Andy600

It's amazingly sharp but TBH I don't see any of the nice aesthetics that you get with a 2x anamorphic. The lens flare looks a bit artificial, a bit 'Video Copilot-ish' to my eyes. I'm hoping they develop a 2x model now that we can record 4:3 raw video on the Canons. That said, it's still fantastic that SLR Magic are moving into anamorphics. I've got faith in them!

So it can work on APS-C cameras (certainly not full frame) but these adapters work by mounting the lens forward of the body on a kind of extension tube with glass to compensate (hmmm not good) and you can only use lenses with 2x extender mode engaged or it will vignette. Pointless and costly if you ask me. Plus, how would you power the lens? http://www.mtfservices.com/home.html?page=shop.product_details&flypage=flypage.tpl&product_id=110&category_id=2

My apologies. I was wrong in my assumptions. I knew it was possible of M43 cameras but it's news to me that Canon DSLRs can accommodate these lenses. Expensive adapter though :o

Good luck trying to adapt a B4 lens to the 50D. The only way you 'might' do it is to remove the mirror completely and even then I doubt it will work.

I know you're Mac based but have you tried raw2cdng? It can output 10-bit log Cinema DNG. It doesn't work properly on the 50D though because it needs black level higher than 2000. Not sure what the 5d3 is? http://www.phreekz.de/wordpress/2013/06/magiclantern-raw2cdng-cinema-dng/

Yes, totally! I proposed something yesterday that went a little beyond just a simple conversion app to circumvent certain issues and pull together the best algorithms for demosaicing, anti-aliasing and upscaling with real-time debayering preview: http://www.magiclantern.fm/forum/index.php?topic=7214.0 It met with mixed reactions on the ML forum but I think the idea is solid although it is a lot of work to pull it together, especially as it would need to be open source due to licensing/royalty costs. Maybe the proposed new Magic Lantern video standard will improve things and move the file format into the domain of 'must support' for the commercial devs at Adobe etc.

Seems no worse than on my 600d in general and definitely better than a rebel in 720p mode but when it happens it can be spectacular, especially with a tack sharp lens. TBH I've hardly had any bad shots though, just a woman with a busy shirt that looked like she was being eaten by a swarm of multicolor caterpillars due to the 'not-so-great' demosaic algorithm in Resolve. Sorted it with AMaZE in rawtherapee.

    The 50D does have an OLPF, 2 actually: http://www.imaging-resource.com/PRODS/E50D/E50DA4.HTM   FPS override is not binning frames. Any jerky footage you see is down to not conforming the footage to the correct FPS in post and usually shots look choppy when the shooter hasn't remembered to set the shutter speed correctly. BTW the 50D now has it's shutter timer controlled by the ADTG chip which is much better (only with Tragic Lantern 2.0 atm). I agree though about Aliasing and moiré can be really nasty. I've been experimenting with Rawtherapee as it's got dbl & AMaZE demosaicing. It actually works quite well and looks better to me than ACR can deliver. AMaZE does go some way to cleaning-up affected shots up but obviously, once it's captured, it's pretty much gonna ruin the shot. Nothing is perfect I guess. The 50D is my stop-gap body until I get the 5D3 but even so, it blows the rebels away. Haven't touched my 600D since I got the 50D. The 50 makes that feel like a toy.

The ETTR module is great but it is intended for stills. It dynamically alters ISO and shutter speed to push raw exposure as close to clipping without actually clipping to achieve the best SNR. You can use it for raw video of course but your shutter speed (and subsequently motion blur and cadence) will be affected. For raw video you should stick to using the the raw histogram with exp. warnings enabled.

Let me know PAVP and I'll raise it with the developers :)

The anamorphic de-squeeze ratios are hard coded in the display filter but I don't think it's too much hassle for a dev to add more if they are really needed.

I can understand their hesitation in supporting ML raw video at this stage but Magic Lantern (Unified V2.3) is rock solid and I would say essential to anyone filming on a Canon DSLR and who wants to get the best image possible. It's not just a hack, it's also an educational tool for anyone who plans to step up to more professional equipment (although a 5d3 shooting raw is right up there with the best IMO). If ever there was a 'no brainer' upgrade it's Magic Lantern! If only Canon would give g3gg0 and A1ex deeper access to the hardware I'm sure it would benefit, not just Magic Lantern users but all Canon users. The auto ETTR function springs to mind. It would be a very useful addition to any Canon camera's stock FW.

Great idea Julian. It would work equally as well with an iPhone etc although the GoPro footage would probably be better. Frame rates must match for it to work.

If you are an anamorphic shooter there is another important reason for using Tragic Lantern 2.0. It has display filters enabled with anamorphic de-squeeze letting you preview 1.25x, 1.33x, 1.5x, 1.66x and 2x anamorphic footage at it's intended aspect ratio. Very useful for framing. You can find it in the 'display' menu. note: It can be a little buggy and you may get the odd Error 99 using the feature atm which requires a restart.

Riccardo - 50d's are comparatively cheap and batteries are $10. I would be more concerned at the cost of CF cards for recording a concert :huh: I have a fairly useful workaround for the lack of audio. I use the delayed start (a feature only implemented in Tragic Lantern 2.0's raw module). I set it to 2 seconds (or 4 or 10) then hit record on my external recorder within those 2 seconds. Yes, it's not as useful as a reference track synced to the footage in-camera but at least I know I'm within 2 seconds (50 frames at 25p). For longer takes I'll still record H.264 on my 600d. I use a cheap as hell Kingston 600x 32gb card for H.264 and only choose raw for beauty shots. Even most pros will not consider shooting raw for interviews. There is always the upcoming Black Magic Pocket Cinema Camera to consider but my guess is that storage and battery life issues will be just the same. You can get a raw capable 50d plus batteries, a 64gb 1000x card and a cheap external audio recorder for the cost of a BMPCC even before factoring additional batteries and SD cards for the pocket cam. I still want one though :rolleyes: