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Well hello there EOSHD forum readers, I've just posted my short film, Axiomatic, to Vimeo. Shot with an older version of the 5D3 Raw hack without the audio component - remember when we had to reload the Raw modules each time after restarting the camera? Ah well...it still worked flawlessly and I cannot thank all the ML developers enough for what they unlocked. 5D3 raw is simply amazing. Spanish, French and English subtitles are available for whomever needs them and viewer discretion may be advised as there is brief nudity, violence and coarse language. However I tried to make everything as tasteful as possible. Hopefully you can take some time out of your busy day to view it and please feel free to share it with any of your friends or contacts that might enjoy some dark Canadian cinema. Kelly http://filmshortage.com/dailyshortpicks/axiomatic/

Magic Lantern RAW 14bit video. Graded in Davinci Resolve. Mostly 6D, very few shots on 5D3. Thanks for watching, Alex

Shot with Canon 5D Mark III entirely in raw. 1920x1080 25fps I used two sandisks extreme pro 160mb/s 128gb. I used canon 16-35 f2.8 L II and canon 70-200 f2.8 L II IS lenses. Smooth shots made with Glidecam HD4000. Graded with davinci resolve, edited with Premiere Pro CC. I didnt have any problem at all cheers

Hi all, New here! I'm a student hoping to get some feedbacks from the community here! Would like to share with you a video I made in Cambodia. The video is about the dreams of a Khmer. Hope I can get some feedbacks on improving it! Thank you!

Hi, Recently completed a new film 'A Hackney Notebook'. A big thanks to the guys at ML for creating a brilliant raw option with the Canon :-) http://www.benjamindcooper.co.uk/ahackneynotebook.html Thanks In the east end of London there’s a secret village, a place that defies convention and opens the mind. Where you’ll find pirates chopping wood alongside the canals, and Jazz players leading funeral processions through the streets. Where you’ll find voodoo grooms marrying queen of heart brides and pop up vintage stores selling yesterdays clothes. Where old meets new and new meets old, where white meets black and black meets white. In this village boundaries are pushed and comforts zones expanded. Somewhere in between the artists studios, cruzing grounds and 3 am rowing junkies, in between the dodgy deals, summer BBQ’S and late night lock-ins, you’ll discover something about yourself that you would never discover living anywhere else. Underneath the police helicopters, in the isles of the organic shops and in the latest pubs, trendiest bars, and cutting edge clubs, you’ll meet new faces and make new friends. You’ll find your other family. Hackney. Technical Specs Camera: Canon 5D3 (Magic Lantern Raw) - 1000x Komputerbay - 16GB . Lenses: Ashai Takumar 50mm 1.4, Nikon 50mm 1.8, MC Jupiter-9 80mm 2, MIR-1 37mm 2.8, Sound: Zoom H4N

Hello! I'm a student hoping to get some feedbacks from the community here! Would like to share with you a video I made in Myanmar. I am trying to highlight the happiness within the people despite the rapid development of Myanmar through this video. Hope you like it!

Hi! I'm new to the forum, and a recent purchaser of the EOSHD 5D3 RAW video ebook which has been great thank you very much! I learned about Cineform from the book, and at first glance it seems like a huge boon: smaller file sizes, fewer post production steps etc. But today after converting my first full 5D3 RAW video shoot with Cineform, I noticed it didn't seem to be as sharp as I expected. Let me briefly explain my old and new workflow and perhaps someone can tell me if I'm doing anything wrong: Old workflow: - Copy ML RAW video files to HDD - Point Rawanizer to the folder and batch convert all clips into a DNG sequence using the dcraw option - Import the DNG sequence into Adobe After Effects, using Adobe Camera Raw to apply some general grading, colour correction, sharpness etc - Drop the import into a composition and scale the composition to suit the length of the clip - Export to a DNxHD "DNX 120 1080p 25" encoded .mxf file - Import all .mxf files into Premiere for editing New workflow: - Copy ML RAW video files to HDD - Point Rawanizer to the folder and batch convert all clips into .avi files with the Cineform option (-422 parameter for the free version) - Import all .avi files into Premiere for editing - Apply grading and sharpening in Premiere As you can see, the new workflow has fewer steps, and I end up with much smaller files, which is great. But even before I apply sharpening to the DNGs in the old workflow, those images are FAR sharper than the ungraded Cineform files. It almost looks like the files are 720p not 1080p. I've attached a photo illustrating the dramatic difference. The Cineform is on the left, and the DNG is on the right. The DNG has had no processing done to it, this is how it looks with all ACR sliders set to their defaults. Can anyone help? Thank you!

