proper reading yet on your post... Sunday afternoon, daylight, family journey, you know ; ) Just here to let you know I am sincerely grateful to your contribution to our craft. I don't have a R5 either for my cats and flowers but from your input, I am buying a body unit to couple extra glass, so how couldn't I express my thanks? Accept my gratitude please, oh boy, how couldn't I listen you? Isn't a forum like this one the ideal place to promote a discussion? Hard to find tiptop modders (don't call it hack) of such category to help us to break the rules of the business. Accept my hat tip or you won't help my sleep tonight with your smileys : P I just want to have you here actively posting so mission accomplished < 3 Do not shoot before to ask, that serves for both geeks and filmmakers. On my entries, if you'll do your search, you'll be able to find some of them in several streaming platforms if you had no luck to have a TV network to schedule it nearby you. You know the world is too big (belly button is poor as compass). Film festival circuit is a bit restricted in their selection as much as their filmmaker invitees and so on. Let alone attendees, looks like people spend more time browsing today and other minor activity than much more productive stuff indeed. I concur, fine art nobody wants to see is a common place for morons, who else? LOL : X Let's focus on your highest ranking tips and add-ons (c'mon man, you've saved my Canon glass collection!), much appreciated for those you've teased up with your findings. I'm eager to see more from you instead. No worries, dude, all my (reciprocal) love to share with you. PS: I solemnly declare from now on to do my committed research on your personal blog and alike, next time I will dare to claim your presence to comment another absurd opinion of some other anonymous poster here or from somewhere else! Promise made (E :- )

970 Evo Plus is clearly the way to go, price-wise included: https://techtestreport.com/samsung-970-evo-vs-970-evo-plus-vs-970-pro-which-is-the-best/ BTW seems plain obvious to me, you have zero clue about to whom you addressed those words as well the intention of my post up there... I stand my prior notes to express my thanks to you, because I actually succeeded to see you adding a new post to comment it ;- )

@zerocool22 you can find this post here, IBIS related:

@ZEEK where are you man? Your level of expertise is required over here :- )

There's also another one I find it rather interesting straight there: Technology over technique produces emotionless design ~ Daniel Mall And still speaking of high rankings : D here's more valuable information on topic: https://ssd.userbenchmark.com/ With different results compared the 970 Evo Plus vs Rocket 4: https://ssd.userbenchmark.com/Compare/Samsung-970-Evo-Plus-NVMe-PCIe-M2-1TB-vs-Sabrent-Rocket-4-NVMe-PCIe-M2-1TB/m693540vsm844208 Any thoughts from real (f)actual users? : )

The DR advantages of some of the latest FF cameras like S1/H/S5 and A7SIII to be exact are quite impressive for the prices.

Don't think that latest development from Bilal is part of this release. At least don't see it when testing this release from Danne. Preview was not working before in 3.5K crop and higher crop modes. There was a mess on the screen. In my understanding they fixed this. So now we have life view with correct framing but preview is still not real time and it is even worst when recording. Or when it is real time framing is not correct. Indeed Bilal made a huge break trough with real-time live view in crop mode with correct framing but it is working so far only on EOS M and not 100% ready yet. Another great development is using SD card overclocking. With card spanning and fast SD Card + CF Card we can get total bit rate ot 130Mb/s which is enough for 3584 x 1730 resolution 24 fps at 12 bit lossless. With global draw off can get minutes in this mode. 10 bit is continuous or very close to it. 3584 x 1730 is basically 1.6 crop factor, 2:1 aspect ratio. So Canon 5D Mark III is now truly a 4K Super35 (APS-C) camera at 24 fps. Never thought they will be able to achieve this and go this high in resolution while having sustained recording. The nice thing about 1.6 Super35 crop factor is access to lenses, especially wide angles which were very limited at 2 crop factor and lower.

https://www.mobile01.com/topicdetail.php?f=250&t=6186842&fbclid=IwAR1zH-9Ya8JgxYwCBfaDT7T3XJmh6luM6ZJWeWaKAT8bpvmSP6K_PhRM6nc Chinese review

Beating BMPCC6K BRAW is quite impressive.

Very nice images Juan, well exposed and graded, very clean look even a night. What do you think of the dynamic range? Seems pretty good in your shots.

As another note, once my 5-minutes period to edit my post is over, so... (CONT'D) Something to frankly annoy me is the way techie or geek people easily show a condescending tone to filmmakers when we filmmakers tend to see it in a full cooperative standpoint, even because we are who afford this whole industry to life. There are no different sides over here, we share all the same for good.

As a stop-gap measure, could you use a filter on front of the lens. Companies like Tiffen offer various models. Obviously something on the filter stack would be easier, but in a pinch...

Not at present. 4k 60p is the max. There's been rumors that maybe Atomos may build an adapter/interface/modual for the V that allow this but at present the max you can record is 60p.

Check the high-speed and f-log / picture style to card / HDMI settings.

I don't recall having that happen, tried changing some things but those settings haven't greyed out. Is this a new camera?

