Andrew Reid

I honestly don't see the problem, it is really aesthetically pleasing as a short. Good luck getting this image from H.264 especially with such a heavy grade on top! The detail really pops too. Remember how soft and mushy the H.264 is?

You're mistaking raw for flatness and low contrast. Just because you have access to something doesn't mean to say you should turn it up to 11 and bring the shadows hurtling into the mids. In my opinion, most of the time blacks should be black not grey.   Check out Hunter Richards 'Alexa LUT'. It helps people avoid grading decisions like that.

[media]https://vimeo.com/69294861[/media] Turning red blood green with raw on the 5D Mark III Andrew Wonder (Undercity / blog) has just released a narrative short film shot in anamorphic (a modified Iscorama called the Wonderscope) on the 5D Mark III in raw. Here is a guest post from Andrew on the making of it and his take on the DSLR raw revolution. [url=http://www.eoshd.com/content/10697/skin-first-short-film-to-use-5d-mark-iii-magic-lantern-raw-a-guest-post-by-andrew-wonder]Read the full article here[/url]

Our favourite GH2 hacker Vitaliy Kiselev has just released version 2.55 of "NTool", his firmware patcher for Nikon cameras. Vitaliy says there's references to 'LiveView Raw' in the firmware. What does it refer too? [url=http://www.eoshd.com/content/10691/nikon-d7100-has-reference-to-liveview-raw-in-firmware-and-vitaliy-kiselev-working-on-patches]Read the full article here[/url]

I've never seen an Isco 1.5x anamorphic like this before.   http://www.ebay.de/itm/ISCO-ANAMORPHIC-ATTACHMENT-/271190922952?pt=DE_Foto_Camcorder_Objektive&hash=item3f243d16c8&nma=true&si=ed8Zh6HyXoULaT%252FPIw6ryN1zQ2E%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557     Looks similarly modern, as the Isco 2000 focus through anamorphic but it has a focus barrel!

Peederj, when I get tired of reading the same stuff on my own site, I have to make decisions to edit. If you don't want to be chopped I suggest you change the record. No more fanatical anti-BMCC rants and no more C100 fanboyism appended to my editorial OK? Can't you just try and be normal? We're not here for your winding up or for your entertainment. Try and offer us something more than just a headache. I'm getting really tired of it and it lowers the tone of the forum. You're affecting the quality of the site for everyone. Don't think I won't do something about it if it continues.

There's no compelling image quality reason for me to want to go to the C100 now I have raw on a full frame sensor, a very small package and affordable at that.   Pocket Camera is interesting as it adds Super 16mm to my palette. See recent post on c-mount lenses.

Above: EOSHD picked up this Bolex H16 for under 400 euros - it came with a complete set of Schneider Xenon lenses I love the 16mm and Super 16mm format and there are two cameras on the horizon that could offer very exciting images. Digital Bolex with their global shutter, raw and extensive feature set then Blackmagic with their diminutive Pocket Cinema Camera which shoots ProRes and raw. With only weeks to go until the expected Pocket Cinema Camera shipping data I've been stocking up on c-mount lenses. Here's a guide to which ones work, which ones don't, and how to spot a bargain. [url=http://www.eoshd.com/content/10683/how-to-get-bargain-16mm-cine-lenses-for-the-upcoming-blackmagic-pocket-cinema-camera-and-digital-bolex]Read the full article here[/url]

The 5D3 uses dedicated chips for various tasks. H.264 has a dedicated chip. ML runs on the general purpose CPU, and that isn't as fast as the more modern kind you'd find in a GH3 or smartphone.   Canon are using old architecture and off the shelf chips. HDMI for instance, also has it's own chip.   These chips only do one thing and can't be programmed by Magic Lantern if they don't support the instruction.   So don't hold out for MJPEG. Unlikely to happen.

Make sure you have the ML greyscale preview enabled and it is not set to Canon preview. I'm not sure if it is 100% accurate yet - only just got my 50D. Perhaps Julian will know better. It is still early stages code and large parts of it are experimental so you can't expect perfection. Go with the 5D Mark III if you need no moire - but the 50D is still incredibly capable for the money. Mine cost me 400 euros and the 5D Mark III is 3000.

So you're suggesting that CVP use our deposit money to pay for a giant shipping container.   Seems unnecessary for the kind of quantities the BMCC was shipped in, so your argument falls flat at the first hurdle.   Not that it is really an argument against the Pocket camera itself(!?!) which you haven't yet addressed.   I find it hard to understand why you hate ProRes and raw in a $999 camera so much. Not to mention one that offers full compatibility with beautiful c-mount / Bolex / 16mm glass and has an active Micro Four Thirds mount.   It's another creative tool. If you don't need it, feel free to stick to your C100 but don't bother us about it. We don't' care.

