Andrew - EOSHD

  You're not wrong, you are indeed seeing more detail.   But it is oversharpened.   When I do the same sharpening to the 5D raw image, I get more blades of grass too.     Now the BMCC looks mushy in comparison.   First, the whole C5D comparison video is mute for comparing resolution, because it isn't 2.5K. They have downscaled the BMCC footage rather than upscale (and sharpen) the 5D Mark III raw to 2.5K to match the BMCC. That would have been more interesting (for those capable of viewing 2.5K on their display at least).   Now the over-sharpening I applied above (horrible isn't it?) - I believe a similar thing is at work in the original Cinema5D workflow. 5D isn't sharpened enough and the BMCC is way over - or probably like that straight from the sensor. Unless the path is sprinkled with red blue and green fairy dust, the BMCC shot has a lot of false detail. You can't claim it has no false detail. Yes there's more real detail there too but it comes at a cost.   I hate to start pissing on Blackmagic, they don't deserve it. Their image is still amazing. I have no plans to cancel my MFT 2.5K cam order, or pocket camera order, or 4K production camera order.   I think the 5D raw is close to 1000 lines, the 2.5K BMCC is about 1100-1200 lines. The 4K Production Camera will be another matter!  

  I think the CF interface tops out at 150MB/s, could be wrong on that. SSDs would be nice for the capacity but I think 1000x or maybe 1100x is the max for the current CF spec.   I've tried the higher frame rates now.   960x540 at 60fps works fine, but some aliasing.   1920x540 is squashed looking.   1280 x 720 is actually 1280 x 672, and looks a bit squashed too.   But the card can handle it pretty reliably at 48fps.   Next on my list to try is anamorphic lens & 1920x1280 (3:2), that is going to be my preferred mode. From 3:2 with the Iscorama you will get roughly 2.35:1 :)

That horizontal line artefact isn't the same as what you saw in Luke's video though is it?   Sure there are glitches. It is dev code!

Continuous takes longer than 40 sec are the exception rather than the rule actually. In my understanding file spanning is trivial stuff, I am sure they will get it going just as soon as they assign raw recording to a dedicated button :) Even Vitaliy was able to get file spanning on the GH2 hack without full control over the OS.

  One more dim light source for fill lighting around 2m away from the candle.

I've corrected your post :)  

I am not sure where you got that impression from, but it is broken get a refund :)   The way to think of it is:   Raw is top of the pyramid.   From that there are ways to compress and mangle the image and none of them are as good quality as raw.   JPEG and TIFF have nothing to do with AVCHD or H.264.   In the post world, TIFF is for sequences of very high quality stills.   AVCHD is a consumer video format with H.264 inside, at 24Mbit for 1080/24p.   Cine Style, log, etc. is just a way to get a bit more dynamic range out of a crappy compressed image, with raw you don't need log, it is N/A and if you just want a flat low contrast look then you apply it to the raw image in post.

[media]http://vimeo.com/66206596[/media] The 5D Mark III is already a very capable low light camera. In its factory guise whilst not quite as clean as the Canon C300 or Sony FS100, it is the best DSLR for low light shooting (though the Nikon D5200 puts up a good fight). But that was before the latest developments with ML Raw. Has low light improved even further? [url=http://www.eoshd.com/content/10338/low-light-test-of-5d-mark-iii-raw-vs-h-264]Read the full article here[/url]

  I think that's understating the 5D's image. BMCC is still wonderful but it has a serious competitor here.   Some of the extra perceived detail in the BMCC's 2.5K raw comes from false detail. The 1080p on the 5D is much cleaner, and less noisy.   A good comparison would be to upscale the 5D's raw to 2.5K size and compare on a 2.5K display. I expect a bit more sharpness from the BMCC but is it worth it when the trade off is some false detail and more noise?   2.5K resolution is great and 5D3's full frame likely to top out at 1080p, but the 1:1 crop mode could yet reach it's full potential and give us nearly 4K from a Super 35mm sized area with a very fast card. The 5D3's DMA memory in the camera does 700MB/s! That is faster than any SSD and not a bottleneck.   I have the BMCC 2.5K and 5D3 with me now and will do some comparisons. Feel free guys to let me know your ideas for tests.

  No 7MB is for 3.5K raw frames. It is 4MB per frame for 1080p. Less than Blackmagic.   Situation with storage and media is similar to Blackmagic. Just get as much camera media as you can afford, then compress the raw in post to something more management like ProRes or CineForm whilst maintaining the huge image quality leap from straight out of camera H.264.   You've seen how good it looks to 24Mbit compressed H.264 from the Vimeo download! Still a big leap from Canon's video image quality even if you throw away the raw files.