Hello! I'm a video producer and i'll be getting a new camera anytime soon but i can decide on wich camera to buy or if i'm supposed to wait for a while. I'm trying to decide between a GH4, A7s, 6D, 5D3, and some others, more expensive like the C-100. Everyone of this cameras concerns me about some things. The GH4 concerns me about the lenses, the MFT mount. I have some canon lenses, nothing great or expensive, but i know they are easier to find, more versatile. And when i wrote to Metabones, asking about the speedbooster MFT-EF, they answered pretty rudely (i guess they get that question a lot). But i understand the superior image quality. The A7s, to me, it's one of the better cameras around, for it's price. I've been watching some "raw" footage of it, but i've been reading some bad reviews about it's color log and the workflow of editing/grading, regarding it's formats. On the other hand, i love the HDR and ISO. Regarding the Canons, i personally think they're more versatile cameras, but the image quality is getting ofuscated by these new cameras, maybe because it's been 2 years since Canon doesn't make any announcement on new equipment. Sometimes, i'm more inclined to buy a Canon for it's flexibility, a GH4 for it's easier workflow, and now, i'm kinda blind by the A7s. But always something turn me down, idk what to do, if i buy one of these, if i wait for any announcements, i'm getting crazy! What you guys think? What would you guys buy today or why wait a while. Thanks!

Hi, I am in photo and video since a few years and I had a lot of cameras : fuji XE1, XPRO1, canon 5D2, ... Since a few months I have nothing, and I watch the market which is changing a lot and want to invest in a system for a long time (lenses, accessories, ...) because I am tired to change everything each time. I am gonna give you what I shoot, and then my pros/cons for each and then you can tell me your point of view ? So I shoot 50% stills (Mostly landscapes and portraits). Exemples of shots : http://500px.com/loup_f What I basically need as lense is a or 16-35 (full frame) for landscapes and a 85mm for portrait for exemple. And 50% videos. My videos are only travel videos. When I go somewhere, I shoot and make a video of the trip. For exemple, my last trip in California : As you can see, I do a lot of timelapses (with the same lens as the landscape stills one) and basic shoot of people and streets (for exemple the 16-35 at 35mm would be fine, or with a 50mm). I also do paragliging and sports, so here it's a bit special. I use the gopro but wouldn't mind using the body in the air (lens with IS necessary here). Also, I like to spend time on edit. So I like the RAW possibilites. Now about the cameras: I just purchased a 5D mark III used. I made a good deal (200eur under normal used price) and I have it with the 24-70 that I don't like (not wide enough, not long enough, not fast enough (2.8) so I prefer primes^^). If I invest for the 5DIII I am going to buy : a sturdy carbon tripod, a glidecam, the new 16-35mm f4 IS just released (for landscapes and video), and a cheap 85mm 1.8 for portraits, ND filters, canon flash and so on. So as you see I don't want to buy all of this and then have to sell everything in 6 months because A7S is much better ... My dilema is : Should I keep 5DIII invest in what I said or just use it with the 24-70 2 months and then sell it and go for A7S ? My pros and cons : 5DIII pros: -RAW for video : big pro for me -Cheap lenses used (yes not the new 16-35 which will be 1199 like the sony one) but for exemple 270 for the 85mm. -pro body, resistant, nice to handle -price and value: got it for 1800 used / A7S is gonna be 2500 because no available used. Not a new body so value is going down slowly now. 5DIII cons: Big and heavy for travel No cool slowmotion (FHD 60fps and 120 fps like A7S, I use a lot slowmo) Dynamic range A7S pros: size - wheight : big pro for me slow motion : big pro for me DR for landscapes : way better than 5D here A7S cons: New body so pay full price and value is going down quickly No Raw video Lenses price : they are new only, the 85mm will be like 1500usd ... So a bit shitty. Conclusion For photo they are both fine (slight edge for A7S with DR for landscapes and timelapses) For video 5DIII has raw advantage and A7S has slowmo ( I don't use external 4K) A7S has size advantage and 5DIII has price advantage (due to the fact I got it used, and lens used as well) For future, for the moment I trust more in investing canon system (for exemple when 5D4 is out I get it and keep the rest) as Sony is changing system all the time like crazy. But I might be wrong. Sometimes I tell myself I should just get the sony RX100 III (slow mo, 24-70 5 axis IS, ...) such a convenient camera. But I am affraid it is only a "compromise" and will be frustrated by results (lack of bokeh, dynamic range for timelapses, no ultra wide angle...) So according to my conclusion and use what do you think ? Thanks for reading