I think it was a decision made a while ago, before this happened:   FS700 - raw - Cinema DNG on Convergent Design Odyssey 7Q BMCC - raw - Cinema DNG on SSDs BM Pocket Camera - Cinema DNG on SD cards BM Prod Camera - 4K compressed Cinema DNG no less! Canon 5D Mark III - native raw converted to Cinema DNG in post 5D Mark II - ditto 50D - ditto 60D - ditto 600D - ditto 550D - ditto Did I miss any? Ikonoskop - Cinema DNG KineRawS35 - Cinema DNG KineRaw Mini - Cinema DNG   So yeah, really wise of Adobe. Well done.   How about they drop AVCHD support next?

  I'm not assuming I know that for sure they don't!   And yeah, Pocket camera is SOOOO difficult to use. Oh the pain of having to put a lens on a Micro Four Thirds camera, focus it, and press a record button.   It's enough to make me want to go back to 16mm and crank handles!   Modern technology huh!?

Depends on the shot.   I wouldn't use the 50D for wides. The lower resolution will show up on those shots, as will aliasing / moire quite often as well.   I'd use the 50D for telephoto work especially in crop mode, and as a B cam at fast apertures with a 50mm or longer prime, then it will cut in easily with the 5D3. Image is generally lovely.

  I've not really been keeping up to date with the 5D2 as I don't have one to test with my own two hands yet.   In my view, it has so many issues with raw that the 5D3 is well worth spending extra on if you are serious about shooting raw.   Existing 5D2 owners should know if they're going to use raw in anger or not… So if you like it and can afford the extra, my advice is to trade it in and get the 5D3, absolutely a no brainer.

It's not continuous.   Good to know you can get 1920x818, will try that. I don't mind a slightly narrower aspect ratio.

Indeed, you must compare apples to apples.   RX100 is one tool, Pocket camera another. They have different uses entirely.   Image quality overall I feel will be better on the Pocket judging from the sample footage and the specs sheet. RX100 I liked but it is still the usual el cheapo electronica in terms of feel in comparison to film or raw.

  Said it before and I'll say it again - BMD don't take any pre-order money. The dealer does!   And yes sadly I'll be surprised if the 4K model ships in quantity.   I'm very excited about the Pocket.   I've still got my preorder on it open with CVP and today bought a Bolex camera with 3 Xenons on it, so very much looking forward to giving it some tasty c-mount glass.   Julian's thread on the glass is fantastic and I will be featuring it on the front page this week.

Crop mode is covered in my 106 page EOSHD 5D Mark III Raw Shooter's Guide on 5D Mark III raw video here Above - EOSHD "raw rig" above is comprised of the Lanparte BMCC cage with 5D Mark III and LanParte follow focus / carbon matte box from HDVideoShop Slashcam and I set out to test the 5D Mark III's crop mode as precisely as possible using a chart - it is possible thanks to 100% accurate framing in crop mode with the black & white Magic Lantern live-view preview mode. Further optimisations to the buffer handling by Alex at Magic Lantern aims to make higher resolutions such as 2560 x 960 at 98MB/s sustainable for longer or even continuous. [url=http://www.eoshd.com/content/10672/canon-5d-mark-iii-raw-video-crop-mode-performance]Read the full article here[/url]

Adobe have dropped support altogether for Cinema DNG in Premiere Creative Cloud, not that support in the previous version was at all workable. After Effects CC still supports Cinema DNG but it is as slow to playback and render as ever compared to Resolve.   I can't believe they're trying to bury their own format like this, without first replacing it with an alternative. Cinema DNG it at it's peak in terms of camera support.   A good job we have so many good third party converters, codecs like CineForm, as well as native Canon raw plugins for Premiere CS6.   Adobe could have given me a major reason to upgrade to CC but they epic failed.

  If you have a problem like this on the 64GB card it's likely you have a load of Magic Lantern features enabled such as focus peaking, anamorphic squeeze, etc.

  I'm on my third 64GB 1000x komputerbay now and all of them are nothing short of FAST. Very little variation in performance.

Alex T - turn focus peaking off! Disable everything that might hog the CPU like that. Just go with minimal global draw and nothing else like histogram, zebras, etc.

Bathurst - please be sure to read all pages. It says in the book you should set the camera to record to the compact flash card if you are running Magic Lantern off the SD slot and it gives detailed instructions on how to do that (in the Canon menus).   Mclein - please give more detailed bug reports. If you don't mention even which software you're using to play or edit the CineForm clip, how can I understand what might be causing the magenta cast?   If you are using Resolve, you won't have a magenta cast. If you're using Quicktime Player or Premiere, in some cases you will get it. In this case use the Sat. Point Clip setting in GoPro CineForm Studio to fix it.   Cheers

It could be useful with a PointGrey camera module via USB 3.0.   But the production 4K stuff like Blackmagic will need Thunderbolt, Scarlet will need an HD-SDI input, and this doesn't have any HD input at all. HDMI output only.   When will they wise up and do the obvious...   Monitor software + HDMI input!