Deadcode

Could you please upload this image somewhere? i wanna try the same thing like you did. I think your SLOG grade is off, im curious if i can match exactly to normal profile then can i see any difference? if your explanation is correct we must see huge difference in tonality if the slog is perfectly matched to standard. But i think there wont be any difference, we will see.

ISO100 is the minimum ISO on Canon cameras. Anything below is digitally pulled from ISO100. Long time ago before raw recording these values gave you better roll-off in the highlight when you recorded in h264. With raw recording only analog gain levels are valid. So 100/200/400/800/1600/(3200) anything in between or higher are digital ISO values. if you put the files in davinci resolve they have the same "brightness" as the analog ISO which used as a source to push or pull. So there are no magic if you are trying to use ISO160/640/1250 which were the magical low noise ISO values before the raw era.

On paper 8bit Slog is total garbage. In real world situation it's very handy. Andrew created a very nice A7s Slog2 vs 5D3 MLRaw video long time ago and the result were quite pleasing. He was blown away by the results too.

at HDR raw video the camera sets different ISO for half of the resolution. For example ISO100/ISO800 will increase the dynamic range about 2.5 stops. the overlapped region is full resolution the highlights and the deep shadows are half resolution with some aliasing. works perfectly for stills, but in video the resolution is a little bit low and the post-process takes ages (it creates 20 bit raw)

i have a question which is just partly related to the original topic. If i record ML raw with my 5D2, am i able to create proper HDR footage out of it? i know it's limited to 11.7 stop DR and HDR requires 15 EV, but HDR is just a tonemapping right?

I think in 8 bit recording you have certain amount of color represented including max saturation. With wider color gamut you have more visible colors (for example when viewing raw image on Adobe RGB display) and more saturated colors possible. If you want to represent wider color gamut then rec709 in a rec709 container you loose tonality. Which means if there is a green apple on the table and the left side of that apple is "more" green the the right side, with this "compression" the apple's saturation will be the same for the whole apple after the recovery. But this is just my understanding from this awesome article

10-12-14 bits possible only 12 bit compressed can give you smaller file sizes, but in 10 bit compressed the file sizes are bigger! (because the way the whole think was implemented) I think you have to select 24p in the normal canon menu or you have to use fps overdrive in ml menu

if your goal is to grade for rec709 display you are not loosing any color informations, because 10bit slog contains all of what can be represented on a rec709 display. And yes, probably not the "compression" is the best word here This is a good representation in Andrew's EosHD Pro color what happens when it needs wider color gamut than REC709. With S-gamut yes there are fewer steps but much wider range of color can be represented.

You are correct. SLOG wastes color resolution if it end up in rec709 container. SLOG2 S-gamut is designed to emulate wider color gamut then Adobe RGB, but it's compressed to REC709's color gamut. So if you are using a LUT to recover the full gamut there will be "gaps" if the recording was 8 bit. (so most of the consumer Sony cameras doing this) If you are recording 10 bit SLOG2 S-gamut it's not limited to 16,7 million colors and we no longer talking about the limits of rec709 If our goal is to represent the final footage on a rec709 display we have much more room to shift the colors and luminance in our footage the way we want. Most of the time you cant notice the difference in compression just the noise levels are little higher. So i think it's worth to use SLOGs but not at all costs and not in all situations (i mean in 8 bit, if i could record 10 bit, i would record slog all the time)

S-LOGs are designed to compress the sensor's dynamic range in to a compressed codec to save disk space compared to raw. Slog supposed to be recorded in 10 or 12 bit and it's designed to be colorgraded in post. Colorgrading is much more than a simple "put a lut on it". If you record SLOG2 because someone said it's good, then put a REC709 lut on it you are wasting precious color information like you said. But if you do proper colorgrading it's much more important to have the scene's full dynamic range with full tonality (in 10bit) I would not call SLOG3 "dated". It's very close to the HDR standard, and if i remember correctly you can make SLOG3 footage to HDR with a simple LUT.

5D2: 1856x1044 24p for about 17mp before buffer fills up (70MB/s write speed) 2144x1076 (2,61x crop) 24p 10bit continous moire/aliasing in fullframe mode 5D3: 1920x1200 30p continous with 10 bit 3K continous with compressed raw no moire or aliasing lower noise double price.

There is a lossless digital zoom in both 1080p and 4K. In 1080p it's garbage, but in 4K 1x-2x zoom is stepless, and perfect quality. In 2x mode the noise kicks in at 2 stops lower ISO values (1:1 sensor crop instead of full sensor oversampling) , so at ISO1600 things starts to get noisy. BUT the rolling shutter is much better in 2x AF perfectly works with digital zoom too, just tested yesterday, with 50mm F1.8 OSS in 1,7x (so FF equialent roughly 125mm F4,5) , facetracking worked perfectly with a walking couple.

