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I've been importing the cDNG through SlimRAW as 3:1 and they playback much better and I'm able to upscale slightly to DCI 4K for monitoring / exporting. I should clarify that I think when working in CDNG and 'naked' without BRAW or ProRes RAW it does appear to show the correct false color values on the rear lcd screen with the new firmware, but that false color reading is in conflict with the waveform, zebras and preview.

It's amazing to see what people are doing with this little camera! The EOS M always has a place in my heart. For some unknown reason, it just comes with great colors. It only requires some minimal effort to get it to look good in my taste. Not to mention you can install Magic Lantern and add in many useful features. Anyway, a camera which can shoot RAW costing around $100 is unbelievable. It's unfortunate I had to sell it last year. Maybe one day I would buy it back and play with the RAW feature more😅.

It really comes down to what kind of work you're doing. Event videos, corporate videos, short films...etc. All of these requires a tripod, while a gimbal may not be essential. The YouTube community makes many believe working in video production professionally is about making cool shots with gimbals or any other fancy new technologies. Making those shots are cool, but the majority of works are usually done in a more traditional, even boring manner. And I'm not even talking about working in a proper film set (I have only worked in no budget short films). I usually work solo or with one or two partners. It is safe to suggest I am the average (or below average) working professional.

Inconsistent truly is the word for this...You can use the native preview, it will indeed show correct highlights, BUT false colors are not working and you would need to set the zebras for every ISO value to something different...not exactly an easy workflow. My goal was to have a workflow which gives me reproducible results and I am glad I have found one. Form factor etc and building a nice rig out of the camera with high quality parts (like the Sigma PL mount adapter and its shimming options) and all is perfect. Software connectivity between Sigma and Atomos is not... Maybe they get this right in a future firmware release if the word spreads.

(yeah, the MTBing is pretty cool too)

Yes, I am afraid that is the case. At least if you consider sensor clipping as the point which it should be at its maximum.

Wait, what? The world _isn't_ falling apart?

+1 For fast turnaround work it's a godsend to stick a normal zoom on there and do the 2x for extra reach without having to change lens.

Forgot to mention that you don't want an input transform applied in the color management tab either.

This is a little out of date, but that's the general idea.

Great post - thanks! As a GH5 user I can see lots of interesting little improvements here that are against things that irk me about the GH5 so will be real-life improvements. A few thoughts: V-Log clipping at 88 isn't a big deal - for 10-bit footage the difference between 88 and 100 is inconsequential and it's designed to provide compatibility with V-Log cameras with larger DR on the GH5 the HLG mode contains the whole DR of the camera (unlike any of the other picture profiles) so if HLG is in the camera then that's a full-DR alternative to V-Log 13 modes rather than 5 is huge, and especially that there's 4 on the physical dial - I will definitely be using more than 5 of these modes Sleep function forgetting things was definitely a PITA so refinements to that is huge, and the extra custom modes help with that too I'll be particularly interested to see how the 1080p (or 2K?) Prores mode is integrated into the camera. In addition to image quality, it'll be interesting to see if it requires the newer batteries or not, etc. Can you give a bit more information about how well the current (h26x) 1080p ALL-I mode works? Particularly, I'm interested in how the footage looks from these modes: 1080p24 mode 1080p24 mode with 2X digital zoom 1080p60 mode 1080p60 mode with 2X digital zoom On the GH5 all those modes are downsampled and the footage looks flawless. Is the GH6 the same?