I'm just kidding! I'm not a professional, nor do I know the significance of all the trends in the film world, because I upload basically to YoTube. I do know that when I look at the footage from the GH4, yes it looks sharp, but that sharpens makes it look more like video to my ignorant eyes. If I owned one the first thing I would invest in are some Tiffen softening filters..... seriously! It also looks compressed as opposed to 5D3. The 5D3 looks smooth and creamy, and spacious compared to the stark sharpness of the GH4. I always associate sharpness with video, and smoothness with film. Perhaps pixel peepers get excited, but your average Joe or Jane, is gonna prefer the 5D3 I think, or they won't have an opinion one way or the other. Also, when was the last time your employers asked for a GH4? I've heard from others that people ask if you have a Canon 5D, to get the job. Super sharp video that's not so good in low light? Hum..... Anyway, Just had to get that of my chest, now back to the topic of how superior the GH4 with the tiny little sensor is.

The Northrup video (thanks KarimNassar for posting) got me thinking about the following math to match a crop sensor to an FF sensor camera (this was also helpful: http://www.josephjamesphotography.com/equivalence/#introduction ): Multiply the focal length by the crop factor Multiply the f-stop by the crop factor Divide the ISO by the square of the crop factor The first two equations deal with the difference in scale. The physical aperture (light opening, "entrance pupil") will be exactly the same: Given: f-stop = focal-length/aperture-diameter aperture-diameter = focal-length/f-stop GH4 Lens: 25mm f2.8 5D3 Lens: 50mm f5.6 GH4 aperture-diameter = 25mm/2.8 = 8.93mm 5D3 aperture-diameter = 50/5.6 = 8.93mm Thus, the aperture diameter or entrance pupil will let in exactly the same amount of light. The 5D3 sensor has a focal length that is 2x farther from the entrance pupil, and since the sensor is 2x bigger, it captures the larger projection of exactly the same amount of photons. Since we've spread the projection of photons out with a 2x larger area, the sensels will get 2*2 (area) = 4 times less light than a 2x crop sensor. So, we have to boost sensor gain 4x to match the crop sensor. Now, if due to manufacturing or technology advantages the full frame sensor is more sensitive per sensel vs. the crop sensor, then a 4x gain boost to match cameras won't be accurate. FOV and DOF will be exactly the same regardless of sensor technologies. The only differences will be sensitivity, noise, and color characteristics. After starting with a 5D Mark II, then going to a 5D Mark III, then adding a FS700+SpeedBooster, I began to suspect that there was nothing inherently special about FF. After reading about and understanding this math and physics, it's clear that there is no mathematical or physics-based advantage (in terms of light and photons) to FF over smaller sensors. Only when a larger sensor can be made more sensitive, less noisy, and/or provide improved color processing can a FF sensor perform better than a crop sensor. The main reason the 5D2/5D3 became so popular was due to Canon's superior color processing. The 5D3's softness combined with low aliasing and excellent color processing for skin tones helped make it very popular as that is similar behavior to film. The ARRI Alexa has the best color processing and until the Dragon was released, the most dynamic range (not clear yet if the Dragon has matched or passed the Alexa, however it does an excellent job with skintones). If we consider the SpeedBooster, using the same lens on both cameras, so the entrance pupil is the same size and the focal length is the same, then we'll have exactly the same FOV and DOF when the focal reducer shrinks the image circle down to the crop sensor. This means the f-stop is not changed, just the t-stop (the SpeedBooster for Canon EF to NEX is really a 1.1 crop, however the bokeh was nearly the same in testing between the 5D3 and FS700 with the 24-105mm F4L lens). This is one case where the smaller sensor has an advantage: since we're shrinking the photon projection area, we are increasing the amount of light to the sensor (thus gaining the ~1 stop of light increase in the EF to NEX case). A current market advantage for FF over 2x crop is that there are more fast lenses for FF. We had to get a Voigtlander 25mm F.95 to come close to a 50mm F1.4 on FF. We'd need a 25mm F.7 to match the 50mm F1.4's entrance pupil size and thus bokeh. To match the 50mm 1.2, we'd need a 25mm F.6! Other than available/affordable lens choices, sensor technologies and color science, there's no mathematical or physical advantage to FF over crop sensor cameras. The noise characteristics of the GH4 are finer and nicer than the 5D3 and FS700 in low-light testing so far. The detail captured by the GH4 exceeds the FS700 (and slightly passes the C100/C300 (for 4K downsampled to 1080p)). 5D3 RAW still has the nicest skintones, however we're still learning to use the GH4. Understanding that there's nothing magical about FF got me more interested in giving a 2x crop sensor camera a try- so far the quality is impressive.

