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https://www.t3.com/tech/drones/dji-mini-5-pro-is-rumoured-to-get-lidar-a-bigger-camera-and-a-surprise-release-date A buyer here for sure!

40mil CZJ 16mm lens and GX85, jpeg from raw file. A 40mil S16 lens would have covered the sensor without vignetting I am sure. But despite it's vignette I love the image I am getting out of this, super sharp in the centre and great colors in the raw files. It's tiny and pretty looking on my GX85.

I will be happy to use it on my Eos M hopefully or with my two Dslrs. I just like the fact that Magic Lantern is around. What is your favorite personal camera for video and photo? @stephen I like too many cameras but GX85 would be my recent pick. I enjoyed my Bmpcc last summer and the one before, the latter not for stills of course though I wouldnt mind to print out some 1080p stills enlarged for A4 format. My S1H did the occasional video and photo gig but is collecting dust at the moment.

It does of course. Resolution of the screen is low - 720x480 and it doesn't tilt. You are forced to lift 1-1.5 kg in front of your eyes and need also a LCD shade/magnifier for those sunny days. EOS M is much lighter. It is quite difficult and limiting to shoot this way and get stable footage and consistent results. I always preferred using it with an external monitor. It took me quite a lot of time to understand the simple true that my time on this earth is limited and time in general is much more valuable resource than the 1000$ difference between 5D Mark III and a decent modern camera. Agree with Al that ML is for people who like to tinker. I enjoyed doing this myself as well but now regret the wasted time. Even if they add a new camera are you willing to go through cycles of tries and errors and inevitable failures testing the hacked firmware ? I for sure am not.

Last and third last are my favorites! @kye The Canon nFD 28mm F2.8 would be my pick of a best bang for buck lens. I have posted about a couple times here and it is not a mystery lens by any means but it's still sort of an undertestimted lens imo. I bought mine ten years ago for 20EU and last time I checked, they still went for around 30EU. My sample is almost as high resolving wide open on a China speedbooster as my 20mm F1.7 at 2m distance. It still has a creamy and very pleasing look and looks also fantastic on my S1H. Perfect lens for mft, S35 and FF sensor gates.

From what I've seen and comparing to my own 10bit footage, Magic Lantern Raw on Eos M and 5DII/ III looks magical under natural light despite less dynamic range and much less resolution. So I am exited about any news from ML. I am referring to the pure joy for the image. It is not an observation in regards to full time content production. No, no, no! @eatstoomuchjam No 10bit GM5 flimsyness but a solid and small 10bit GX85 body. Thank you, Panasonic!:) GM5 feels hollow and viewfinder is very tiny. Sorry, but no! 10bit GX, yes please.:) @stephenDoesn't the 5DIII allow liveview on the screen, just like the EOS M?

You could do a similar testing like kye for banana leaves and textures in low light, when you enter your neighbor's garden at night.😊

Thanks a lot! That's some seriously extensive testing and great review! @kye 2x crop looks great. One thing caught my critical eye:) The 2.08x on your second setup looks to be higher resolving than the 25mm focal length on the 12-35. First setup with the darker exposure looks like to be expected. Did the stills get mixed up for the second setup? Anyway, downsampled 2.7K for 1080p is awesome for 2/3" lovers or for using a prime with an internal 2x tc. Great news. Thank you very much for your tests, findings and great effort! By the way, your Cosmicar looks like it is outperforming the 12-35 for 1.4x and 1.5x gate. Impressive.

On an unrelated note, aren't banana trees some of the prettiest trees there are? The shape of the leaves and the way they move in the wind is just an attractive thing. I have a friend who once sailed the South Pacific. He said when they would be at sea for days and would approach an island with banana groves that it was such a beautiful sight. I'm in the only place in Canada warm enough to grow them ( and just barely too) so people plant them as decoration a lot.

