Andrew Reid

Peederj is a C100 owner.

  Absolutely true.   There are too many people with their eye on the billions of dollars rather than the millions.   If they start losing billions instead of gaining millions you'll know who to blame.

No demand for image quality? Hmm. Think it though and get back to me.

  Is it really 0.01% though?   Stills photographers are pretty interested in raw I'd say...

I honestly don't think their marketing bosses even know what a follow focus is.   BTW 50D has similar video mode as 5D Mark II, but disabled in firmware.

It's funny that we could have had raw video on DSLRs in 2008.   You have to wonder - do Canon want to make money or not!?

Needless to say I don't recommend Dropbox!   I have fixed the links, thanks for the heads-up.   Please reload the page and try again.

Any samples on Vimeo from the 50D? Does it sample the sensor cleanly with no moire or aliasing?   Does look like a great deal.   Don't tell ebay sellers!!

Without the JPEG preview, the problem appears to be that the raw data / EXIF is still stored in a subfile within the DNG, not like Cinema DNG where there's no subfile.   Does anyone know how to re-jig the DNG file so that it perfectly resembles a Cinema DNG file?   Cinema DNG is the answer. No preview, no subfile crap.

  Mainly researching Resolve at the moment and getting the DNGs to open in it. Rudi at Slashcam has found info that the PATA to SATA adapter slows down the PATA transfer rate, so it doesn't look like that is going to work for CF card slot to SSD unfortunately.   However there are recently announced memory chips designed for low power consumption / small CF cards, which are based on SSD technology and offer close to the 167MB/s write speed limit of UDMA 7.   I think better CF cards are on the horizon. 256GB at least, and 150Mb/s write speed.

Image by Daniel Schweinerr (5D Mark III SSD attachment research) 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? [url=http://www.eoshd.com/content/10494/magic-lantern-5d-mark-iii-raw-video-and-camera-reliability]Read the full article here[/url]

  With a electronic rolling shutter, you will get strobe in your electric lights at high shutter speeds. So it isn't just the strobe from frame to frame and lack of motion blur that is the problem with high shutter speeds and an electronic shutter.   You will get jello in your stills with fast movement of course.   Still better to have a mechanical shutter or global shutter for stills.   Aesthetics are the least of the problem but it does pose an awkward dilemma. Sometimes you can get a sharp image at 1/50, but if you're doing handheld work stills will need at least 1/100, and that hurts the look of your video especially handheld.   4K global shutter stills from the BMCC will be interesting but breaking the 180 degree shutter rule still necessary for many kinds of stills.

  Here's my research... Resolve is taking the reduced-resolution image metadata for the Magic Lantern DNGs.   Cinema DNG has different EXIF data to stills standard DNG. For a start no reduced res image EXIF.   Resolve seems only designed to read the Cinema DNG EXIF data.   Since DNG and Cinema DNG are practically the same format aside from metadata, if they make the metadata Cinema DNG standard in Raw2DNG I think that might fix the problem.

The look isn't applied when you convert from raw to DNG, it is applied in your grading workflow, be it with Adobe Camera Raw controls (After Effects) or in Resolve.   The new Windows app looks good. A LOT of development to come on the workflow front.   Today Andrew Wonder's team and myself included are trying to get Resolve to eat the DNG files. Same issue right now as the Nikon 1 NEF burst mode stills converted to DNG. They don't work. Metadata isn't right and they're not Cinema DNG files.

It is a very low starting point to be judging raw quality from.   720p streaming on Vimeo, not even a download option!   Would rather see a direct head to head comparison of the 5D2 and 5D3 raw, because with raw there are too many user variables. It comes mainly to grading as to what kind of characteristic you're getting.   For me so far the 5D3's sensor looks the best, but I'm willing to be convinced by the 5D2 if I see anything that is genuinely the result of the sensor and not the user & workflow.   So far I haven't. Just a lot of aliasing and false detail, which in some ways makes the image pop.... But no thanks. I'd rather sharpen the 5D3's raw in post if I wanted this kind of pop and sharp image, than have unstable detail.

  A lot of bullshit spoken about Blackmagic there. Internal battery was an extra feature. It works as a UPS / backup power. BMCC uses an external battery as the main power source, like the Epic. Nobody complains the Epic has no internal battery like an iPhone. This is a consumer mindset. Try a filmmaking one.   If you think the dynamic range is 'disappointing in practice' on the BMCC, I can only assume you've never used one, and have picked up some quote from somewhere about usable DR being less than 13 stops. The BMCC excels at dynamic range. Vincent Laforet compared it to a 1D X raw still.   So their earlier attempts were crude? Dropped frames and moire all they had to offer? Really?   You are annoying.

  14bit to 12bit makes a lot of sense to me. I hope they find a way to do it.   14bit to 10bit I think would be trickier - wouldn't you have to remap the dynamic range to avoid clipping?

  Was the fix for this made public? Just curious to know what caused it, whether it was in the sensor readout or in the debayering (Raw2DNG). Cheers

  DXOMark also measured the 1D C (1D X sensor) at 11.8 stops total so something is wrong with that Canon LOG 12.5 stop test. You said yourself you can't get more dynamic range than the sensor provides in the raw data!   There's also a fundamental error of logic in the way you're comparing raw to MJPEG. You are suggesting that from the 11.7/11.8 stop raw 14bit sensor data, the 14bit raw video contains less dynamic range than compressed 8bit JPEG with LOG curve. Sorry but that makes absolutely no sense at all. By definition the raw data has the optimal dynamic range, and no matter what curve you apply to the JPEG, you lose quality when you compress it to 8bit.

It still has a better form factor than the FS100!

  Interesting. How would it impact dynamic range though? If you look at the dreadful DR in the H.264, I think a lot of that is due to 8bit compression.

Thread cleaned. I agree no more off topic stuff about Bloom. It's wrong to criticise religion.

This test was prepared jointly in cooperation with Rudi at Slashcam - here's 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. [url=http://www.eoshd.com/content/10475/canon-1d-c-vs-5d-mark-iii-raw-and-c300-gh2-resolution-comparison]Read the full article here[/url]

Yeah and those same Alexa crews carry a generator and Arri suns 100m down the road, spending countless dollars to do so, then go and shoot ProRes. Madness.

  Yes that's actually what it is, raw still quality.   1080p is sampled from the full sensor area.   The 1:1 crop modes at up to 3.5K are a crop of the CR2 raw stills (every pixel read from a crop of the sensor).