Andrew Reid

  OK let's see what you've got.   You are welcome to post footage in this thread.   I have also made a group at Vimeo which has the rather catchy URL of https://www.vimeo.com/groups/raw   Thank you Vimeo!   You can add any of your Vimeo clips to that group as long as it is shot with the Magic Lantern raw module on a Canon DSLR. If embedded video in this thread please use your original Vimeo URL not the Group one.

I like the sponsorships part. Very funny :)

The LA7200 is lovely but on a full frame sensor it's not best suited...   It was designed for the small chip DVX100.   It works best at wide focal lengths, deep DOF, F4 to F11.   With a full frame sensor, wide focal lengths vignette with the LA7200 as they do any anamorphic adapter so you need to use a longer focal length. The LA7200 doesn't work very well with long focal lengths or the shallow DOF these lenses create.   You are better off saving up for an Iscorama or finding one for 70 euros in a second hand store like I did after 4 years of searching :)

  A developer's branch of code had the 4GB cut off disabled and a tester on the Magic Lantern forums recorded a 12GB raw file in one take.   Yes Raw2DNG will need updating, all this is to come please be patient. That app was only put together about a week ago!

If future CF cards and updates to Magic Lantern give us higher datarates then yes a 1:1 crop S35 mode at around 3.5K should be doable, it really depends on what resolution you can get in that mode.   If the full frame sensor size is a concern why not just use the Blackmagic Cinema Camera or crop or stop down the lens? I rarely shoot wide open on a full frame sensor unless the shallow DOF really suits the shot. Sometimes beautiful, sometimes not.

  Interpolation. From Arri: http://www.arridigital.com/forum/index.php?topic=5204.0

  Achtung! I said comparable not the same, and it really is. CMOS sensor technology has caught up with the F35's cutting edge 6 year old CCD technology in terms of everything but rolling shutter.   The sensor is way ahead of the image processor but with raw on the 5D you are taking the image processor completely out of the pipeline.   Therefore your colour science is almost entirely in post.   I wouldn't be surprised that the sensor was oversampling to get 1280p. It is a 6K sensor and if you line skip you get moire. There is none.   In 1:1 crop mode all the photosites are used, same as F35. In that mode I see very similar dynamic range, detail and colour to the 1280p sampling.   I'd like to come up with a post method that emulates the F35's film-rivaling highlights. I think it is entirely doable.   BTW the motion cadence is also superb but I shot this in a rush with no ND filter. My Vari-NDs don't work on the Iscorama as the front element rotates. This video is at high shutter speeds for the most part. You haven't seen the best of it yet. I'm gobsmacked.

[media]http://vimeo.com/66574661[/media] Download the 3K 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 The spec sheet is impressive. 4:4:4 colour sampling from 14bit linear raw and 1280 lines of resolution with an anamorphic compliant 4:3 aspect ratio. This compares to the image quality of the Sony F35 (Superman Returns, Tim Burton's Alice In Wonderland) which cost $250,000 just 5 years ago. [url=http://www.eoshd.com/content/10450/3k-cinemascope-anamorphic-raw-on-the-5d-mark-iii]Read the full article here[/url]

  This is also a good point, raw an option - like 50mm or 85mm, one is not 'better' than the other, it's a creative choice.   If we're talking about outright image prowess though, you've gotta hand it to the 5D Mark III raw over the C300. It's just beautiful. Not that the C300 is bad, but this is a whole new level in terms of cinematic feel, full frame rendering of lenses, dynamic range and resolution. 1280 lines in anamorphic for a start. I've upscaled my footage to 3K and played it on a 2.5K Dell - fabulous. Not a hint of mushy detail even at that level.

  Wrong. Canon had a UDMA 6 130MB/s CF card slot as far back as the 50D! That camera is looking good to shoot raw with Magic Lantern and it has a larger buffer than the later 600D.   Red had some super fast CF cards years ago.   Even with a slow CF card, with enough buffer memory the camera could easily have done 30 second raw video clips, then stop whilst offloading to the card. Apparently Canon didn't see the market or the demand for it, a bit like they didn't see the whole DSLR video thing coming with the 5D Mark II. Remember that camera was lunched with no manual control and no 24p.