I think that some of the comments here are missing the point. I think that it's unlikely at best that most members of this forum are going to see this announcement, throw away their modern mirrorless camera, and run out and buy a 200D/Rebel SL2 to put ML on it. On the other hand, there are hundreds or thousands of 200D's floating around in the world. That line was pretty popular for beginning photographers at the time. I never owned one, but if I did and it was still sitting around the house, I'd absolutely be digging it out right now and trying out ML on it. Why not? The exception to that, for me, is if they add support for actual 4K raw (not the weird upsampled stuff that can be done on the EOS M) on one of the newer EOS M bodies, especially one of the teeny tiny ones. I'd totally spend $300 for a body and $20 for an EOS M to Leica M adapter to play with that. A cute little M200 with a 35 'cron could be a lot of fun (I know they're closer to $500 in general on the used market, but with some patience and "make an offer" on ebay, I bet I could find one for less - ain't nobody buying 'em and someone's gonna wanna get theirs off the shelf (and no way that camera's worth $500, come on)). Or if the 4K stays cropped with ML, even better - an M200 with some of my vintage C mounts would be even smaller and cuter. Similarly, I'd be just as excited if Panasonic released an updated GM5 with 4k and 10-bit (throw in external raw and I'll be even happier). I want a SMALL camera, like not "I guess this is about 10-15% smaller than my R5, but much less capable" small - but tiny. Like sits next to my RX100 V or ZV-1 and looks about the same small. Like, I put the camera on my open hand and I can see skin around every edge of the camera (exception possible for a small EVF bump).

I feel similar mostly. If the new team can successfully and stably move it to the new Canons that is one thing but nowadays, with ML at its current level of capability/compatibility I see it as great for those who are way short on funds but way long on free time, or are just tinkerers in general, but anyone whose priority is actual shooting instead of fiddling/tinkering is much better off just grabbing a used GH5, S5, S1 etc for well under $1K and getting to it.

I was just poking around in the menus and noticed there is an option where you can switch between Full and Pixel:Pixel, so that's the same as the ETC mode on the GH5. It looks like you can use this with any resolution. Also, you can record C4K in Prores RAW, which is a 1:1 sensor readout, so exactly a 1.41x, or a horizontal crop factor of 2.934 from FF (the GH7 horizontal crop factor is 36/17.3=2.0809). The bitrates are a bit heavy though at either 1700Mbps or 1100Mbps and it's Prores RAW so you can't import it directly into Resolve and will need to transcode with a third party utility. This thing has so many options, and the more I poke around in it, the more it feels like a cinema camera in the body of a MILC.

Live by the sword etc

Personally I don't care. But it is not OK toward EOSHD.com web site. When they post an article like this they should at least post also a link to the original publication. If they adhere to some professional standards or simple human courtesy. It is Andrew's time, effort and money that make this site and forum possible. So placing a link to original posting and forum would be the correct thing to do. Not to mention that if some of cined readers buys the EVF, and finds out it doesn't work for his camera, they would conclude they were lied by cined. Without having the full discussion here their article may be simply useless. Will double check and let you know

Those are urban legends. Every blind test I personally witnessed and those we know from youtube shows exactly the opposite. Color science, micro contrast and any other superiority claims falls short. Even professionals can't distinguish between different cameras and lenses. Like this one: https://www.youtube.com/watch?v=xZjIz8sB2vg Or even older and much more professional Zakuto Great Shootout from 2011. Does anybody still remember it ? Canon 5D Mark III is outdated compared to modern cameras. It is OK for fun and experimenting but that's it. 1080р is line skipped, so real resolution is somewhere around 1600px not 2K. Rolling shutter 21-22ms is OK but again far from modern standards and dynamic range is around 10.5 stops. It is a DSLR, so no EVF, you have to use external monitor. Workflow is not optimal as you need to transcode first from mlv to Cinema DNG. Compared to the low resolution, files are relatively big and take a lot of space. I don't see any reason for Magic Lantern project to exists when now we have so many cameras with internal 4K RAW Video recording.

