Andrew - EOSHD

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

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.)