Andrew Reid

In Martin's Footage app, the focus pixel fix doesn't quite work for my 100D on all shots, but MLVFS + Resolve is perfect - no focus pixel pattern with that workflow. So apparently MLVFS is removing them?! Footage app seems to leave behind some focus pixel patterns at the edges of the frame and on highlights... But only on some recordings, not others. Very strange! I think it works best with 5D3 for now... Early stages though. 70D might not have the same problem though as it has Dual Pixel AF, not whole pixels replaced with phase-detect points. It is very practical. All it does is mount a virtual folder for each MLV clip, containing the DNG frames. You can then simply open each folder as a Cinema DNG clip in Resolve. No transcoding necessary to reach this stage, it's instant. RawMagic is great but it does not convert from MLV to CinemaDNG instantly, it takes time. You don't even need to copy the MLV files off the card with MLVFS. You can of course copy the DNGs onto permanent storage, because the MLVFS virtual drive becomes inaccessible when you remove the memory card, obviously.

OK good to know. Can anyone point to a build for the 700D which includes the latest progress on Lossless compressed raw? This works in 10bit as well as 14bit? It brings 1728x1156 down to under 40MB/s according to the calculator, making it continuous? Still not quite a 5D Mark III but 700D is £250 on eBay!!

Toshiba had a very profitable nuclear business. And now, that has sunk the entire company and they are selling off their arms and legs. Canon are conservative and sensible, but things can and do go wrong with big companies no matter how profitable they are. Don't take profit alone as a sign of a healthy business. VW were profitable... And in the background, floating the regulations.

Wow 48p huh?! Still trying to get a picture of where the capabilities are across the entire range. Is this a 7D one-off, or can other cameras do it?

I like this - http://www.magiclantern.fm/forum/index.php?topic=18949.0 Martin has done a superb job. It converts to ProRes or Cinema DNG, you just drag and drop the MLV clips direct from your card into the app window. Select the gamma curve, i.e. Canon LOG. Select the touch-up options, for example to remove focus pixels on cameras with phase-detect AF on the CMOS sensor and aliasing around highlights. Go to File, Export, choose flavour of ProRes. And it's fast!

The 100D doesn't have a U3 card controller so expensive U3 card will perform no better than a cheap U1 card. For Magic Lantern overlays make sure global draw is turned on in the ML menus?

It's not an official build or a nightly on their site. Yes it is confusing at first. I found mine deep in a forum post at ML, with a link to dropbox / google drive. I'll try and dig it out again or upload the ZIP. Great. But seen as the max res on the EOS M is 1728x694 without going to with a very heavy crop factor, I suppose lossless is more useful on the 5D3. On the 700D, the max Super 35mm recording mode resolution is 1728x1156, which is a lot better than EOS M but still not quite 3K is it Great that it works on those cameras though. Is there a build of it working (or even semi-working) on the 70D or 100D? Think it was NikFreak on the Magic Lantern forums that did the 70D build with 10bit raw but can't find the link there now. (Took me hours to find it in the first place!) It had some issues, so don't expect 100% reliability. It's experimental and based on 6 month old version of Magic Lantern. I'll be trying it for the first time tomorrow when my 70D arrives from WEX. £510 for a used body in good condition, not bad! A lot cheaper than getting a C200 innit?! magiclantern-Nightly.2017Jan06.70D112.zip

One lens I'm curious in for Canon APS-C is the good old 17-55mm F2.8 I know it's sharp for a zoom and convenient, but is it cinematic? How's the rendering? Any samples?

You know what I can't stand Mr Shield3, is someone who feels he can throw rocks from his armchair at a resource gatherer in the field, while he's trying to give you information about a range of cameras and lenses on his own blog. Have YOU used the Sony 35mm F1.4 G? If so, why haven't YOU written a blog about it? Or did you just look at DXOMark, and write it off without seeing a single image or the cinematic way it renders? And to write off the Minolta line entirely because of screw-drive AF, you should write off the entire Nikon AF-D line whilst you're at it, yeah? Here is the 35mm F1.4 G sitting on my desk... So yes I have used it personally. The reason I didn't respond, is because you were acting like such a negative muppet I gave up on reading the thread for almost a week. As for A99 II being just a phase, I've put forward my argument why it is useful for my shooting style... I don't need to justify it beyond that, not least to you. There's some stunning A-mount Minolta glass. This 28-70mm F2.8 is cinematic as hell and half the price of a used Canon 24-70 L Mk I. And the 28-105mm F3.5-F4.5 is good enough to resolve an 8K image wide open, and cost me £60. The full 42MP frame is uploaded to this post so you can see what I mean. Shut up with the armchair criticism, buy some gear, and tell us about your opinion on it. Good deal! I have the Sigma ART 18-35 in Canon mount and oddly enough Sigma mount for infrared timelapse on the Sigma Quattro SD mirrorless camera, but not in Sony A-mount. I think the Sony 16-50mm F2.8 SSM is likely to have better AF, but need to try the Sigma to be sure. I could see the Sigma zoom being very handy for low light in the 4K crop mode, as low light in full frame 4K tails off after 1600. The reason I haven't jumped onboard the Sigma zoom yet on this camera is I over indulged in Sony / Zeiss primes and mainly focussed on shooting in full frame mode. You could get the Sigma 20mm F1.4 and Sigma 35mm F1.4 for instance - these would cover a lot of shots in Super 35mm crop 4K, but also give you two full frame options that would be stunning to look at. A lot heavier and more hassle though.