Hi guys Ive been trying to combine c100 footage which is crisp next to 5d footage with 85L which is beautiful and doffy but not very sharp. Here is the video http://www.philwittmer.com/#!John-Amelia/c10u6/20453556-BEFD-4BE6-8C19-A5FE56F7B5FD The full frame 5d is great for portraiture and the c100 is great for a filmic look. I tried to embrace that difference by having the crop bars mainly on the c100 footage. What I would like to try in the future tho, so i dont have to change cameras. Is using the letus anamorphx adapter on the 85L (or even the sigma 18-35) to widen up that field of view which starts to bridge the gap of field of view and dof you get on the full frame what do you guys think? cheers Phil Wittmer philwittmer.com Sydney Wedding Videos

Hello everyone, I just installed Magic Lantern on my 5D3 last week. I have been doing some test shoots with it, but I keep coming up with this vertical banding. I have looked all over the place to find a solution, but can't seem to pin one down. I don't know if this is a problem within my camera, or the program I used to process the RAW image to CinemaDNG. Any suggestions would be incredibly helpful. Thanks!

Drop an MLV on the application and you can view the MLV with sound in real-time. Press E to encode to ProRes HQ (10-bit 422): http://www.magiclantern.fm/forum/index.php?topic=9560.0 (no GUI- all keyboard commands). I've been using ACR and AE with other workflows (mlvbrowsesharp etc.) resulting in a 175Mbit/s 10-bit 422 DNxHD file for editing. The final quality has been excellent, however the workflow was cumbersome. mlvrawviewer uses the AMaZE algorithm to deBayer with excellent results (paused and when exporting to ProRes: live playback with bilinear on GPU is also decent). While there's no Bayer sharpening or denoising options in this workflow vs ACR or Resolve 10, I am impressed with the quality and time to process files directly to ProRes HQ (tested so far on my MBP laptop- will work well for on set processing). As the 14-bit ML RAW tools improve, the 5D3 is indeed becoming a baby Alexa B). Great job everyone involved!

This movie was shot for the Austrian instant36 film festival within 36 hours.   http://vimeo.com/67071564  

FS700 + Speed Booster cut with 5D3 RAW and iPhone 4S [video]https://www.youtube.com/watch?v=D6NKjnKPAU8[/video] Vimeo (HQ 1080p available for download) https://vimeo.com/67540334  

Hi everyone,   I'm posting this because I think it will genuinely be of interest to at least some of you, and I'm really hoping it isn't considered spam, because that is definitely not my intent.   I'm a DSLR filmmaker and I developed a cool little widget thing that I'm now making available via Kickstarter. It's called the Multiplate and it stays on your camera all day long, and lets you mount things like a monitor, 15mm rods, follow focus, matte box, handles, etc - without having to switch out to a totally different configuration. Just attach the pieces you need, take off the ones you don't and carry on shooting.   [attachment=500:The-Multiplate-sm.jpg]   There are only 10 days left on the Kickstarter and we're pretty close to the funding target. Take a look (http://www.kickstarter.com/projects/1822814480/the-multiplate-the-dslr-filmmakers-essential-mount) and see if it's something you might be interested in helping make a reality.   Thanks!  

