Andrew Reid

The moire was definitely more a problem combined with the soft muddiness of the internal Canon codec, it stood out like a sore thumb. Now the image in raw is so sharp, the false detail makes it pop even more and it doesn't seem to bother me as much especially as you can solve the problem with a simple filter.

1D X Mark II? No Super 35mm mode No Canon LOG Hardly a replacement.

So 128GB SD cards are very cheap now... and on cameras like the 70D you get double the record time per card with 10bit than we used to get with full 1920x1080 14bit raw on the 5D Mark III... Added bonus. These cards need guaranteed 40MB/s write speeds... Many of them can do 90+ so that's not an issue. Rather than copy such a large amount of Cinema DNG / MLV data off the card during a shoot which can be distracting, my method is to just invest in 6 or 7 cards to get you through a day, and leave it transcoding to ProRes over night. Raw will never be the best choice for a fast same-day turn around from shoot to edit, but for everything else it's fine. For shorter shoots you can do the edit the same day as transcoding 128GB or so of Cinema DNG isn't too hard. Also, copying a full 128GB card to an SSD doesn't take long at all in 2017 via USB 3 or 3.1 C, but if you do it during a shoot with the intention to reuse the card, just bare in mind that's a lot of data on one drive and if the drive gets lost or crashes that's the whole footage gone with no backup... So the 6+ card approach is the one I go for. Obviously for the compact flash DSLRs like the 5D3 and 7D the approach is pretty similar. What SD and CF cards are other people using? On the software front... I find the workflow much improved from 2013. MLVFS is so quick to mount a card full of MLV files as Cinema DNG, which can then be opened directly in Resolve 14 with fluid playback and editing of raw video. But I still use Resolve to apply LOG gamma (like Canon LOG or Blackmagic film gamma) and transcode the files to ProRes 422 LT. Not only does this save a lot of space because the Cinema DNG files can be deleted, you still get plenty of opportunity to adjust white balance and colour... not as much as with the original Cinema DNG files but still way more than a standard H.264 codec, and I feel the LOG space captures the entire usable dynamic range of the RAW recording. Any other workflow suggestions are welcome!

Well if you plan to edit Cinema DNG you should copy them to a fast SSD or RAID drive anyway, so they have to come off the card, it can be flakey and risky to edit Cinema DNG direct from the compact flash or SD card via a reader. If you plan to edit in anything else you need to convert to ProRes and here you can mount the card with MLVFS and do the conversion in Resolve 14, then reuse the card straight after if you only plan to keep the ProRes and not edit the raw. LOG ProRes is a very good raw substitute If the camera recorded 10bit ProRes internally we'd all be very happy, so it's a small time penalty to pay for such a leap in quality from the absolutely shit Canon codec.

It definitely needs a batch process! Martin is working on it I believe.

In Martin's Footage app, the focus pixel fix doesn't quite work for my 100D on all shots, but MLVFS + Resolve is perfect - no focus pixel pattern with that workflow. So apparently MLVFS is removing them?! Footage app seems to leave behind some focus pixel patterns at the edges of the frame and on highlights... But only on some recordings, not others. Very strange! I think it works best with 5D3 for now... Early stages though. 70D might not have the same problem though as it has Dual Pixel AF, not whole pixels replaced with phase-detect points. It is very practical. All it does is mount a virtual folder for each MLV clip, containing the DNG frames. You can then simply open each folder as a Cinema DNG clip in Resolve. No transcoding necessary to reach this stage, it's instant. RawMagic is great but it does not convert from MLV to CinemaDNG instantly, it takes time. You don't even need to copy the MLV files off the card with MLVFS. You can of course copy the DNGs onto permanent storage, because the MLVFS virtual drive becomes inaccessible when you remove the memory card, obviously.

OK good to know. Can anyone point to a build for the 700D which includes the latest progress on Lossless compressed raw? This works in 10bit as well as 14bit? It brings 1728x1156 down to under 40MB/s according to the calculator, making it continuous? Still not quite a 5D Mark III but 700D is £250 on eBay!!

Toshiba had a very profitable nuclear business. And now, that has sunk the entire company and they are selling off their arms and legs. Canon are conservative and sensible, but things can and do go wrong with big companies no matter how profitable they are. Don't take profit alone as a sign of a healthy business. VW were profitable... And in the background, floating the regulations.

Wow 48p huh?! Still trying to get a picture of where the capabilities are across the entire range. Is this a 7D one-off, or can other cameras do it?

I like this - http://www.magiclantern.fm/forum/index.php?topic=18949.0 Martin has done a superb job. It converts to ProRes or Cinema DNG, you just drag and drop the MLV clips direct from your card into the app window. Select the gamma curve, i.e. Canon LOG. Select the touch-up options, for example to remove focus pixels on cameras with phase-detect AF on the CMOS sensor and aliasing around highlights. Go to File, Export, choose flavour of ProRes. And it's fast!

The 100D doesn't have a U3 card controller so expensive U3 card will perform no better than a cheap U1 card. For Magic Lantern overlays make sure global draw is turned on in the ML menus?

