tweak

I sold mine for half this about 6months ago... This is the most overpriced lens on the internet imo, I laugh everytime I see someone getting ripped off.

Oh yeah, it's there I know that haha. But often you look for it and see it when other people wouldn't even notice that. I mainly shoot sports and stuff without a lot of patterns and lines that effect it, so I'm not really worried by it.

35 f2 should be good for what you need. I also have mainly all f4is lenses and low light is a bit of an issue sometimes, I have vintage primes that are fast but no IS... 35 f2 is kind of on my radar as well, but it's not really a priority so I haven't scooped one up.

I wouldn't say the 24-105 is great either. I don't really like the wide end much. 35mm and onwards it gets better. But quality for me is similar to 17-55, obviously you get more light and a wider angle with the 17 so it's not really that comparable. I'd more compare the 17-55 with the 16-35is, which although slower is a much nicer looking image imo (but also doesn't zoom as far).

Nice shots and decent grade imo, but I agree with the above about the crushed blacks. It all looks very dark on my monitor and I don't see much information in the shadows. Besides that I think it looks pretty good!

Agreed. Somethings are obvious and talked about a lot whilst others aren't but are assumed to be... I think ML forums could really use a better structure and order for grouping of different questions/features across different cameras. Usually everything is in the one camera thread or just in some random spot you wouldn't look. They need a strict mod like Vitaly from PV to clean that place up a bit.

Yep a lot of people recommend it. I've found it's not essential to me, maybe I just don't notice the Moire or don't shoot things that would get it that much...

Yep. I think MLraw for my purposes looks best when I expose more for the shadows. So that means often a blown out sun and pink highlights. You can select that colour in Resolve and edit it away, but it's just a step I don't need or want to bother with.

Yeah I wondered why you bought a 50D as well... I did mention it at the time haha. He goes on to say more about it somewhere else and posted that other link to the settings that I shared earlier, I'm just not sure where that was... ML is so hard to dig up stuff you read about again sometimes.

I've seen a lot for this price in AUS (less sometimes), no one seems to want them anymore. 48fps is about 15seconds??? (if I remember rightly? but I'm not sure), but it's something closer to a cinema wide screen aspect, not 16:9. But the quality is good and you could crop back to 16:9 if needed. I don't use it much though as I don't use slomo much. Here I found the original page (member N/A) - https://www.magiclantern.fm/forum/index.php?topic=9848.850 ___________________________________________________________ 1728x692 48 fps slow mo. But wait a minute... When I play it back, the footage is normal aspect, no stretching required! I'm kinda running on no sleep in 2 days, I need someone to confirm this ASAP. I noticed when I set the cam to 1280x720 60p, and set the fps override to 23.976 exact fps, the liveview display was stretched vertically, so when recording it and playing it back records it in normal aspect! Timer A under 23.976 exact is 422 (FT -76). So I set the fps to 48, and Timer A back to 422. Mlv settings- 1728x692 3:2 GD Off Canon preview 256 MB warmup SRM On Hacks on 4 buffers Reserve on Global Draw off Expo override on Rokinon 35mm manual cine lens After messing with it a little bit more, the black and white levels get all wacky sometimes and the exposure is super glitchy. At first, I noticed this while testing out different settings in 640x480 mode, going to do some more tests soon as I charge my battery. :edit: Yeah definitely a bug in the fps override control. I just downloaded the latest nightly, same thing. How exactly does fps override cause LV to stretch? Or is this a new feature I completely missed?! :edit2: Ok, just figured out that this bug has been in the nightly since 7d fps override was implemented. :edit3: To fix this issue, Timer A needs to be set to 498 (FT +76) for 23.976 exact and 440 (FT +10) for 60 exact.

I had this lens before, now my Brother in Law took it. I wasn't a huge fan too be honest. It's an alright lens but by no means perfect or anything special. I'd rate it's quality below that of the 24-105 and wide open it's not super clean. Now I use 16-35 f4 IS, which in comparison is an amazing lens and has a great look to it.

7D Lexar 1066x CF cards. MLVFS + Resolve 14 Can shoot the full sensor continuous 14bit (very close to 1080p 16:9). Haven't had an issue yet. I think if you're on a budget this is by far the best deal. 7Ds can be had for about 400dollars, sometimes less even.

I would imagine it's pretty bad, probably similar to 7D. That being said I don't find it as big of an issue as everyone makes it out to be (especially in Raw).

Yep this is what I do. Just export to prores through DR14 if you want to convert (I don't as I don't see a need and would rather original quality files). This doesn't help if you need focus pixel fix though. @mercer Yep you basically have it worked out. You can just save MLVs as usual. All you need is all MLVs for your project to be in one folder, then you do a simple right click and mount the files in another empty folder on your harddrive using MLVFS, after this you can edit/select the files normally in DR. In this way you could also simply just export them all to Proxies or Prores or whatever you need. p.s. I noticed one big benefit of MLVFS over using MLRawviewer and for me that is - in MLRawviewer whenever I convert something with really clipped highlights it always makes them pink (like really pink), I read this was to try and save more highlight information? I'm still not sure though as it was hard to find a clear answer (not sure if 5D3 does this). I don't know if I'm stupid or it's just my setup or my camera but I could never get around this. It doesn't happen when I use MLVFS with original MLVs.

Well it depends what you are doing/needing I guess... Sure you could go straight from card or copy to a harddrive. I still think copying to a harddrive is way quicker than converting all those files (at least on my computer it is) and if you have the space it's nice to have the originals. With 5D3 lossless that will be less space needed as well now (I wish I had that). For me MLVFS is just a seemless workflow and it's a pleasure to use an edit with.

Yep it's not bad, focus pixel fix is the best part probably (previously no good solution on mac). I think MLrawviewer is still probably better in some regards. Ultimately though the best workflow is to use MLVFS+NLE, everyone should be using that if they have a semi decent computer (unless they need to fix focus pox).

It's a one off, a neat hack stumbled upon by one of the members on the ML forums (couldn't find the link). It's 14bit Raw. Lossless isn't a thing on 7D yet and I don't think 10 or 12 bit work properly either. 7D is the only camera to have this as far as I know. Almost all cameras you would want to shoot Raw with have a 720p 60fps mode (50d as some people use maybe not). 5D3 max fps is something like 67fps, not continuously obviously.

Do you know how to convert it into a Hardcore DNA as well?

You can get the 17mm FD pretty cheap sometimes. I think it's still one of the better vintage SLR ultra wides I've tried, there isn't many of them.

48fps Raw, no squeze 7D https://drive.google.com/drive/folders/0Bz5n0qYxIkVOMnJMeWhkU3pMVjQ

I don't think it's particularly special. Most vintage ultrawides aren't. But it's got super low distortion and can look nice depending upon what your going for. I'd say it's best on full frame though, kind of pointless on APSC or at least not that special.

You need to adapt to EF with Edmika adapter. Pretty easy to do, will cost 75dollars.

I have a 7D, you can record full sensor Raw in 24p continuously. You can also shoot in a 48fps mode in a wide screen aspect ratio without any need to desqueeze in post.

Those images look super nice.

All your lens are belong to us.