Andrew Reid

Well in my opinion, the hardware is just as capable as the 1D C as doing 4K MJPEG. None of us really knows for sure though, as we didn't design the camera. Seen as the 1D C is basically a 1D X, that's probably capable of 4K as well. The lossless raw from Magic Lantern uses the 5D3's existing MJPEG compression by the way, in the 5D Mark III, applying it to raw 3.5K It's in there. I'm not denying that had business reasons not to switch it on.

Which guide, was it mine? I only ask because I do cover the 1080/48p in it... Give it another read or email me if you don't understand that part. As for HDMI... What is stepping?

It's amazing how many bargains you are able to find. The rendering of that picture of the dog by the way is a very good example of what's special about the Q. You press the shutter and it makes art almost every time. There is something about this lens... The incredible sharpness, but creamy bokeh and wide angle at F1.7 is hard to replicate on anything else I have. Zeiss 28mm F2.0 probably closest but that is manual focus. The Q is a shot getter AND an artistic tool. Very rare. None of my other full frame cameras are as fast in live-view / EVF, only through an optical viewfinder. The autofocus is very impressive on the Q through the 60fps live-view system.

I think you guys should debate this in a new topic, because it's killing this one for the rest of us.... title of the topic is "What Magic Lantern reveals - 5D Mark III capable of 4K all along" I really mean it will all the good will in the world, please for the love of all that is holy open a new thread instead of using this one... I've nothing against you guys arguing about the science of dynamic range over 20 pages.... Just put it in the proper place so this one can stay on the topic of Magic Lantern and the 5D Mark III raw. PLEEEASE!

It's great to start off with as much dynamic range as possible because post is important... you can do so much... and even if your grade is only going to deliver a punchy, contrasty 8 stops, your highlight and shadow rolloff is much smoother if you shoot with more stops than you finally need. To make crushed-footage look like it has more dynamic range, many people raise the black level to a milky grey like in a lot of Philip Bloom's drone videos... With the 5D Mk II 3.5K you never find yourself needing to do this... the shadows already look filmic, milky and creamy with lots of tonality and yet you get to keep true black when and where it's needed. It's an even better image than the GH5 in 10bit, it is up there with an Alexa or RED. Also the live-view hack is not bad... It is nice and sharp for focus and the framing is 100% bang-on and easy to do... They just need to work on increasing the frame rate.

Occasionally I like to pretend video doesn't exist on EOSHD and I'm preparing a review of the Leica Q! I really liked Mattias Burling's review And this guy's, with some stunning shots in both... I bought mine used for £3000. The prices new have gone up due to lack of stock. But if you think of it as a £1500 lens and a £1500 body, in Leica terms that's cheap and with this you get very fast AF unlike on the 28mm F1.4 M It is quite simply the best small full frame camera I've ever used And what I find very interesting technologically about it is how much of a Panasonic trace there is in the camera, a clear collaboration and I think we'll be seeing more from Panasonic in the full frame market in due course (just a personal opinion). I had the Sony RX1R II but I prefer the Q, which is saying a lot because the RX1R II is an amazing camera and has better specs on paper. The look of the 28mm F1.7 is drool-worthy wide open on the full frame Panasonic... I mean Leica... sensor. The 24MP sensor in the Q has amazing colour, the lens is crazy sharp... You have a 35mm and 50mm crop mode, which works in video mode too. I really wish it had 4K, 3K and 2K high quality video, as the cropping ability from the full frame sensor at 28mm gives you practically a 28-50mm F1.7 OIS zoom. Firmware update please Leica!

No it wouldn't It's a 5K 4:3 sensor It's not a 16:9 sensor. I don't know why you are going on about 5.2K anyway. 6K photo mode? No point using that in V2.0 firmware.

I really like the satirical style of the test... something different and filmic, yet still useful and a conversation starter. Well done dude.

Well, getting back onto the subject of the 10bit and 12bit lossless 3.5K raw on the 5D Mark III, I can safely say it's the best QUALITY dynamic range I've ever used in post. I can correct for huge exposure differences and there's no crushing of the shadows / blacks at all. So I agree in that I'd rather have a high quality 10 stops or 12 rather than a compressed to hell 14 stops that's for sure (*cough cough* S-LOG 3 *cough*)

Another good suggestion. In the meantime it would be interesting to see how slow the shutter goes in open gate 5K H.265, because then you have timelapse in video mode already for long exposures, 1 frame per second stuff. It's trivial to do in post, you just create a 16:9 timeline and put the clip on it. It's still 5K, and you have the added bonus of being able to shift the frame up and down to compose the shot better. Also the crop marks for 16:9 assist with shooting it in the first place. If you read the post you see it's not just for anamorphic users, you don't need an anamorphic lens and can instead shoot 16:9 with crop marks and crop in post really easily.

All the choices in camera as long as it's Arri! How long as he been shooting film for? Since he was kidnapped?