My entire process is set up for speed, so it may not yield the quality that you are looking for but my workflow is as follows; some of the steps may help you speed up your workflow.... 1 - Import all of the footage from the memory cards to the PC into a folder called RAW clips (sub folders separate the clips by camera) 2 - During the import separate them by camera using the sub folders (I typically can have up to 4 cameras) 3 - I have a second folder called selected clips 4 - I open the RAW clips folder in one window and the selected clips folder in a second window 5 - I preview each clip in VLC then drag it to the selected clips folder if I will use it. Any clip that looks totally unusable (false start, etc. I drag to a discards folder). 6 - From the selected clips folder I drag it into DR 7 - I build out the timeline do all of the edits etc until the project is done. I dump all of the cameras on a single layer and only add layers for text, multi-cam scenarios, overlays, special effects, etc. I don't bother labeling the cameras, naming the clips etc (unless I am going to add it to my stock footage library). Every min I spend on a project is $$ lost is the way I treat projects. 8 - I move to the Color tab and when I encounter the first camera I apply a grade that brings it to the Rec709 standard based on the WFM. Once the grade is complete (LUTS, manual adjustments etc) I save it to Color memory slot 1 > Color > Memories > Save Memory A (or just press Alt 1). Each time I encounter that camera I press Ctrl 1 to apply that camera's grade. For the rest of the cameras I repeat the process. By the 4th camera I have base grades for all of them saved. 9 - After pressing Ctrl + camera number to paste the grade on the next clip from that camera, I make small adjustments in case it is the same camera but a different scene (i.e. indoors vs outdoors etc). 10 - After all of the base grades are done I go back to the edit tab and add an adjustment layer over all of the video clips but under any titles/text/logos etc. 11 - I go back to the Color tab and apply a finishing LUT to the adjustment layer. 12 - Color grade done With my process my entire color grade for a typical 2-5min project with 4 cameras and 100 clips takes less than 10min. I have optimized my workflow to minimize the throwaway clips in my NLE, maximize my editing speed, and with the added benefit that if I start running out of storage space in my archives I know I can go back and delete unused footage from the Discards folder without affecting the finished project. Also for speed, my entire folder structure for photography and video is set up as a templates in a read only folder so I just copy that folder structure each time into a new project folder when I start a project. I hate spending 1 additional unnecessary second on a project if I can help it. I tried DR's Use Remote Grades feature but for me it was confusing and annoying to work with if a single clip had multiple exposure changes (say walking from outdoors to indoors or the sun went behind the clouds) so I like the memories slot approach better. I also tried the apply grade by camera approach using bins but there is no single camera base grade that will cover every scenario so I found it faster to build a base grade for that particular project for each camera by hand or via a LUT with manual adjustments. I have also had multi-day projects where the next day was a completely different venue and there is no way I would want to use the same grade from the previous day even though it was the same camera. My process I'm sure would fall apart for really large projects but for me where the typical project never exceeds 4 cameras or 100 clips it works great.

I think the biggest drawback for larger sensors is they have always been a few years behind the smaller sensors in performance, at least in mirrorless hybrids. My most important spec is 4k60p. Fuji had it in 10 bit HEVC two years ago. The FF Sony & Canon 10bit took two years to catch up & match it. And they are still nowhere near the $1500 the X-T3 was. Panasonic's GH5 4K60p also looks great from two years ago, I still have MP4 samples I downloaded late 2018 that look indistinguishable from FF 4k60p. It used to be in the old film days that a doubled increase in format size gave a doubled increase in resolution. So when I first heard DSLRs were about to go full frame I thought, Great! But, in digital it's not that simple. Video UHD is still 3840 x 2160 no matter the sensor size. The other major drawback is price - this from Wikipedia... "Production costs for a full-frame sensor can exceed twenty times the costs for an APS-C sensor. Only 20 full-frame sensors will fit on an 8-inch (200 mm) silicon wafer, and yield is comparatively low because the sensor's large area makes it very vulnerable to contaminants—20 evenly distributed defects could theoretically ruin an entire wafer."

You are taking sentence out of the context. Yes, a drive is not removable easily from the enclosure and, no you may not swap drive on the fly. It's like saying SSD are not removable media. Still, they are used everyday as removable media cause the interface is something else that what is inside the enclosure. But this system is an enclosure for NVMe drive that will put the heat away from the card reader , allowing cheaper and very large drive capacity. The heat generated by the card can be way easier dissipated than a CFExpress card. I actually have such enclosure for another project, it's all aluminium with a thermal pad around And, by the way, you should talk to DJI; this is what they use on their Inspire 2 as drive.... But they change the connector type to be more sturdy. If you look at ZITAY product, they already successfully implement such solution for black-magic camera, without a need for extra external power. (CFFast to SSD) The product needs to be tested, but it specifically states R5 and Z6 / Z7 (and other C300 camera) It have a screw thread to secure it to a cage. This will help dissipate heat. And if you go for large version, it's a great option to reduce overall cost. CFExpress card are kinda 512 GB max, with nvme you can go to 4TB for similar price. You unscrew the drive when you have 4TB of data, so, maybe one a day. This product come with a cover to push the door switch and so let the cable going out. So the door will be open during shooting. I have 0 test so far, but it's look great to me on the paper. I let you do some research on their website, and not just pick up sentences from a different discussion in a blog.