Not tried HDMI yet whilst recording raw but will tonight. Seems like a doable option.

Ah good news, that is a new development. 7D would be interesting with those faster processors.

  Are you sure? Hmm. I've not seen any evidence they are working on raw with the 7D.   6D, 600D, yes.   BTW the Red CF cards are interesting but unlikely to be faster than 1000x.   Red Raw to those CFs was compressed. The 5D is doing uncompressed raw.

The 50 pin CF 1.8" SSDs I've seen are all slow for SSDs... 80MB/s or so. Anyone found faster?

  You can enter any resolution in the Magic Lantern raw module code. But I have not tried larger than 3.5K. The card isn't fast enough at the moment. 2560 x 720 is my limit. That is smaller than Super 35.   If we can get a sensor window that large, who knows what will be possible in the future with this hack!

What do you think? Reactionary timing?   http://***URL removed***/news/2013/05/14/canon-creates-video-camera-x-series-look-picture-style-for-movie-work-post-production     London, UK, 14 May 2013 â€“ Canon today announces the release of a new in-camera Picture Style pre-set for its range of EOS DSLRs. Created following direct feedback from video enthusiasts, the new Picture Style, called Video Camera X–series-look, enables users to capture EOS Movie footage with lower contrast levels, allowing for easier colour grading during post production processes.   Similar to that available in Canon’s range of X-series camcorders, the new Picture Style works by lowering colour saturation levels and contrast during filming. This makes it ideal for videographers during post production grading processes, especially if complementing with pre-existing footage shot with Canon’s X-series models, or alternatively for those who instantly want to add atmosphere to Full HD movies. In addition, the new Picture Style can also be applied to still images captured in RAW or JPEG formats.   The new Picture Style can be downloaded now from: http://web.canon.jp/imaging/picturestyle/index.html  

raw2dng was a command line Windows executable. Mac users now have this...   http://www.magiclantern.fm/forum/index.php?topic=5404.0   Simply drag and drop the raw file into the app, and it will output DNG.   I suggest next step will be to do compressed Cinema DNG (compatible with Resolve), that would be amazing.   Right now my workflow is to convert from DNG to ProRes in After Effects for editing in Premiere. The raw actually needs very little colour correction, mostly just a tint adjustment for magenta / green.

  You are looking at H.264 compression. It is good but not perfect. Maybe I should upload a 2GB ProRes file for people to truly get an idea of the quality.

Re-uploaded, totally new video     Some wide shots in there as well (24mm)   I'm blown away by this thing.

I really need to get back to Berlin tomorrow and compare to the Blackmagic.   I honesty think I prefer this image though.   Blackmagic is great but this - wow - it is silky smooth, much cleaner detail, no false detail or micro moire, hardly any noise at all. And still early dev code!

I'm only speaking for me really. Pocket Cinema Camera will find many pockets. I am keeping my pre-order open. The thing is, the 5D Mark III has stolen the Pocket Cinema Camera's whole reason to exist. Unfair as it might be, it also has a full frame sensor and very good stills.   Raw was the BMCC. No other reason to use one but image quality. 5D Mark III now gives us that and better.

The good thing is all the Canon DSLRs share similar code and DryOS, with only the dual-chip 7D being a bit of an odd one.   They will port raw to other cameras and explore how far they can be pushed, but currently the 5D Mark III has the most capable hardware.   1D X even better of course, but a big mouth Canon 'rep' warned them off touching it.

Depends on your needs, but I don't care about yours, only mine - and for me, that rules it all is the image.

Blackmagic still offer us Resolve 10, 4K and global shutter.   But the Pocket Cinema Camera and 2.5K Blackmagic Cinema Camera are history now.   I had my first proper shoot with the 5D Mark Raw today and the image is astounding.   Fine detail at C300 level, but raw. 14bit smooth gradation and tones. Colour out of this world. Dynamic range and latitude like a raw still. It is unbelievable.   Rendering footage now. Workflow involved converting to ProRes 422. The good thing is the raw is just SO GOOD out of the camera it only needs very minimal touching in After Effects before converting to ProRes for editing. I feel very comfortable deleting the raw masters as the resulting ProRes is just so good!

With raw the codec really is whatever you want it to be.   Just as long as you allow the time to transcode.   A laptop on location, an occasional break in the action, that is all that is required. It is like changing film in the old days. Yes it is a slower pace. Pros are used to working fast. I prefer the slower pace creatively.