Yes there is an IBIS mode for anamorphic to account for the change in focal length of the 2x or 1.33x stretch. Panasonic really did think of everything.

Choose 10bit or 12bit then This isn't North Korea.

Premiere is extremely poor at the moment. The Resolve 14 BETA is more stable than Premiere in 2017. And free... blows my mind. Downloading the latest Resolve 14 now, and I am sure the performance and reliability is even better. Adobe should apologise for being so poor, and give everyone an opt-out of the subscription service for a one off fee. Otherwise, the sub service is going to whither and die, people will move back to Apple and Blackmagic. It really is that bad. You can't have such a mission critical piece of software with such poor reliability for months on end.

Yes that's possible, the desqueeze automatically changes to 1.33x in 16:9 video mode, Panasonic expect you to use a 1.33x anamorphic in this mode. In future, I expect them to add options for choosing our own desqueeze ratio of 1.33x, 1.5x, 1.78x or 2x... we are all grown up and everything

The thing is Magic Lantern's option for 8bit RAW at ISO 6400 makes perfect sense as the sensor isn't delivering more than 8 stops dynamic range at that ISO any way So to cut the data rate and save some card space in low light it is a good option.

Leica Q does say Made in Germany on it! They do the chassis and assemble the pieces. The lens, sensor, image processor, firmware, EVF and screen are from the Panasonic side. I dare say the entire lens is constructed in Japan too. I like this, as I like Panasonic... Does not take away from the Leica badge. It is a unique camera, not available for cheaper from anyone else. Nobody else does the same thing. The original Sony RX1R is closest... But nowhere near the same ergonomically, feels more cramped, no built in EVF and not a 28mm. The RX1R II feels very different too, both in the look and in terms of the ergonomics. The eye to the popup viewfinder hurts after a bit. Q is much more comfortable. I badly want a interchangeable lens version of it.

Yes but that DR is at the expense of something else.... Which is what I am telling you guys all along!

With Magic Lantern They chop the bits off at certain ISOs, giving 8bit RAW Go and test that and compare to the 14bit raw Then you will see a direct example of the advantage of higher bit-depths like 8bit vs 10bit. 14bit capture from the sensor is on nearly all cameras (some are 12bit)... I am talking about the recording format and image processing pipeline.

Look at this Nikon patent and weep... https://translate.google.com/translate?depth=1&hl=en&ie=UTF8&prev=_t&rurl=translate.google.com&sl=en&sp=nmt4&tl=it&u=https://www.j-platpat.inpit.go.jp/web/PU/JPA_H29156432/198ADF829BBE9F46ADF2289DCA570D34 If they go ahead with this product, they could really wipe Sony off the mirrorless map. Also there's a 36mm F1.2! https://nikonrumors.com/2017/09/07/new-nikon-patents-nikkor-52mm-f0-9-and-36mm-f1-2-full-frame-mirrorless-lenses.aspx/ But with lenses like these what price are they aiming at with the new mirrorless system?! $6000?!

I suppose the X-E3 is to the X-Pro 2 what the X-T20 is to the X-T2. And soon we will be forced to upgrade to an X-T2S due to G.A.S and in-body stabilisation. I think Fuji should have a bit of a rethink... Re-target X-series as a photographer friendly alternative to Leica M, just keep the X-Pro line and make it as small and light as possible with the nice small APS-C lenses. Make the X-T3 full frame, with new range of lenses and Canon EF adapters with proper AF. And Dual Pixel AF. And IBIS. Thank yo. Re-name the cheaper cameras so to not take aware the luxury of the X brand... Call them C or something else, for Crap-series

December is a strange one, don't know why they are so slow! Maybe the other stuff is holding up 4K, like getting the autofocus tracking to finally work properly But thank you Fuji for giving us this rare gift. It is the first time in the camera industry that 4K has been added with a firmware update. Such a dramatic leap in quality from just firmware Just shows they are playing us for idiots most of the time... as the 5D Mk III shows also! The X-Pro 2 is my favourite fuji camera... So I will be selling my X-T2 and X-T20. This firmware update has saved me a lot of money

But 8bit IS itself lossy data compression. Look at the difference between 8bit raw and 14bit raw in terms of dynamic range. 10bit is very important as an acquisition format If your capture format is 8bit from the sensor to the card then you are losing dynamic range. The only reason an 8bit JPEG works is because all the image processing is done in 14bit and the sensor is 14bit As a delivery format on our screens, 8bit works ok (although there is a reason HDR displays need 10bit)... but the capture can benefit from 10bit and higher... for more dynamic range, less compression and better colour. The reason so many people can't tell the difference between 8bit and 10bit is they are both so heavily compressed or hacked down on cameras like the FS5.

Haha this is so true. Even in raw stills, compared to the CCD in the Leica M9, I have the same knife-edge too much green / too much magenta problem with Sony cameras. Maybe it is a CMOS thing.

What 10bit from what camera is not giving you the expected dynamic range improvement? What have you been testing? Name names!