Rawlite make them for Blackmagic cameras, so it is possible. But also camera specific, and who knows if they're developing it for any other systems. https://rawlite.com/

Great finding, I was looking for such without success few weeks back. I guess t's about market demand versus offer! I did similar test on my DJI Inspire 2 and I did not lost any data writing raw 5K. I'ts also a money saver as you only buying the drive and not the card. This is one way to solve 2 issues at once. USD 150 if you found them online in China. https://item.taobao.com/item.htm?spm=a230r.1.14.28.29076df3HVdowO&id=626009844453 The price will be falling down as soon as competition kicks in.

Well, as tech-addicted I would say... absolutely yes, full-frame at all but I am following one of best Italian channel of photography and recently they spoken about that. The video is with the Italian language, but activate the subtitles and enjoy, it is really interesting (Subject: Why I am not using Full-Frame Cameras):

I have a set of some really nice compact LEDs - https://aliexpress.ru/item/33056891236.html?spm=a2g0o.productlist.0.0.3aa6706ekfHeif&algo_pvid=d6fad609-3ec7-40e7-b5bb-4715f4f7cbae&algo_expid=d6fad609-3ec7-40e7-b5bb-4715f4f7cbae-0&btsid=0b0a182b15994990043292145ec629&ws_ab_test=searchweb0_0,searchweb201602_,searchweb201603_ Any tips on how to make a relatively compact diffusor for them?

I think I foind extremly cheap and efficient solution. This device called - a paper bag 😆

Neewer make some reasonably cheap collapsible ones that look like they could be persuaded to fit. https://www.amazon.co.uk/Neewer-5-9x6-7-centimeters-Collapsible-Diffuser/dp/B00OXCGA28

More amazing news from Z Cam: the E2-M4 is on the way, which is the same internals as the Z Cam E2 but with the body and interchangeable mount of the S6/F6. It does not have the multicam sync feature of the E2, however. It's $1500 in the US. If you bolt Z Cam's 1st party focal reducer on the front, you basically have a S35 active locking EF cinema camera in a tiny package for a low price. https://cvp.com/product/z-cam-e2-m4-cinematic-camera Also, the S6 and F6 will have price drops of $500 and $1k respectively.

The new firmware (v0.95) enables ProRes RAW over HDMI to Atomos recorders on all E2 models. This includes the $800 E2c. This means that the E2 series now has not one, but two different Raw formats. I'm sort of surprised the Z Cam is still barely talked about here. It checks a lot of boxes that people complain about with the P4K. The entire series now has H.264, H.265, ProRes, ZRAW, and ProRes RAW recording capabilities, plus incredible frame rate options at full sensor width on the E2, multiple crop options and aspect ratios, low rolling shutter, long battery life, and incredible build quality. I recently got one, though probably won't have any projects to use it on for a few months.

Just an update on my current setup. I really want a sigma 18-35 f/1.8

I probably could. But thats not my job. Usually I hire people to make the videos at work. But sometimes we do it in house. Then I need to deliver every time. With only available light as well as crisp audio. For full days of shooting. Both stills and video. A smartphone is just too time consuming, limiting and straight up annoying for me. A good hybrid gets me where I need to be. I'm sure plenty of people love shooting with smartphones and creates wonderful things. But I don't. And that's ok.

Today a large part of the social media comments, articles and reviews on controversial subjects are written by diverse armies of paid shills, "fact-checking", creating fake news, exposing "fake news" with fake news, whitewashing their employers and smearing critics. This was documented by The Intercept in 2014 and by political campaigners in 2016. Corporations like Google, Twitter and Facebook, powerful private interest groups (Club of Rome, climate change, global taxes, vaccinations etc) and state agencies, spend hundreds of millions for this modern and extended PR. Canon last year spent over 400 million dollars on public relations and advertising. Almost double what the Bill and Melinda Gates foundation pays, which is in the media all the time. The latter has given over $2 million to groups such as fact-checker Africa Check ($1.48 million), media company Gannett ($499,651), and the journalism school the Poynter Institute ($382,997). In return, when you google "gates foundation fact checkers millions", the second link goes to the Poynter Institute-owned fact-checker Politifact.com, where their "factcheckers" whitewash the Gates Foundation. The only reason we ever knew that, for example, the Clinton campaign was hiring professional shills to pose as real Hillary supporters online in order to deceive people and manipulate public discourse is because they were forced to disclose it due to FEC regulations. https://extranewsfeed.com/media-war-toolkit-the-seven-deadliest-weapons-against-establishment-propaganda-d535c311d0eb