It's not an official build or a nightly on their site. Yes it is confusing at first. I found mine deep in a forum post at ML, with a link to dropbox / google drive. I'll try and dig it out again or upload the ZIP. Great. But seen as the max res on the EOS M is 1728x694 without going to with a very heavy crop factor, I suppose lossless is more useful on the 5D3. On the 700D, the max Super 35mm recording mode resolution is 1728x1156, which is a lot better than EOS M but still not quite 3K is it Great that it works on those cameras though. Is there a build of it working (or even semi-working) on the 70D or 100D? Think it was NikFreak on the Magic Lantern forums that did the 70D build with 10bit raw but can't find the link there now. (Took me hours to find it in the first place!) It had some issues, so don't expect 100% reliability. It's experimental and based on 6 month old version of Magic Lantern. I'll be trying it for the first time tomorrow when my 70D arrives from WEX. £510 for a used body in good condition, not bad! A lot cheaper than getting a C200 innit?! magiclantern-Nightly.2017Jan06.70D112.zip

One lens I'm curious in for Canon APS-C is the good old 17-55mm F2.8 I know it's sharp for a zoom and convenient, but is it cinematic? How's the rendering? Any samples?

You know what I can't stand Mr Shield3, is someone who feels he can throw rocks from his armchair at a resource gatherer in the field, while he's trying to give you information about a range of cameras and lenses on his own blog. Have YOU used the Sony 35mm F1.4 G? If so, why haven't YOU written a blog about it? Or did you just look at DXOMark, and write it off without seeing a single image or the cinematic way it renders? And to write off the Minolta line entirely because of screw-drive AF, you should write off the entire Nikon AF-D line whilst you're at it, yeah? Here is the 35mm F1.4 G sitting on my desk... So yes I have used it personally. The reason I didn't respond, is because you were acting like such a negative muppet I gave up on reading the thread for almost a week. As for A99 II being just a phase, I've put forward my argument why it is useful for my shooting style... I don't need to justify it beyond that, not least to you. There's some stunning A-mount Minolta glass. This 28-70mm F2.8 is cinematic as hell and half the price of a used Canon 24-70 L Mk I. And the 28-105mm F3.5-F4.5 is good enough to resolve an 8K image wide open, and cost me £60. The full 42MP frame is uploaded to this post so you can see what I mean. Shut up with the armchair criticism, buy some gear, and tell us about your opinion on it. Good deal! I have the Sigma ART 18-35 in Canon mount and oddly enough Sigma mount for infrared timelapse on the Sigma Quattro SD mirrorless camera, but not in Sony A-mount. I think the Sony 16-50mm F2.8 SSM is likely to have better AF, but need to try the Sigma to be sure. I could see the Sigma zoom being very handy for low light in the 4K crop mode, as low light in full frame 4K tails off after 1600. The reason I haven't jumped onboard the Sigma zoom yet on this camera is I over indulged in Sony / Zeiss primes and mainly focussed on shooting in full frame mode. You could get the Sigma 20mm F1.4 and Sigma 35mm F1.4 for instance - these would cover a lot of shots in Super 35mm crop 4K, but also give you two full frame options that would be stunning to look at. A lot heavier and more hassle though.

With no replacement in sight.

Ah yes this brings me bang up to date. I haven't shot with it yet so forgot all about it. Is lossless compressed RAW in development for any of the other cameras, or is it only the 5D Mark III which has the processor for it?

Good to know. The 35mm F2 IS by the way is a gem.

100D is missing from the experimental builds too, sometimes you have to look on the forum amongst the 1000's of posts for someone who has compiled his own build with 10bit in it. See if you can find one for the 5D Mark II and 7D In the mean time I've updated the article to say the DIGIC IV cameras don't do 10bit. These are all compact flash so 10bit missing is no big deal... they can do 14bit just fine up to near the maximum of the sensor.

Are you absolutely 100% sure on the 10bit? Still have my 50D but I'll have to correct the post if that's true. http://www.eoshd.com/2017/06/magic-lantern-raw-video-current-camera-capabilities-updated-2017/ The other Digic IV cameras are 7D and 5D Mark II.

One day Canon's rep can explain to me why there is 300MBit 4:2:2 on the £1400 XC10 but just 100Mbit 4:2:0 on the £7500 C200

Seems like overkill for buying it just for a jib. The G70 is really light with the 15mm F1.7... And you'd save a lot of money. Image quality will be far better than the Sony camcorder. The A7S II and 35mm F2.8 will be double the weight over G70. And the camcorders I have no experience of so cannot recommend them. GH5 is 4K/50p. Body is similar weight to A7S II so not nearly as light or as cheap as the 4K shooting G70. But the lenses are much lighter especially the 15mm.

Speed Booster does not go on the 5D. I am talking about if the lens was used on the GH5 with Speed Booster. Meanwhile, I might be looking at a similar lens situation myself as I get back to shooting some Magic Lantern raw.

Canon 17-55mm F2.8 at least has stabiliser, so maybe for video that is more useful than F1.8... Would be a nice lens on Speed Booster too if we ever persuade Christina out of her Canon love affair

Just put your thumb behind the cap and pull, it clicks off... And you can put it back on again. Can't confirm if this works with all EF-S lenses but it does with this one and it's easy.

Will test. Check this guy out - found a secret port under the rubber grip of the 100D. WTF!? https://www.magiclantern.fm/forum/index.php?topic=16040.msg186201#msg186201