Well after working with the new Canon 5D Mark iii a few times this weekend I have to say for me, its a hell of a lot better hands down then any other Canon DSLR, except for the 1DX because I have not had the time with that camera to really tell. I have to wonder though about the HDMI out update that is coming. I'm now looking at buying a 5D3 soon but would like to know what you guys think this upgrade will bring. One other thing is why is in April, could we see maybe the new 7D with the same function at the same time. Will we see 60p added? Will the HDMI add more detail, I know most of you will say no but maybe Canon will add some code that will allow more detail in clean recording off the HDMI.  So if any of you care to read this is what I think of the 5D Mark 3. Im an action sports photographer and also now starting digital cinema work. I own just Canon DSLR and GoPros but I have buddy's who own other cameras and I have used them. They include the RED Scarlet and Epic, Sony FS700, Nikion D800, Canon C300, and Canon 1DX. Let me state this also off the bat, I don't believe we need 4K right now but it is coming and will be the main thing in 5 years time. Canon is going to have to step it up if they want to fight with other cameras. So first is the big fact that I was worried about, Detail. Well we all know it lacks in detail but can be sharpened up in Post to look cleaner, the clips I shot I did this on and it works great. Also I shot 1080 30p and 720 60p both in ALL-I Codec. On my 17 inch laptop the clips look fine and most people loved em. When then sharpened and put on a 65 inch LCD. I thought wow. That looks clean when sitting about 7 feet away. So really this isnt a problem to me. The RED and Sony FS700 are better no doubt but really not huge to me ( of course 4K is nuts on the RED) Also for the people out there that are comparing this to a T2i and saying its the same in good light, well kinda but once you go into post and sharpen it and color and finish. The 5D for me kills the 7D and t2i. Next would be the Camera it self, Its built like a tank in my mind. I have no problem putting it in the dirt and shooting motocross or Off Road Racing. Its feels great in the hand when shooting photos which I wont go into detail but the photos are amazing and has huge upgrades, this is the main reason for me to buy it. The focus and ISO is just wow. When shooting this weekend we had an LCD viewfinder and a 5 inch HD Screen on a DSLR Cage. Both are good but depends on you and what you are doing. The HDMI out at the current stage helps alot with focusing. For me I loved the Camera in a Cage with Screen on top that you can move around. We even said if the HDMI out is great we can get a Black Magic Shuttle and just mount it on the Cage in this set-up and then run the HDMI out to the screen and still have a small set-up for moving around.  So one other thing I want to say is that everyone is saying why get a 5D when you can get a Black Magic Cinema Camera. I'm not saying anything bad but for me the 5D is better, also I see alot of people saying its great for 3 grand, too bad its just like a RED at 3 grand. In order to get one really going it will take 6 to 8 grand in my mind to make one work. I've also seen the footage and yes while its RAW and amazing to some. I dont have time to edit RAW for every project we do and I don't have the storage for the Uncompressed. Now if Black Magic can buy Cineform or make a compressed RAW , add 60p , and fix the firmware with what much of Philip Bloom said, then I can see my self getting one.  So all in all, I love the new 5D. Its light powerful and a great film making tool when you need to run around and carry all your stuff in a back pack or travel light. The images after grading are great. Here are the full settings we used most of the time so you can get a idea. 1080 or 720 ALL-I, all 720 was upscaled to 1080p CineStyle Pic Style Our shutter was faster then most at about 1/200 or around there.  Iso was about 100 160 most of the time for film.  If you have any questions just let me know. If you disagree I would love to hear why just to get a different view on a subject.

Arghhh! I'm getting some crazy red lines in different parts of the footage when shooting with a brand new 5d3. They tend to be in darker places but not confined to low light shooting. You get about 5/6 short red lines appear in a patch together and when you move the camera around, they stay with the subjet. I'll try and get some footage uploaded. Any ideas? Uploaded a clip: http://www.chrisdaviesphotography.com/Other/Videos/25378079_DKGgL7#!i=2087842556&k=6DcbD6T