Andrew - EOSHD

The Canon sponsored people are doing a great job of misunderstanding the technical aspects. Whether they do so on purpose or not, who knows? But it sure as hell is annoying.   Sensor Live view is powered by the CMOS sensor. The camera buffer contains raw data from the sensor. The CMOS constantly reads out this data to supply a moving live view image on the LCD. Video came about on DSLRs as the camera could also compress this raw video stream and save it to a card. Since the sensor is already doing raw video during normal live view operation with the factory Canon firmware, there's no extra heat or stress penalty on the sensor for raw video with Magic Lantern.   Buffer I think I read this is 512MB RAM at 700MB/s. RAM is also present in your laptop. It is constantly churching read / write cycles as you use the computer. RAM is designed to work constantly. It doesn't die through exhaustion like a mechanical part or the unfortunate Chinese worker who was tasked with making it in the first place.   DIGIC and card controller Digic is designed for complex tasks like compressing the shit out of our lovely raw video stream. Now it can sit back and do something else, because with raw, there's no complex computation going on at all as TC pointed out above. The card controller is a simple off the shelf chip designed to write to the card like your $10 SD card reader. It won't blow up. It doesn't have the brains to get too hot!!

  Heat occurs when you have heavy processing intensive tasks.   Copying data from RAM to a relatively slow compact flash is NOT processor intensive. It just isn't. Likely the buffer isn't even stressed, because it is running at less than a 7th of it's maximum transfer rate whilst it waits for the card to finish writing.   4k raw and 10bit... BM Production Camera. Hell may not freeze over after all, as long as there's no dirty glass over the sensor!!

The annoyance is, that the image is spellbindingly good, the technical achievement beautifully rare, the price accessibly low and yet Philip warns people off, waters down the enthusiasm, encourages people to spend $12,000 on a 1D C instead (it makes no sense!) and appears at trade shows to talk about it, for money.   That isn't indie filmmaking. It isn't even good advice.   Listen to the frustration in our criticism. It comes right from the heart.

  It's funny because it's true.

  EF mount even without electronics would make more sense to me as well.   I don't think they are doing it though.   It will certainly be in my feedback, if the Smart EF adapter is going to be a long wait. Don't think it is fair to ask people to buy a different Speed Booster for every lens they have whilst they wait for the delayed flexible Canon mount version.

  Absolutely. Never implied otherwise. For some, raw isn't suitable.

Does it leave a sour taste because I am being sour, or does it leave a sour taste because I criticised someone you like?   I suspect the latter.   Really, it is time for a more open and honest debate on the merits of our DSLR community leaders I think.

I like the image so much that I have decided to adjust my strategy for the cameras I shoot with.   Out goes the Sony FS100. That was my main low light tool but now the 5D Mark III with raw is that.   Blackmagic EF mount version will also be sold. I have the Pocket Cinema Camera and 4K AND MFT versions pre-ordered!! I don't need all of them and can use my EF glass on the 5D. I am heavily invested in Micro Four Thirds glass so will likely keep the MFT Blackmagic for a while. 4K and global shutter will be interesting on the Production Camera.   I need to clear out some of my other DSLRs. Nikon V2 don't need, got it for raw bursts! Amazing sensor technology, nice as a stills camera too (very good AF, very light, very compact, lots of other cool stuff) but now the Sony RX1 is by far my most compelling stills cam and it wasn't cheap.   Nikon D5200 can go too. Nice bargain but it's no longer competitive with the image on the 5D Mark III.   Canon don't deserve this, what a crazy situation.

  The camera has a thermometer inside and Magic Lantern displays the temperature on the LCD with global draw. I haven't noticed any heat problems yet, and with people doing 12hr continuous card tests for raw, I think we can safely say the electronics can handle it.   Raw takes less CPU power as it requires less processing.   When copying a huge file from a USB drive, does your MacBook overheat? No.   People don't understand the inner workings when they say damage will occur due to a software process.   One of the most obvious attempts to protect vested interests was from Michael Sutton earlier this week on Twitter where he claimed to have 'insider NDA knowledge' from a Canon engineer that the raw recording would damage the sensor.   Actually the sensor is constantly outputting raw when in live view mode with or without Magic Lantern. It is designed to do it, and to do so until the battery goes flat.