@PannySVHS I've now tested the Crop Zoom (CrZ) mode in 1080p. This is the first test, and I exposed for the sky (which it thought was the right thing to do) which meant that the plants were a bit low, so I ended up bringing them up a little in post. The Prores HQ is great at retaining noise and so there's quite a bit visible despite me having shot this at base ISO 500. I've found that ETTR is definitely recommended if you want a more modern looking cleaner image. I also used the 12-35mm lens at F4.0 for all images as that's where it's the sharpest. First is comparing the C4K Prores HQ vs 1080p Prores HQ (on a 1080p timeline): Next we compare the CrZ vs zooming with the lens. I have prepared these images in sets of three. The first is the CrZ image, the second is zooming with the lens, the third is the CrZ image again but with sharpening added. This allows you to compare both CrZ images directly with the 'proper' one, as the more zoomed CrZ images did look a little soft in comparison when viewed at 300%. Around 14mm (1.16x): Around 18mm (1.5x): Around 25mm (2.08x): Once I got those images into Resolve and looked at them I decided to re-shoot it with a better exposure. So I chose a different framing that meant the sky wasn't influencing anything. However, I didn't realise that where I was standing was going in and out of the sun, so some shots were washed out and I had to compensate for it in post, adjusting contrast/sat/exposure/WB to match. Tests are never perfect but are enough to give a good idea of what's going on, and in real use where there is no A/B comparing going on no-one would ever spot it anyway. There's also a slight difference in exposure between the C4K and 1080p modes too, which is a bit odd. I imagine it's due to changing the sensor mode. I compensated for that in all these tests too. C4K Prores HQ vs 1080p Prores HQ (on a 1080p timeline): Around 14mm (1.16x): Around 18mm (1.5x): Around 25mm (2.08x): I am actually rather encouraged by these results, as my previous test was in low-light and I did on something with much sharper edges and that showed differences I'm not really seeing here. However, it's not really surprising that the GH7 did this well, as even with a CrZ of 2.08x it's still reading an area of the sensor around 2776 pixels wide. I say "around" that wide because there is a slight crop when you compare the native 5.8K mode with the native C4K, 4K, and 1080p modes, but I think the 2.08x crop will still be oversampled from the sensor by a good amount. The other thing I noticed was that I couldn't adjust the CrZ function while I was recording, the button just didn't do anything. I'm not sure if that's because I have it assigned to a button and that there might be some other way to engage it while recording. Maybe through the controls that are used to control powered zoom lenses, not sure. Anyway, it looks pretty darn good to me, and the grain actually reminds me of the OG BM cameras which are quote noisy at native ISOs too (and also lots of seriously high-end cinema cameras too).

i doubt r50 has better video quality than 5d3 ml raw.

Thanks! 14-140mm vs 12-100mm is really about different preferences. The most important factor to me is that you won't get the Dual IS stabilisation with Olympus lenses, whereas you will with the Panasonics. You can never really be sure what you'll use and what you won't until you have it, and I was surprised to find that I actually use the 140mm quote a lot, and it's actually usable thanks to the Dual IS.

Different technologies. Just wait a few years for Gen Alpha to discover old used DSLRs are almost indestructible and take even better pictures than newer more expensive MILCs and phones that break more frequently. The R50 in its different itinrations is cute, but it will never outlast a 5D. Does if offer better video quality? Yes, but only if you know what you're doing from the get go and that knowledge is becoming scarcer every day.

Always great to hear the ML community is still pushing along. I cut my teeth on the 5D MKII ML and still have two 5D MKIIIs with ML that I refuse to sell! All that said, the R50V is $650 brand new and once those hit the used market they'll be $500 and under vs the 5D MKIII which is still going for roughly the same price. So nostalgia aside, the R50V's price, specs - not to mention form factor and access to RF and EF lenses - really makes it hard to argue that anything ML related is the prudent way to go in 2025, imo.