Mtheory is right.   Why do you think Alexa has ProRes and Raw? Becuase it is used in both TV and cinema.   Raw is a long standing cinema standard, it isn't something that has just come around with Blackmagic.

  WELL PUT sir. Sod broadcast ready efficiency I have just found my paintbrush.   And before another troll says that I'm implying there's no art in commercial work and TV, no... I'm not. There. Simple!

  The main issue with a MacBook is the limited drive space for raw. You absolutely cannot keep much of the master files on it at any one time. Speed wise it is fine, but I get much better Raw2DNG speeds on my Mac Pro Hackintosh - faster than realtime.   Make sure you have an SSD master boot drive in whatever machine you choose. Greatly speeds up everything.   Also you should edit raw files from a RAID array of hard drives. If this is an external box connect it via E-SATA or USB 3.0 not USB 2.0!   You cannot edit uncompressed raw in Resolve from one single standard HDD. It needs SSD or RAID speeds.

You can edit 4K red footage on a laptop, but a lot of people use laptops where they could be using much more powerful hardware, then they complain raw is a pain to edit. All the time people clamour for image quality and then they get it they claim they don't need it. Maybe raw doesn't need them :)

  There's no MJPEG video capture yet and it doesn't save as JPEG stills sequences. You can transcode to MJPEG with Raw2DNG though so as long as you have big compact flash cards you get your wish anyway.

  This is the main issue I have as well, I find to be told that story and content are important is downright patronising. To be constantly reminded of the obvious, and that raw files are larger than compressed files is no help to me at all. I love the challenge of gearing up for the future and learning raw is a big part of that. It's why I built a Hackintosh and it's working beautifully. So much fun. So much gain in image quality.   Am I in competition with Philip's blog? If I am then I think there's room for more than two websites in the world. Have you seen how many there are out there?!   Philip's blog is separate to me as Philip the person. If I don't find his advice or blog useful any more then it shouldn't reflect badly on him, I just think we're taking different paths with our approach to filmmaking.

Looks like the 'Real Filmmakers' have arrived *sigh*

On my 5D Mark III whilst recording raw internally to the card, HDMI is flawless. I've been monitoring with it all day, not a hitch. I have no doubt that you will be recording ProRes on an external recorder via HDMI with 1.2.1 once Magic Lantern get to it, and raw internally at the same time. Handy.

  No it isn't.

  You're like the guy at the first space shuttle launch who turned around half way through and said "ah seen enough, give me my dinner" and went home.   I bet on the way home you were muttering to yourself saying "ah who needs spaceships when you have a car".

  Great to hear this. You truly get it!

  Even in this early pre-Alpha, pre-release development code Alex has experiment playback working already.   It is very basic but will improve massively.   People are saying same things about raw as when 1080p came out... Big file sizes, can't figure out the workflow, don't need the extra resolution. 1080p became the standard. Same will happen with raw. Today's terrabyte is tomorrow's megabyte.

  One word. Raw.   There are many pros who need to shoot raw.   How many pro photographers shoot JPEG?   C300 and C100 ergonomics are overrated. I know many pros at top of their game who dislike the C300's ergonomics. Not good ENG for example. DSLR hassles are overstated. How simple is pressing a button and recording an image? Every camera needs rigging for handheld work, your C300 doesn't float on a magic carpet. DSLR is smaller and lighter thus easier to rig. The audio side is fixed in the same way that Hollywood did it with Super 35mm. Separate audio recorder. If that is too much hassle for you (oh dear) then Magic Lantern has full manual audio control for external mics and it works.   A lot of people are down on DSLRs because they couldn't figure them out. C300 makes it easier for them to figure out. Simple broadcast ready codec, simple ergonomics and build in ND, simple audio, simple image as well haha.

Need to know what's wrong with it before I can fix it John. Email me please! http://www.eoshd.com/contact

  Haha amazing. Will follow that closely.