Andrew Reid

Official Magic Lantern forum for Raw Video - http://www.magiclantern.fm/forum/index.php?board=49.0 Updated for 2017 Magic Lantern camera capabilities at EOSHD - http://www.eoshd.com/2017/06/magic-lantern-raw-video-current-camera-capabilities-updated-2017/ Creating a sticky thread for this as it's one of my favourite topics. This thread is just to compliment and contribute to the main magic lantern site. I am testing: 5D3 5D2 100D (beta / experimental build) 70D (beta / experimental build) 50D Bitrate calculator: http://rawcalculator.bitballoon.com/calculator_desktop Following 70D progress is a priority for me as it's the only one with both Dual Pixel AF and articulated screen... 5D3 doesn't have that! https://www.magiclantern.fm/forum/index.php?topic=14309.2850 Main builds and ports in progress at Magic Lantern: https://builds.magiclantern.fm Experiments including 10bit/12bit raw and 4K raw crop mode: https://builds.magiclantern.fm/experiments.html My regards to all the Magic Lantern devs!!

Zeiss Jena 20mm F2.8 is superb... M42 mount, manual focus only though. What about Sigma 8-16mm... If you want to go WIIIIDE.

Shooting approx. 16:9 with global draw off. Distraction free colour live view at 24fps and proper framing. Frame from the DNG 10bit raw, upscaled in Adobe Camera Raw. Doesn't look bad does it?

It's dimmer. Backlight goes down. Besides, the picture profile applies to stills (JPEGs) as well as video.

That's what I'm talking about. In stills mode, hit record, dims. In movie mode, it's always dim whether recording or not, which makes outdoor screen visibility a major problem.

It does dim. A7R II, A7S II, A99 II... Try it. You need to be in 4K not 1080/24p for it to dim. It's not shit at all. Lenses are not ALL about sharpness at F1.4. Sometimes it's about rendering, contrast, character, distortion, ergonomics, size, weight, performance at F2.0, bokeh and functionality. HELLO?

Sigma 18-35mm F1.8 would be my favourite. The Samyang 14 and 11-16 not too great. Nikon 14mm F2.8 AF-D is much nicer. Sigma 20mm F1.4 would also be superb, although not as wide as your 14's and 17's obviously. You can also pop the cap off the Canon EF-S lenses like 17-50mm F2.8 and 18-135mm, and they will fit like a charm

SSM ones aren't focus by wire, they have mechanical coupling for manual focus. Not many with hard stops though. Full frame 1080p and APS-C very close in quality, full frame is slightly better. This was just an experiment. Just can't recommend it, if you de-couple the lever you have no aperture control at all in any way. When disconnected the lever goes loose so won't stay wide open when you handle the lens.

These are some good points. For me it 80% furthers the case of the small cameras over the big ones for creative purposes. GoPro, Osmo, A7S, GH5, all small. Only one of these examples involves one of the larger pro cameras, the C200 and I am not even convinced of what it gives to a music video shoot exactly...

180fps is 180fps. To title it 360fps is nonsense

Panasonic GH5 competition? Bring it on... Read the full article

If you drop the horizontal resolution (it increases the crop though) you can shoot 16:9 Yeah there is a version for x86, I tried installing it once on the Samsung Tab S Pro (Windows 10 tablet) and it can be installed on the Microsoft Surface Pro 4. The problems is the drivers aren't always reliable so you have missing WiFi, etc. and it needs patching up to work properly... depending on the hardware. Check out ReMix OS. They sell Android x86 pre-installed on tablets that they have programmed it to works on. Issue is still performance and app selection vs MacOS and Windows, it's just not as good for raw video. It's a novelty.

I think only VR stands to benefit from 8K. Cinema doesn't need it. However, in 10 years we might all be strapped into our VR headsets for watching movies... Even at the cinema! I'm very impressed with how immersive VR is when done right. It is here to stay, unlike 3D. But watching 8K on a flat screen from a distance is pointless... Human eye just isn't up to it.

Hello Matt, of 2008. I hear time travel is popular these days, how else did we end up with Trump? How's your DOF-adapter going? Did you sell your DVX100 or did you bring it with you to 2017? When you get back into your re-Tardis... Give Dr Who an A7S, it will be a great pub-trick when you return to 2008. Cheers - Andrew

