Julian

Sample footage! shot some boring bricks to test for moire. Looks pretty good to me. I have the feeling it's better than the 5DII... Would have to check in a direct comparison though.

[url=https://www.wetransfer.com/downloads/9601255fb2b189b37b4b0d44cb0194c320130525170445/0fc5fb145e9213a3c61911886b4a751d20130525170445/70564c]Download here (WeTransfer)[/url]

Some exported sequences and some DNG files to play with. All the info in the readme.txt.

1592x840 @ 24 fps - Nikkor 50mm f/1.8 @ f/8
1280x960 @ 24 fps - Nikkor 50mm f/1.8 + Kowa B&H 2x anamorphic - Stretched to 2560x960 in Premiere
And a sharpened 1920x720 version of that last one.
 
I love this :D
 

 
Just need to order some badges... :P

I traded my old 5D in for a 50D and cash.
 
Got raw recording working. Tested with Sandisk 32GB 95MB/s CF.
1592 is the max width. Max reliable speed seems to be 50MB/s for me with this card.
 
Results (24 fps):
 
1592x1062 - frame skipping after about 50 frames (67.7MB/s)
1592x840 - frame skipping after about 480 frames (53.5MB/s)
1592x720 - no frame skipping (44.3MB/s)

1320x1062 - frame skipping after about 300 frames (56.1MB/s)
1320x960 - frame skipping after about 1200 frames (50.7MB/s)
1320x840 - no frame skipping (44.3MB/s)

1280x1062 - frame skipping after about 250 frames (54.4 MB/s)
1280x960 - no frame skipping (49.2MB/s)
 
Yes. That is a 5 year old dslr, worth about €300 (probably more soon, get one while you can!) shooting raw video without problems in a lovely 1280x960 ratio for 2x anamorphic :wub:
 
Will keep you guys updated about the quality, moire etc.

Raw is the 'raw data' from the sensor. The sensor captures light, translates it into analogue data then to digital. In order to create an image that digital data must be debayered and processed. Usually this would be done on the camera, but DSLRs don't have as powerful processors as a desktop computer, and need to process the data in real-time at 24fps or even 60fps.
 
Also when raw image data is compressed into a video file, or a JPEG still, it gets baked. It is like cooking a stake. It isn't raw any more :)
 
With raw video you do your cooking later, with all the flexibility to cook the original image in post. You can change and grade the image far more than you can when the camera has already cooked it for you in-camera, and served up a much less tasty dish.
 
The camera is a bad chef.

nahua, you're doing this wrong - you need to interpret your image sequences as 23.976, and set your sequences to 23.976. Then they will play back at the correct 24fps without any interpolation or repeated frames.
 
You can go a step further and go to Preferences/Import and set 23.976 as your default framerate so that new image sequences that get imported already have the right framerate.

That's because you are shooting in a flat mode, you have to expert the raw 'flat' as well. You are not going to get the same image you get on your screen, you get a raw file, the 'look' is applied when you convert the dng's. Use the histogram to expose your shots correctly.
 
On another note:
 
Someone wrote a cool windows app to generate quick proxies from the .raw files: http://www.magiclantern.fm/forum/index.php?topic=5557.0
It also unpacks all your raw files into different folders.

2x anamorphic trees 'n shit on the 5D Mark II at 1280x1080 - stretched to 2560x1080p. Details on vimeo.
 
https://vimeo.com/66855971

So, anyone thinking about the Sigma 18-35mm  F/1.8? 27-52mm F/1.2 !!
The lens looks big and heavy, and probably expensive, which defeats the purpose of my acquisition of the GH3 for general
lightweight-ness on rigs and travel... but man, would be a sick set, low light n' general use. 

Just checked, 1280x1080 works and the datarate should be safe. (around 53Mb/s). Don't have my anamorphics here, tomorrow I'll get to shoot!

Tomorrow I'm going to try what's possible with a friends 5D2 and 2x and 1.5x anamorphics. Hope to be able to shoot 1280x1080 so I can get 2560x1080!

x

Adobe Camera Raw doesn't indicate the bit depth. In the lower part of the screen you see the workflow settings, it is probably at 8 bit by default. That is just the setting used to import the image into Photoshop. You can click it and change it to 16 bit. If you do, the converted raw will be opened as a 16 bit file in photoshop and you can export it to 16 bit tiff for example.

LOL . . . The EOS 50D - an ancient camera back to life . . .
 

The problem with MJPEG is the CPU power to debayer and convert raw to JPEG inside the camera. That takes a hell of a lot of processing power. The easiest thing for the camera to do is raw! Not H.264. Not MJPEG. Not ProRes. Not anything. Just raw.
 
Saying the camera could do 2k 60fps in MJPEG makes no sense at all. The CPU would not do it. Also the sensor mode only goes to 60fps with a vertical resolution of around 670.
 
