HurtinMinorKey

The internal SSD should be okay, but it obviously comes with limited capacity. 7200rpm is just not fast enough for read times which require>150MB per second to see the raw 2.5K files in real time. I think the max read on the 7200 will be something like 130MB/s, so you will very close if you are working with 1080 from the 5D. But my guess is that you'll still see some stutter.

And even with that nice hardware setup, you'll still be bottlenecked by your storage read speeds when trying to edit raw in real-time. You really need a RAID array for editing.

I think we need to get off the whole PB thing. He's reaction was measured, and not really that controversial. His aversion to raw on the 5d3 is the same as it was for the BMCC, so he's been pretty consistent about the raw revolution (unlike some of the people criticizing him). He thinks it's great for the image, but huge a pain in the ass for the workflow, and that's unsurprising given the volume of footage he shoots.

Why is this? Is the card controller worse?

I remember when i saw the first demo video for the 5D3. That nonsense marionette bit. I remember thinking: "!@#$ 720 !@#$ NO upgrade !@#$@!@! What the hell is this !@#$?" I still want to see a closeup of someones face with the new hack. All i've seen is trees and grass so far.

It's almost counter-intuitive that Raw is more useful for the indie filmmakers than the pros. Raw probably does't offer much to people working on a set who can get the look they want with proper lighting and good monitoring. But the 5D3 upgrade isn't just raw, it's also an honest 1080, whereas the ol 5D3 was circa 900 mush.

Fair enough, but you said "...route of an artist rather than a commercial shooter." There it appears you are implying the two were mutually exclusive. I guess you didn't mean it that way, but my confusion is understandable, no?

    I agree. It appears the sensor isn't doing something that it wasn't doing already. High fps is what generates heat on a sensor. As far as I can tell, ML is just redirecting a stream that already existed to the CF Card. 

This is abject nonsense. Your "artistic" filmmaking helps your commercial interests as well. Your guides, they are commercial endeavors supported by your filmaking. All of your reviews that generate viewership for this web sight, is that art? Is Picasso's Guernica not art because it was done on commission? If you were some rich kid who could shoot whatever he wanted, whenever he wanted, would that make you more of an artist that the guy who spends his whole life working as a DP under some director?

  At this point, i think there is strong evidence that Canon gave ML the green light on this. And I wouldn't be surprised if Canon was actively helping ML.

  Remember, most of the people reading Phillips blog aren't pros. Hard ware is still a big bottleneck. If you shoot high volume, and you want to edit raw in real time, you are looking at serious upgrade costs.        You might be right about this. However, that will be determined by the quality of the content the 5D can produce. All we have now is a bunch of very promising test clips. 

  I think this can be said about most of us.      Plenty of people are sking him his opinion. It's not like he's going out of his way to dog the 5D.     How so? Does ML need his help? I'll be content if he keeps making funny videos about jibs for the rest of his life.   I obviously don't know all the details behind the scenes, but i wish you two would just get over it.

The overall quality of the individual shots wasn't the best I've seen, but you do a great job showing how improved the raw is over the original codecs, which i assume was your main goal. Well done.   The moire on the bricks was a little bit stronger than i expected, and how much did you sharpen in post? Also, was this full-frame or the crop?

He good at making shallow yet entertaining movies. Maybe I'm being too nostalgic(for TNG), but shallow and Star Trek don't sit well with me.  Furthermore, Star Wars was already turned into a shallow POS with EP.I-III, so I don't think he's the right guy to turn the ship around. 

And yet i still really enjoy his review videos... Let's not forget that he's has a much stronger preference for documentary style work, which makes the raw workflow even more cumbersome for him. So i can see why he isn't pooping his pants over the 5D or the BMCC. But at the end of the day he's pretty good at what he does. I'd take PB, in terms of skill, over Laforet or Shulburt.

I think many people have a positive association with film grain because it usually means the source is uncompressed (hence better image overall). But i'm not sure that I like film grain by itself, controlling for overall image quality.

  If that was true, then the focus in the foreground would be as sharp/sharper on the BMCC too, but it's clearly out of focus compared to the background. I'm not saying it was easy. It would be really hard to get the focus identical, or even close, at 1.4 on a full frame.   But i'm splitting hairs here. As I said before, I'd be shocked if the BMCC could hang with the 5D in low-light.

Is there any way to monitor while you are recording? Is the screen still blinking while recording?

You're kinda off with the focus on these two. look at your 1600 iso shots. The 5D has better focus in the foreground, the BMCC has better background focus. You can read the writing off the box in the background with the BMCC, on the 5D it looks like mush. The reverse is true, to a lesser extent, about the foreground. Nothing conclusive about that shot.   All that being said, i'd be shocked if the BMCC could hold it's own with the 5D3 in extreme low light. I'd expect that the 5D raw is the low light king.

I agree Andrew's latter point.    The improvement between the 5D2 and 5D3 was marginal. By all appearances, this hack single handedly bumped the 5D ahead a generation (or two). I have no doubt it will put the on-board codec in the c300 to shame in terms of overall image quality (in most settings).    How many times have so many people gotten this big of an upgrade, for free? It's certainly worthy of some hype.   As long as it doesn't end up fragging people's sensors(no reason to think that it will).

And let the record state that I'm cheering for the 5D3. I'll never put more hours into a camera than I did with my mkii.

  Correct me if I am wrong, but I thought each photosite has the same dynamic range for what it can measure in terms of signal. And if you are imputing DR by using multiple photosites, more photosites would mean more DR, not less, as your statement implies. 

I think a low-light test between the c300 and the hacked 5D would be fun.

  You forgot to mention that the BMCC also has a body of work that speaks for itself.     And which camera do you use? Exactly.

  If you looks at the actual raw files the DR advantage for the BMCC is clear.