The most annoying scenario if you are shooting wide establishing shot with lot of fine details. With the following settings you can greatly reduce aliasing and moire: - shooting with closed aperture, at F22, diffraction is a good thing here - 1/50 shutter also helps to blur the aliasing while the camera moves - chroma channel blur can greatly reduce the moire, but also lowers the resolution of the color - poor codecs can hide the effect of the moire, so youtube's poor quality gives a little help You can see an example on this link , please download the footage before watch

Dont get too excited, it is really on early stage of development You have to add the compressed raw branch to your nightly build from the experiments section . You can brick the camera so be careful Broken live view, no sound recording. But yes 1728x1156 can be continous Compression is good with 14 bit, working with 12 bit, and almost useless with 10 bit. I mean you wont get much smaller file sizes with 10 bit + compression (because the way the 10 bit implemented and because how the compression works, it's a hard to read article from A1ex)

Here you can find a raw calculator to find out the recording times. Higher then 30p recording is only possible if the body knows higher framerates out of box 1920x816 60p is possible with 5D3 for a short amount of time

If i remember correctly it's working with EosM and 700D and 5D3. Others have missing registers for the process, if im wrong stephen will correct me Lossless RAW compression forum discussion

On Digic 4 cameras the 10bit/12bit raw mode is corrupted in full sensor mode, every other image is pink. reddeercity in ml forums is working hard to solve this problem with his 5D2. In crop mode all of the cameras are working in 10/12bit, they just need a little black level adjustment with exiftool (or maybe this is solved with the last MLV DUMP?) The secret of the 5D3 4K is not just the 10/12 bit mode but the new lossless raw compression feature. It's possibile to use 14 bit raw mode with 54% compression rate which is more effective then the 10 bit mode alone. It can be combined with 12 bit to get even smaller file sizes (or higher continous resolutions). The strange thing is with 10 bit the compression is not that effective. The downside: the live view is unusable right now if you use compression, and the recording could stop if the image information exceeds the card's max write rate. So the efficiency of the compression level is flexible. 3,5K continous recording is possibile if you are using higher ISO values (lower dynamic range, less steps in the highlights, more compression possibile) with the 5D3 such as ISO800+ The MLVFS just updated few weeks ago to handle to compressed raw The compression is an original canon feature and it could work with any camera from 5D2 through 600D but it's in the alpa stage in development right now.

Do i read in another topic there is a complain that RED Weapon's 8K is too "sharp" and you complaining here that a 300 eur camera is too soft even if it's shoots raw? i know, your iphone 7 has better resolution and log with filmic pro... You should read the article...

Everyone is waiting for the reveal to tell AFTER that: "5D has waaaay better colours" :P Awesome job hyalinejim! I hope some day you will get a Sony camera in your hands!

5D2 RAW 3K Thread reddeercity is trying to implement adtg settings to Digic4 cameras, especially for the 5D2. He is not there yet, but the camera is capable to compress the raw data in camera which is one of the requirements for the higher resolutions. 10 bit is only available in crop mode right now (2144x1076 30p continuous raw with 2,61x crop factor) Matematically the max continuous resolution could be 2736x1164 (2,35:1) at 23,976 fps in 14 bit, with 2,1x crop ratio at the 5D2 if everything works, but it may take another couple of weeks/months to figure out which registers have to be changed.

1st: buy EosHD Pro Color 2nd: buy ReelSmart Motion Blur (but a Fotga VariND might be cheaper to buy...) 3rd: buy wide lenses, because you have to shoot in APSC crop mode to get perfect quality 60p with the original A7s

I think it does not degrade video quailty with consumer level gear. With every booster the sharpness is better with booster compared to normal adapter with the same lens. I dont understand what you mean with highlights/shadows, it's inappropiate question, this is not a 10$ plastic adaptert. You can see a comparison here where i tested the 5D2 + 50mm F1.4@1.4 vs A6300 + boosted 50 F1.4@1.0

I 'm using this Viltrox speedbooster with A6300 and with Canon 24-105 F4 IS USM, 50 1.4, 70-200 F4, 17-40 F4 The good: Image stabilisation works perfectly, aperture change from the body works perfectly, FOV is almost fullframe, i have infinity focus even with the 50 1.4. Fairly usable AF with 24-105, 70-200 and 17-40 in photo mode. The bad: dark extreme corners in photo mode (in video mode it's cropped out due to 16:9 sensor crop). AF cant lock with 50 1.4. Very rarely the adapter cant recognise the lens (on/off solves it). In video mode none of the lenses above can lock focus, just hunting. For the price the adapter is awesome, works really well with canon lenses (if you used to film in manual) and working IS! If you want to take pictures you can use AF with some of the lenses with a little corner shading. In conclusion i recommend this adapter, and i really like it.

Really nice video, thanks for sharing! Please post some video footage with the adapter. I know you are not satisfied with the video quality of the original A7 after shooting such a good cameras like Red, BMC, A6300, but everyone is waiting for how the medium format video look! Im really curious how the "look" differs compared to a bright FF lens. For example background blur rendering, 80mm F4 with Kipon speedbooster vs Minolta 50mm F1.7@2.8. Roughly same fov and DOF.

Could u please tell us what gear you used? My favourite scenes were the 3rd scene where the rich guy gets the box. Nice frameing, great lightning, beautiful colors. The beach close-ups were also really good. At the first story scene the low light pushed the camera to the limits, but when you turn on the lights in the van, it's awesome too. I like the sound mixing even with the minor slips. So, what gear did you use with the BMPCC and the T3i? 50mm 1.4? Speedbooster on BM and sigma 18-35? Sound?