Simply fantastic images and I like the dark look. Though I'd change the 14-140 to M.Zuiko 12-100 f4 for that constant aperture, while losing tele but gaining on a wide end. Feels like 100mm on a M43 body should be enough though.

The 9mm I tested is the Panasonic Leica 9mm F1.7, I'm not aware of a 9mm F1.4 - maybe you're thinking of the Leica 12mm F1.4? Let me see if I can further tempt you!! I have done some tests (images below) but found the following: You can use the Crop-Zoom function (CrZ) to go up to 1.3x in C4K and up to 1.4x in 4K resolutions There is no 4K option in Prores, only C4K If the sensor was cropped to be a 1:1 readout, it would be a 1.4x in C4K and a 1.5x in 4K, but the CrZ mode stops just short of these amounts. I suspect that they have limited it so that it is always downscaling, even if just slightly. Test shots. First set are with the S-16 Cosmicar 12.5mm F1.9 C-mount lens. These are all on a 4K timeline, so you can really pixel-pee if you want to. I didn't have quite enough vND to have it wide open on all the shots, so some are wide open but some are stopped down to F2.8. Now, I switched from the 4K to the C4K, which meant I had slightly less crop available and you can just start to see the edges of the image circle. I suspect your mileage would vary depending on what lens you were using. The Cosmicar is pretty wide, so if you were using a long focal length you'd probably get no vignetting at all. This should also give a comparison between the 4K H.264 and the C4K Prores HQ. Now we switch lenses to the 12-35mm and stopped down to F5.6 so we can compare the CrZ crop to a non-cropped image. This is cropped to 1.3x using the CrZ function in C4K Prores HQ: and this is without any CrZ and using the 12-35mm to zoom in to match the FOV: I didn't shoot any clips this morning comparing the CrZ mode in 1080p, but I can also shoot a test for this if you're curious. I had a closer look and discovered you can't change the zoom amount, which seems to be stuck at 3x zoom. I'd say that it is resolving enough for focusing and I used it with the Cosmicar in the above test. It's the normal story of using peaking and rocking the focus back and forth to find the sharpest spot. At least I'd say that if you can't use it to manually focus then the problem isn't the punch-in feature but some other issue!

That's awesome in regards to the 9mm, the GH7 and your testing! @kye Thank you very much! The 9mm you tested is the Leica 9mm F1.4? Thank you for the offer, as stills would be nice as always, though your findings are already impressive enough, as always.:) The GH7 is looking very tempting indeed. Is an exact 1.4 4K crop possible, giving S16 width? I am asking because I figured it would be more, around 1.5, due to the 25MP sensor vs 20MP on the GH5. Is the 2x crop as nice as you found it to be on the GH5? One last question, is Punch-In during recording high resolving enough and a sufficient aid for manual focussing during recording? Thank you very much for your insights and awesome work! @John Matthews I dearly remember that thread. It's one of my abolute favourite ones! Legendary! Yesterday I went taking pictures again with my GX85, coupled with a 40mm S16 lens. One pretty looking outfit, itself worth of getting a picture taken. Panny better brings out a 10bit successor in a very similar or same body. Tilt screen is perfect on this one. And so would be 749EU!:)

I remember a story I learned from a famous photo forum. A group of veteran photogs prepare a set of chosen photos for Leica photo exhibition. Only photos taken from Leica lenses are allowed. Some smarties think they can trick Leica Reps by using best lenses from other brands. They intentionally put these best photos of theirs into the chosen set, yet all are sieved out by Leica Reps. They then believe that Leica taste exists.

I always suspect that the current crop of high dr sensors tuned for high dr but sacrificed other aspects. Using OM1 as an example, it is very nice in 60p photo mode, especially the dr is impressive. Yet, when I use some vintage lens on 5d3 with ml raw, something just looks different, scientifically not explainable, yet it is there. Aesthetically, I really like this subtlety.