With no replacement in sight.

Ah yes this brings me bang up to date. I haven't shot with it yet so forgot all about it. Is lossless compressed RAW in development for any of the other cameras, or is it only the 5D Mark III which has the processor for it?

Good to know. The 35mm F2 IS by the way is a gem.

100D is missing from the experimental builds too, sometimes you have to look on the forum amongst the 1000's of posts for someone who has compiled his own build with 10bit in it. See if you can find one for the 5D Mark II and 7D In the mean time I've updated the article to say the DIGIC IV cameras don't do 10bit. These are all compact flash so 10bit missing is no big deal... they can do 14bit just fine up to near the maximum of the sensor.

Are you absolutely 100% sure on the 10bit? Still have my 50D but I'll have to correct the post if that's true. http://www.eoshd.com/2017/06/magic-lantern-raw-video-current-camera-capabilities-updated-2017/ The other Digic IV cameras are 7D and 5D Mark II.

One day Canon's rep can explain to me why there is 300MBit 4:2:2 on the £1400 XC10 but just 100Mbit 4:2:0 on the £7500 C200

Seems like overkill for buying it just for a jib. The G70 is really light with the 15mm F1.7... And you'd save a lot of money. Image quality will be far better than the Sony camcorder. The A7S II and 35mm F2.8 will be double the weight over G70. And the camcorders I have no experience of so cannot recommend them. GH5 is 4K/50p. Body is similar weight to A7S II so not nearly as light or as cheap as the 4K shooting G70. But the lenses are much lighter especially the 15mm.

Speed Booster does not go on the 5D. I am talking about if the lens was used on the GH5 with Speed Booster. Meanwhile, I might be looking at a similar lens situation myself as I get back to shooting some Magic Lantern raw.

Canon 17-55mm F2.8 at least has stabiliser, so maybe for video that is more useful than F1.8... Would be a nice lens on Speed Booster too if we ever persuade Christina out of her Canon love affair

Just put your thumb behind the cap and pull, it clicks off... And you can put it back on again. Can't confirm if this works with all EF-S lenses but it does with this one and it's easy.

Will test. Check this guy out - found a secret port under the rubber grip of the 100D. WTF!? https://www.magiclantern.fm/forum/index.php?topic=16040.msg186201#msg186201

Official Magic Lantern forum for Raw Video - http://www.magiclantern.fm/forum/index.php?board=49.0 Updated for 2017 Magic Lantern camera capabilities at EOSHD - http://www.eoshd.com/2017/06/magic-lantern-raw-video-current-camera-capabilities-updated-2017/ Creating a sticky thread for this as it's one of my favourite topics. This thread is just to compliment and contribute to the main magic lantern site. I am testing: 5D3 5D2 100D (beta / experimental build) 70D (beta / experimental build) 50D Bitrate calculator: http://rawcalculator.bitballoon.com/calculator_desktop Following 70D progress is a priority for me as it's the only one with both Dual Pixel AF and articulated screen... 5D3 doesn't have that! https://www.magiclantern.fm/forum/index.php?topic=14309.2850 Main builds and ports in progress at Magic Lantern: https://builds.magiclantern.fm Experiments including 10bit/12bit raw and 4K raw crop mode: https://builds.magiclantern.fm/experiments.html My regards to all the Magic Lantern devs!!

Zeiss Jena 20mm F2.8 is superb... M42 mount, manual focus only though. What about Sigma 8-16mm... If you want to go WIIIIDE.

Shooting approx. 16:9 with global draw off. Distraction free colour live view at 24fps and proper framing. Frame from the DNG 10bit raw, upscaled in Adobe Camera Raw. Doesn't look bad does it?

It's dimmer. Backlight goes down. Besides, the picture profile applies to stills (JPEGs) as well as video.

That's what I'm talking about. In stills mode, hit record, dims. In movie mode, it's always dim whether recording or not, which makes outdoor screen visibility a major problem.