Yeah, doing those big sweeping gimbal shots that run for ages and ages are a lot more work for EVERYONE. Art Dept, Director, Actors, Camera Dept, Sound Dept, etc etc I did late last year a very low low budget feature film (dunno about the budget, but I'd take a wild wild guess that it is probably to likely be sub $100K, but with all the favors pulled in we were "operating at" more like the $500K-ish level? Which is still ultra low budget level for a feature film). Bulk of it was shot on either a tripod or a dana dolly. (as a dana dolly gives you that movement in the scene, but also still allowing you a lot more fine control over the camera movement than anything else would. Well, anything else that is affordable that is!) A fair bit was shot handheld / easyrig as well. Oh and of course sometimes a high hat / sandbag / saddlebag. But perhaps a couple of times a week we'd get in a Steadicam Op, for particular scenes/days when camera movement made a lot of sense for the story. We also had at least three days of car shoots, of which two of those days were done with the car on lowrider being towed by a truck (with Director / AD / AC / Grip / DoP all in the back, in the truck bed. With myself, with my mixer & monitor, and the truck driver in the cab itself). Never used a crane. Never used a gimbal. Never used a drone. (although I wouldn't be surprised if there is a splinter unit done sometime after we wrapped main production which goes out to get some drone footage. Or perhaps they just use a bit of stock footage? I dunno) 100% shot on an ARRI Mini btw. The average YouTuber with a big following is totally disconnected to the reality of how the professional world works on film sets / tv productions / reality shoots / TVCs / etc

Here is a music video I did with my beautiful GX85. It now has dethroned my GF1 for photography pleasure, loosended my bonds with my eternally appreciated and now disfunct G6. GX85 earned no1 place in my heart. It was a bit of a way to go for this cam. It has pleased me with nice footage, great personal short cine verité extravaganza, BCam as last resort.. But only until now it has reached my heart completely. It is a true treasure. The road to love was slippery by the slipperyness of the camerabody, the soon to become disfunct back wheel and the mediocore EVF. But still, it is almost as pretty as the GX7 or my GF1 and it feels good in the hand and now even better in the heart. So enough talking, time to let this camera speak. Used Fujinon 12mm in 16 to 9 and ind 1:1 4K photo mode, Tokina 25-50 in the mix. Shot in colour and graded with love in BW. 🙂

Holy crap, don´t scare me! @webrunner5 I just discoverd my all time favorite colour palette on the EOS M, which I just posted. Now you come up with even cooler news. I have not been a great fan of the colours from the videos on youtube so far. Only the one I discovered gave me wowsers. Until then the videos always had postpro with very crayon and videoish results. Technically nice but not painterly with thick oils. Now let me check that video with a coffee and some cake. 🙂

Cannot wait to see it! Some crazy Pete in action! 🙂 @Matt Kieley I found my all time EOS M RAW footage when it comes to colour. Makes Berlin look like before all the greedy hipster and gated community freaks fxxed up the community and heart and soul of the city. I know it sounds kinda harsh but girls n boys, they really bulldozered many, many landmarks of Berlin to build cement monoliths for rich, tastless fxxers from all over the world. Nothing against wealthy people, just against the powerful axxxholes among them who fxxxk up everything with their money. Anyway, here is the beautiful EOS M in its most impressive colour glory, imho. Btw, my C-mount to Eos M-mount didnt arrive but I got the full refund. Very nice of the seller. Anyway, I a slouch when it comes to rig up cameras.:/

Thanks Panny. The 35mm is a great lens and it's decently priced. Of course, I think Canon recently discontinued it, so the used ones seemed to have went up in price a bit, but you can sometimes find a refurbished one on the Canon site for a reasonable price and a warranty. Canon USM lenses are a mixture of mechanical and electrical, so the focus ring will keep spinning around externally, but if you pay attention to your focus, you can feel the hard stop internally. So... it kinda has hard stops. My other actor is still around... I think he was holding a reflector in one of those shots and he's in the Grim Reaper costume in the other. If you're dying to see some shots of him... Here he is in a test I was doing with the older Sigma 50mm 1.4... such a great lens... with one of the worse focus rings I've ever used...

Been playing around with the Canon EOS M and Magic Lantern RAW over the past few weeks, mainly testing Anamorphic Adapters and Lens combos. Prepped and shot this short film in a few of hours as a test run. Color grading under a Rec709 Conversion (BMD Rec709 LUTs Available Here: https://blackmagic-luts.yolasite.com/) Personally, really enjoying this little camera. Shame the YouTube compression is so heavy. What do you think? B.

Yes! The EOSM with ML raw is amazing, and @ZEEK has a great eye! EOSM ML raw videos are constantly appearing on YouTube. This guy also does nice work with the EOSM.