It lives! 5 year old $350 Canon 50D becomes raw cinema monster

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Avoid the inevitable price rises and buy your 50D now on eBay

It seems the 50D is the best Super 35mm DSLR for raw video from Canon.

The sensor resolves very clean highly detailed raw video with hardly any moire or aliasing, at a higher quality than the Rebel lines does.

Read moreIt lives! 5 year old $350 Canon 50D becomes raw cinema monster

Magic Lantern 5D Mark III raw video and camera reliability

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Image by Daniel Schweinerr (5D Mark III SSD attachment research)

The EOSHD 5D Mark III Raw Shooter’s Guide – book now available

Raw video recording on the 5D Mark III has been met with an overwhelming reception from users and a fantastic reception from most pros. Some are more guarded as they think their camera will blow up. What are the facts?

Read moreMagic Lantern 5D Mark III raw video and camera reliability

Canon 1D C vs 5D Mark III Raw (and C300 / GH2 resolution comparison)

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This test was conducted jointly with my good friend and neighbour Rudi at Slashcam – you can read his take on it in German / in English.

In the battle of the 1080p cameras, the game has changed. Here’s how the 5D Mark III in raw recording mode compares to the best 1080p output from the Canon C300 and 1D C.

Read moreCanon 1D C vs 5D Mark III Raw (and C300 / GH2 resolution comparison)

2.5k CinemaScope anamorphic raw on the 5D Mark III

Get the EOSHD Anamorphic Shooter’s Guide for a comprehensive guide to anamorphic lenses, which ones to use, how to get them and how to shoot

Download the 2.5k 2560×1280 Vimeo file and playback on a 2.5K or 4K display for best results

Download a pack of DNG frames from the original raw files to judge quality

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The spec sheet is impressive. 14bit linear bayer raw is sub-sampled from a 6K sensor, giving 1280 lines of extremely clean resolution with an anamorphic compliant 4:3 aspect ratio.

This is in a similar league to the image quality of the Sony F35 (Superman Returns, Tim Burton’s Alice In Wonderland) which cost $250,000 just 5 years ago.

Read more2.5k CinemaScope anamorphic raw on the 5D Mark III

The impact of 5D Mark III raw video and what does Vincent Laforet think?

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This was a great week. It is the first time we’ve seen this kind of moving image from a full frame sized sensor in raw. A pristine 2K 14bit image that’s like a 24fps digital film negative or a digital scan of VistaVision. It’s also a breakthrough for accessibility bringing raw video to many talents for the first time, when the only other accessible raw shooting cameras out there have been in extremely limited supply.

Read moreThe impact of 5D Mark III raw video and what does Vincent Laforet think?

Metabones Speed Booster for Micro Four Thirds – First Look and GH3 images

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The Micro Four Thirds Speed Booster for Leica R is now in stock at Metabones!

The Speed Booster for Micro Four Thirds gives cameras like the Panasonic GH2, GH3 and Blackmagic Cinema Camera a Super 35mm / APS-C sized sensor using clever optics, in the same way that the E-mount version turned cameras like the Sony FS100 and NEX 7 into valid alternatives to full frame.

As well as shrinking the image circle of a full frame lens to fit a smaller sensor, the Speed Booster lives up to its name by giving you a 1 stop increase in brightness so that F2.8 effectively becomes F2.0.

I’ve been testing the Leica R mount version of the new Micro Four Thirds Speed Booster on the Panasonic GH3 and here are some of my early observations.

Read moreMetabones Speed Booster for Micro Four Thirds – First Look and GH3 images