Yes very stationary. I could set up my C500 + Odyssey on a big heavy tripod and be happy to leave it in one place, but as soon as it comes to running around with something like that, it's a ball-ache and it gets in the way. Balance is also very important and I never feel comfortable with the balance of an external recorder, no matter how it's rigged. I hate complex rigs. What is the point of all these pros who moan about work-arounds and fiddly things on the simple mirrorless cameras rigging up their pro cams to the hilt, which are supposed to be LESS fiddly and MORE direct... Some of their rigs resemble an Alexa on a VFX heavy film set which needs a crew of 9 people just to turn it on The amount of shit I've seen added to a C300! That's always how I've done it. Mainly because I would have missed every single shot in this, had it not been for a small, fast camera with instant-boot-up... And this one wouldn't have even got made - Big shotgun mics were simply not allowed in the temple and video cameras would draw attention, impact on privacy too much - The sound in there was amazing and the next day I tried going back with a big mic and got turned away. Stills were fine... So GH2 blended in and I was able to get creative. Also I didn't have to worry about running out of battery, because I could just turn it off in-between waiting for some magic moment to happen... With a cinema camera I would have had to keep it turned on for 5 hours straight, or risk missing a moment.

Well, the C100 doesn't do it for me, the image is sub-par compared to a lot of stuff and creatively speaking it isn't exactly a Noctilux on an A7S. The BMPCC doesn't work in low light, or after 20 minutes... Getting a proper video camera doesn't appeal either, but everyone is entitled to do what's right for their needs. I need stills and stealthy video in as simple and as small a package as possible, with as good an image for the price possible, with as many features packed in there is as ergonomically nice way as can be. And this isn't, and never will be, a proper video camera like the C100. Maybe RED will reach the point of doing an extremely capable, highly portable hybrid camera with nice ergonomics in a few years, but it won't be cheap. Hope you can do it for fun again, in the same artistic and direct way one does photography... I've always tried to do video as much like photography as possible. I have no interest in the work-element of video, with a crew, endless complex rigs and multiple cameras... I want 100% complete control and final say as an artist, and cinematography with the simple workflow of a photography shoot gives me that. Glad to hear that. I found my T body with a heavily discounted Leica 23mm F2, which I can use with AF on my Leica SL in Super 35 mode as well... Also I have the Canon EF adapter for the SL, which should work on the T as well. Same mount. It was a guilty pleasure of a purchase, I don't really need either of them now the A99 II is here. I went down the Foveon rabbit hole as well... Amazing CCD-like analogue colour response, and a camera that encourages you to slow down and think about every shot, you can't run around too fast because of the slower AF and write speeds. DP0 and DP3's lenses are also astounding. Sigma Photo Pro not so much But I still have a lot of fun in it (when I have the patience). It's the weight that makes me most miserable. Kinefinity KineMINI was small but weighed a ton rigged up + V-lock. Got in the way, didn't offer anything creatively a 5D Mark III with Magic Lantern couldn't do... In fact it was worse! Still admire the company though and for the right people this is an amazing camera. Little things do definitely make a difference and it's why Canon still outsell Sony. Sony keep doing stupid things like brightness changing 2 stops when you hit record on the A7R II. [Writes list of 500 other things...] Well, Panasonic have the earned the goodwill of this community. Canon haven't... In fact, they have gone out of their way to piss people off. Such is the price their brand pays, when they cripple features, threaten Magic Lantern with lawsuit and bare-face lie to their own customers, including me (oh hey Andrew, HDMI on 5D3 is not 1080p due to hardware limitation....2 years later, they add it in firmware...LIST. GOES. ON.)

What a good analogy, I always enjoy the parallels between music and filmmaking / video. They nearly always hold up. I have rarely seen a higher-end shoot that didn't have a lot of complexity and setup, unnecessary in some cases. Overkill is common too, in pro video industry... guys doing interviews with an EPIC. What's all that about? Are they doing lip sync at 240fps? Haha. This is exactly how I feel about my C500... It has sat on the shelf, mainly due to needing the beastly external recorder to get a decent picture out of it. Workflow for my GH5 - Hold it, press 1 button. The end. Workflow for my C500 - Plug in SDI cable, make sure battery is charged for external monitor, turn on camera, turn on screen, wait quite a bit, oh you forgot the audio, silly me, grab an XLR mic, attach a module, attach the mic, check the levels, plugin headphones, dive into the menus a bit... And now my arm hurts, because it's all rather heavy. And what's that icon, oh dear my 256GB SSD just filled up in 5 minutes with 4K RAW at 120fps. Stop shooting, down tools, put the SSD into laptop, wait 30 mins for it to offload, wipe, reformat in the Odyssey, re-initialise, repeat every so often. And with the FS5, the sheer amount of buttons really pissed me off as did the fact that when I took it on a shoot in public, people stared. Some of them robbers. Indeed, the end result is so close, between even a RED and a £400 consumer camera these days, that just like in the audio world, the diminishing returns up-high just aren't often worth the hassle.