With the newest builds we are seeing a 16MB/s improvement in buffer write performance to the card and that makes 1440x540 possible at 60fps. Pretty nice. If you want to add a massive overhead to this lovely raw performance, the quickest way to do that is to convert o MJPEG in camera... It ain't gonna happen!

I'd say there's nothing in that F35 shot that the 5D Mark III can't match in raw.

Read the comments. This probably isn't as big as it looks like. They use some open source code, depending on the licence, it means they have to make it available again under the same licence.
 
Probably it's only the open source part of the code (or the modified part of it) that Samsung released. They can still keep the camera closed by not releasing their own code that isn't based on open source.
 
I hope I'm wrong though :)

OK let's see what you've got.
 
You are welcome to post footage in this thread.
 
I have also made a group at Vimeo which has the rather catchy URL of https://www.vimeo.com/groups/raw
 
Thank you Vimeo!
 
You can add any of your Vimeo clips to that group as long as it is shot with the Magic Lantern raw module on a Canon DSLR. If embedded video in this thread please use your original Vimeo URL not the Group one.

Hello everyone,
 
I started testing my 16F on my red one mx.
 
The 4k anamorphic mode is quite handy, gives the correct aspect ratio with the 2x squeeze of the 16f.
And it directly feeds desqueezed footage out of the camera no need for a monitor that has this function.
 
Tested on the 50mm and 85mm.
Need to see if it is possible to go lower.
It should be because there is a 3k and 2k anamode that crops into the sensor so I feel like even if 28mm shows vignetting at 4k, it might not at 3 or 2.
 
Here is the first vid shot with the 4k ana mode:
 

 
 
https://vimeo.com/66549568
 
 
This one was shot with the 4k widescreen mode, giving a wider aspect ratio.
And a close to 9k image when desqueezing horizontally...
 

 
https://vimeo.com/66459473
 
 

I bought a BIG century optics wide angle adapter in hopes of trying it out with my Kowa for B&H. Initial tests left me baffled because I could not get ANY kind of focus. Then again, it was a test-by-hand, wasn't very scientific. But I was a little bit let down. I should try it again...

2 people appear to be compiling it for the 60D at the moment, so not long to wait!

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.

"C Series and other cameras are what people should be focusing on"
 
I'm shocked, SHOCKED, that a man sponsored by Canon who's main focus in the last 6 months has been to convince the public that the C series is where it's at would speak against the mother of all hacks that completely undercuts the value of the C series of cameras. 

Thats 8/3 = 2.66
 
1280x1080 with 2x scope =2560x1080,  then scale by 0.75 for a 810x1920
 
The vertical rez would go through the roof :)

is this wide enough and sharp enough for you?? haha!
 
http://www.eoshd.com/comments/gallery/image/493-olympus-x08-wide-adaptor-isco-anamorphic-lens-fuji-55mm-taking-lens-nd4-filter/

Andrew wrote..
"Colour cast
I notice that noise in the shadows and blacks in general have a magenta cast if you have a warmer white balance and the magenta tint slider to the right but if you put the magenta tint slider back towards green, the warmer yellows go way too green for my liking. This could be a light issue rather than a camera one. Energy saving practical lights do give a green cast. The solution in post was to avoid anything higher than 3200k white balance – this was more keeping with the LED practical light I had for fill lighting in the scene any way."
 
 
 
 
 
Usually when developing RAW files, the magenta tint at the dark areas is due to RAW Black Point set at a lower than the correct value. Inverselly if the BP is higher than the correct we take green tint.
This behavior is because of the WB multiplicators which are almost always bigger for the R and B channels than the Green. So the result is excessive R and B components which combined gives magenta tint plus less contrast and the combination is magenta fog ...
 
Canon 5DIII's RAW Black Point (photo mode) is at 2047-2048. Same was the BP with the first gen DNGs by ML, those was not cropped and included the side "optically black" area where one can measure the Black Point value with RawDigger (and I did so ..it was 2047).
But ML tags the BP (DNG metadata) a bit lower at 2038. I believe this is an error by ML team and the BP should be 2047-2048.
There is a possibility that they chose lower BP to have the beneffit of lower noise (negative and positive deviations counteract) and better gradation at the darks ... and correct the resulting inbalance and lowish contrast with a LUT at a later stage (something that looks to me a very difficult task).
 
At the moment a user can change this tag in DNG exif (with exitool) or develop the raw with Rawtherapee and set there (in RT) the Raw.Black levels at +10.0.
 
BlackMagick went the other way .. set the BP higher (to clip what is mostly noise) .. thats why there was the problem with greenish tint developing the early DNG samples.

UPDATE: Full book now available - The EOSHD 5D Mark III Raw Shooter's Guide
 
Here's a quick and easy way to get raw recording setup on your 5D Mark III thanks to the recent Magic Lantern developments.

[url=http://www.eoshd.com/content/10352/easier-5d-mark-iii-raw-guide-in-4-steps]Read the full article here[/url]