  Look at the guide again, I've updated it with links to the newest version of Raw2DNG which fixes the 2GB bug.

  This is what I believe.   Is it correct? Time will tell.

Haha. Well had to fill the empty space!   That is the Wooden Camera Cage. ReWo cage is superb but obvious by design does not fit the 5D Mark III. I have their 5D Mark II cage, will try that.   When the Blackmagic Cinema Camera MFT model does finally arrive, I'll keep it but I don't need the EF version any more now I have the 5D Mark III. Raw and image quality was the only reason I bought one.

This was a great week. It is the first time we've seen this kind of moving image from a full frame sized sensor in raw. A pristine 2K 14bit image that's like a 24fps digital film negative or a digital scan of Super 35mm. It's also a breakthrough for accessibility bringing raw video to many talents for the first time, when the only other accessible raw shooting cameras out there have been in extremely limited supply. [url=http://www.eoshd.com/content/10407/the-impact-of-5d-mark-iii-raw-and-what-does-vincent-laforet-think-of-it]Read the full article here[/url]

  This is the perfect adapter actually for the Pocket Cinema Camera.   Less blurry in the corners due to smaller crop sensor yet Micro Four Thirds mount.   Nice extra low light performance from your lenses.   Very compact and slim.   Can't wait to try it on the Pocket cam.

Indeed, well put, and he is better than Michael Bay. But then anyone is good when you put them next to him :)

Some raw files end badly. That one might be corrupted so it cannot be converted.   How large is it. 2GB plus?

  The headline is a question, not a statement, so I don't get this thing about it holding up or not.   In my opinion, he's a bit overrated.   His story telling is not a dying breed, it is stuck in the past. There's a difference :)   Far more innovative filmmakers around.

Is the stuff signed?   He has a god complex and sadly, now a flock.

The Speed Booster for Micro Four Thirds gives cameras like the Panasonic GH2, GH3 and Blackmagic Cinema Camera a Super 35mm / APS-C sized sensor using clever optics, in the same way that the E-mount version turned cameras like the Sony FS100 and NEX 7 into valid alternatives to full frame. As well as shrinking the image circle of a full frame lens to fit a smaller sensor, the Speed Booster lives up to its name by giving you a 1 stop increase in brightness so that F2.8 effectively becomes F2.0. I've been testing the Leica R mount version of the new Micro Four Thirds Speed Booster on the Panasonic GH3 and here are some of my early observations. Read the full article here

  So what? Leave them too it. There's also nothing wrong with being a hobbyist and experimenting. Even Kubrick began that way. You don't have to watch the tons and tons of raw test videos. Most of these people also shoot professionally or shoot their own artistic endeavours too. It's just that nobody ever watches those so they think the tests are all they do!   Once someone said to me (a rival well blogger actually) that all I ever shot were tests.   He came up to me with this crazy email rant, "you're just a tester, faffing around, not a real filmmaker like me!"   No... All he'd ever seen were my tests and he wasn't interested in the other stuff!   Be careful what prism one views the other through. It can be distorted.

It isn't that the focus is off. The background is more in focus on the BMCC because of the smaller sensor and less shallow DOF. That ain't hard to understand surely.   I used 24mm F1.4 on the BMCC, and 50mm F1.4 on the 5D Mark III to match field of view more closely.

  The 5D Mark III actually has better ergonomics than the $12,000 1D C for video.   You can make your life much easier by buying the right accessories and using the right raw workflows. It isn't a nightmare, just not dead easy like the C300 that's all.

  Not tried that resolution yet - gunning for higher with my 2x anamorphic and 1.5x Iscoramas. 1720 x 1280 seems sweet. No card speed issues until quite late in the recording. 1920 x 1280 good for only 5-10 seconds. They are working on optimising speeds. Higher resolutions than 1080p vertical are tougher on the card.   Wouldn't 1440x1080 be better for 2x scope? That is 4:3. 2x anamorphic would turn that into 2.39:1

  Because all that matters is that the aperture and shutter angle are the same on both shots. We're not testing the optical performance of the lens in this test, but attempting to get the same shot field of view and exposure on two differently sized sensors. Are you upset Blackmagic lost? Don't be. It is still a great camera in good light.

  Not unless you might need -   4K Global shutter Micro Four Thirds mount SSD media HD-SDI Resolve   Still a lot to offer.