That's not what I'm saying, really. Gap creatively in cinema aesthetics between an A7S II and barbie camera is HUGE enough to make a difference. Gap between A7S II and C200 is not. I didn't say that either. Some people are creative at work. A lot aren't, but the point is, a C200 does not make you more creative. Yes, that's what I said too... Did you read it?! Oddly enough though in the 70's people dicked-around a LOT more than today but it didn't harm the output creatively, one could say it even benefited it. I think part of the easiness of modern camera gear makes people actually less creative. In terms of jobs where you have to perform under time pressure, of course efficient workflows are important, I'm not denying that. They don't have a slower, fiddlier workflow. I found the FS5 did. You can't say the NX1 is anything other than fast. You pick it up, hold it, and press a button. And if you need an ND filter put one on the lens and keep it on! It's not THAT DIFFICULT! There's even the ND throttle adapter on E-mount and Micro Four Thirds, which is practically the same as having a built in camera ND wheel. Don't pros realise that it is price alone that determines why we shoot mirrorless and DSLR? Have they forgotten the grass roots of the industry? Heads in the clouds. So much handheld camera work on TV these days looks like absolute shit. On the news, even worse. At least before C300-type rigs, ENG cameras were heavier and more steady and actually god-damn in focus.

I totally agree with you. If you end up not getting the 6D II due to lack of video quality and 4K and it throwing rainbow-tantrums in 1080p moire mode, the Sony A99 II is your best best as it has a similar form factor, DSLR style controls, very fast AF, amazing 42MP stills, yet packs in all the video features you can wish for and that all important swivel screen. Articulated screen has been one of the most essential ergonomic features of cameras, and to think there are still bodies out there without one, most of them top-end and costing between $3000-$7000, like the 1D C, Leica SL, 5D Mk IV to name but a few, is crazy. Stills photographer or video guy... it doesn't matter, we both need to see the damned live-view image on a tripod, without doing our backs in!! I have bought and enjoyed however, many cameras without the feature, 1D C and Leica SL for instance, but both of them would be even better with an articulated screen. There are certain features that pro photographers have looked down their noses at and branded 'consumer', touch screen is one of them, video can be another. Fuji take video buttons off entirely, in case of X-T2, at the same time as flogging it as their best filmmaking camera yet and making X-mount cinema lenses for it!! Nikon take video modes away, on the DF for instance, to appeal to the 'purity' of photography. Even though Leica have video on the M, haha. And nobody minds! I think there's some seriously faulty thinking going on out there, not just at the camera companies, but in the minds of the customer as well. If an articulated screen can be built to a high standard and doesn't hurt weather sealing, there's zero reason for not having one, not even size-related reasons, just look at the RX1 II. Best thing Nikon ever did was put one on the D750.... They saw the light!! Miraculous! It has taken Canon 5 years to catch up... Over a hinge.

Work tools are boring. I've always found mirrorless cameras way more fun to actually shoot with. In his day job John Brawley has an Alexa. Why on earth would he shoot 'for fun' creatively, with an Olympus E-M1 II? But he does. There are a lot of talented DPs who shoot with DSLRs and mirrorless cameras once they down their RED and Arri cameras at the end of the day. Yet I find in the mid-range market for video pros (wedding videographers for example) there's an aspirational value attached to the higher-end pro cameras, that is stupid and pointless. Aspirations should be creative. Owning a Sony FS5 or Canon C500 doesn't make you more creative, it makes you more efficient at work by a slight bit, and you appear more professional because of the big nobs and bells & whistles. Sadly, it doesn't necessarily make for "better" work because I have yet to see a clear distinction between work shot on mirrorless cameras and on stuff like the C300. In fact often the small camera stuff looks better and more inspired. The legendary Anthony Dod Mantle is known for his rough and ready work with digital, but when he went Canon C-series on Oliver Stone's recent series of Putin interviews, the look they achieved was slap dash and lazy to my eye... Could have been so much better. He used DSLRs as well on this shoot (between 2015-2017) and those shots actually came out more interesting! Too many pro videographers seem to dream of cameras like an Alexa and RED, why shows to me how important the professional label and look is to people, but creatively, they are no better and actually worse than the small cameras. I hated shooting with my Sony FS5. A fiddly pain in the ass, for my music video work in Berlin, it needed an OIS lens and rig for handheld - limiting the choice of looks from the lens. With a GH5 you can put any lens on there and it is instantly stable for handheld work, with a tiny form factor that gets out of the way. The FS5's image was worse than an A7S II but double the price. Aside from high frame rates it didn't offer anything creatively over a DSLR or mirrorless camera and now I have 120fps full frame on two of my small cameras along with 240fps 1080p on the pocket RX100 IV - So why bother getting a more expensive camera if it doesn't power you along creatively as much as the cheaper stuff!? These pro cameras aren't cheap... Sometimes I got lucky and I bought a Canon C500 for a very good price used, but do you know how many times I have felt compelled to take it out and use it for artistic work? Zero times. Kendy Ty is another example of a pro who downs his workhorse RED and shoots with a DSLR... The camera gets out of the way to such an extent he can shoot short films in public and direct the actors at the same time as being the main cinematographer. His work sticks in the mind as some of the most creative and spontaneous I've seen and there's not a C200 in sight... zero need for one! I think pros have by-and-large completely forgotten and lost the spirit of the DSLR movement back from 2010-2012 as they sought efficiency. XLRs, built in NDs, yadda yadda. Blackmagic as well, when they ditched the small cameras and went all-out URSA on us. Canon too... Oh wait, they never got it in the first place, and they invented it! Cameras should not just be about making money. That's how an art-form gets boring. That's how it dies. They are not just about doing a job. They're about creatively enabling artists and they're about democratising the art form so that price doesn't act as a road block to new talent. Of course Canon only care about profit, they are not interested in that. The Olympus E-M1 II's stabilisation isn't seen on any of the pro cinema cameras. It's unique. It offers something creatively to the result that a bigger, more complex shooting rig simply does not. On the audio side, so important creatively, small mirrorless cameras used to have limitations and some still do - but with XLR boxes with phantom power that fit in a hot-shoe, you can't really complain. Audio is not a big limiting factor on the Panasonic GH5. I still know that pros have their professional reasons for going Cinema EOS or Sony FS or RED or even Arri... Workflows, codecs, ergonomics, power, performance, looking-the-part... I'm not denying their reasons for one second, it would be so naive to suggest they drop the workhorse cameras and use a mirrorless camera for paid work. But the creative side of the small cameras is what matters to me and I think it is being overlooked as specs in the $6000-$10,000 pro market hot up. Sure, you can shoot all day on a big battery to a small broadcast ready codec with the C200, very practical... But can you put a 1970's Super 16 lens on there? Can you increase the character of your images by a factor of 10? Does it have an anamorphic mode? Nope. If I ever buy a C200... Shoot me. It's over.

Get a GH5 if rolling shutter is a concern. Or shoot in full frame 4K mode on the A7R II which does pixel binning rather than a full sensor readout in that mode, so less rolling shutter. X70 has a completely different aesthetic to the A7S II... Does that not matter to you?!

MLVFS needs FUSE on MacOS, and it does work on Linux but I'd question why you'd even bother with it on Android as the mobile processors don't exactly cut through RAW video in Resolve, do they....

Come on, it's an old old arguement that there should be such a big divide between cameras for stills and cameras for video! We both know they do both so well. Otherwise, we'd all be satisfied with our small 1/2.3 inch handycams and gopros. The only DSLR that is not a video camera is the Nikon DF. They took the video off purely for marketing reasons. Also Canon have competition, they don't exist in a bubble. If they aren't competing with Sony for customers, then what are they even in the consumer electronics business for? To whither and die? You were... And a very good one. Hope you go back to that some day! Get into the spirit of things again I just picked up a Leica T from watching your YouTube channel. Photography is a big thing for me. But so is video. And I really love the DSLR price tag, the unassuming small body compared to a RED or C300. I hate - HATE - being a single operator of a cinema camera for my street cinematography - always feel like I am about to be robbed or told off for not having a permit. In a closed set for a music video then a big camera is fine... still a heavy pain in the ass for handheld though... And I hate rigs. There was a reason when the DSLR revolution started why filmmakers and DPs started using them for personal projects and other stuff... Because it was FUN!! Sadly, this is bullshit nonsense. Canon do not endorse or want ML in any way on their cameras and whatever effect ML is having on sales, Canon can't even detect as they have no way of knowing or researching the impact. It could be quite sizeable in my opinion but in no way does Canon care. They see it as an illegal hacking project, end of story. The reason 4K is not on the 6D II is presumably they did some market research and their idiot customers told them 1080p is what we want, it's easy to use. Which is why you should NEVER ask the public what they want. BREXIT anyone?

Raw Magic is great but it doesn't support the new 10bit / 12bit compressed RAW yet... At least my version didn't...?

Moire is not 100% absolutely completely gone but it is FAR better than the 100D out of the box video mode! Yes a good second unit to a 5D3, but it depends on how you use it. The 70D is double the price but has the benefit of articulated screen and Dual Pixel AF. I have always had a soft spot for the 100D though with it being so small and light compared to 5D3 and even the 70D. 80D, EOS M5 have a brighter future if ML port ever comes to fruition, which I think it will do eventually!