cantsin

  Here it is: [attachment=639:m42-adapter.jpg]  

Here's more information on the Meteor 5-1 17-69mm f1.9 zoom, for anyone who's curious: It's optically a pretty decent lens, especially when stopped down. Its rear element protrudes deep into the camera body. This is not a problem for MFT per se, since M42 has a greater flange distance, and M42-to-MFT adapters have exactly the length of the protruding element. (I.e. the element doesn't protrude from the adapter anymore.) However, you need an M42 adapter that is a "clear tube", i.e. has no obstructing rings or other mechanical elements inside. The first adapter I had didn't qualify, a second one I bought (no name product, with the lettering "42X1M-m4/3" on its top) did. I took test pictures at 17, 20, 25, 32, 42, 50, 60 and 69mm (the focal lengths marked on the lens' zoom lever) and at f5.6, with a Panasonic GX1, cropped the center to 3301x1857 pixels to obtain BMPC sensor-equivalent images, and converted them to 1920x1080 pixel jpegs: 17mm 20mm 25mm 32mm 42mm 50mm 60mm 69mm  

On the Meteor 5-10 M42 zoom: This is the kit zoom lens of the legendary Russian Krasnogorsk-3 16mm camera. Just tested it: vignettes at 17mm, slightly so at 20mm, clean from 25mm-69mm.

  I once tested it in a vintage camera shop, and it doesn't cover.

Binned pixels.

Not necessarily. With 2 Megapixels on a sensor that has about 1/9 of the surface of a full frame 35mm sensor, the sensor pixels on the BMC Pocket are about as large of those of the 22 MP 5D Mark III.

  This is not possible on the Blackmagic Pocket camera because its sensor has a native resolution 1080p. You can't crop from it without going below 1080p. (This is different from Canon  cameras.)   Besides, the point of a raw camera is that it makes firmware irrelevant for the recorded signal.

  Why should they do it on a 1080p raw camera? People can crop in post themselves.

  Note that d-mount lenses will even vignette on the Pentax Q7 whose sensors measures 7.44 x 5.58mm - 2.8 times the surface of the 8mm frame.   Here's a comparative test of d-mount lenses: http://www.filmkorn.org/d-mount-objektive-im-vergleich/ There are big quality differences between them.   The EOS M bayonet has a flange distance of 18mm, so a d-mount lens would need to protrude 5.7mm into the camera, perhaps making its focus or aperture ring unavailable in some cases. The EOS M sensor is 22.3 x 14.9 mm; when sampling a video at 1280x544 pixels (AFAIK, the currently possible resolution when shooting raw video with Magic Lantern) in full zoom mode, 24.69% of the horizontal sensor pixels and 15.74% of the vertical sensor pixels get used, which is equivalent to a sensor/frame size of 5.5 x 2.3 mm. That exceeds the horizontal frame size of Double 8, but I guess most d-mount lenses would still cover it...   Let me know if you find an adapter solution.

  Hello, what lenses do you want to use exactly? Since (a) image circle differs between Double-8mm (frame size 4.5*3.3mm) and Super 8 (5.8*4mm), and ( b ) flange distance differs between camera mounts.   Most Double-8 cameras have d-mount interchangeable lenses. Their flange distance is so short (12.29 mm) that Pentax Q is currently the only interchangeable camera system to which they can be adapted: http://en.wikipedia.org/wiki/Flange_focal_distance - Nikon 1 already has 17mm, Micro Four Thirds 19.25mm.    For Super 8, very few interchangeable lens cameras existed: Beaulieu used c-mount (but their kit zoom lenses had a different locking mechanism and won't fit regular c-mount adapters), Leitz/Leicina used the Leica M mount (with only two lenses: a Schneider Optivaron 6-66mm/f1.8 zoom and a Schneider 10.5mm/f1.8 prime), Nalcom used a proprietary mount.    I once shot a video on the GH2 with the Leicina/Schneider zoom in ETC mode, and it did vignette. So I'm afraid your only option besides the Pentax Q (shot this video with it, and an adapted f0.95 c-mount lens) might be the Chinese Kineraw S8 camera.

How do you adapt the two Mir-11s to the Micro Four Thirds Bayonet? AFAIK, the Mir-11s use the M37 screw mount for Kiev 16mm cameras for which I haven't found any adapter yet.

But with its distortion uncorrected, it won't be the best fit for the BM Pocket: http://www.photozone.de/olympus--four-thirds-lens-tests/530-pana_714_4?start=1

  Hmm, I dare to disagree although I do agree that the raw video quality of the 50D is in a completely different league than the h264 from standard Canon DSLRs. In the standard video modes, the codec simply is so mushy that it partly smoothes out the moiré. With the sharp pixels from raw video, you see the color artifacts overly clear. That means, moire and aliasing is effectively more pronounced.   Here's an image comparison between 50D raw video and 550D standard video:    

  Fully agree with that, and sorry for the misinformation about the OLPF.

  Couldn't see that on my downloaded file playing in VLC. But: Whether or not Vimeo compression is to blame, images are quite soft/detail resolution is low. Look at hair, texture of clothing, even the beach volleyball net is invisible because of detail lack. Very likely an effect of the native 1920x1080 sensor - if you add an extra 30% resolution loss caused by debayering.    There is a chance though that we'll get better results with an Adobe After Effects workflow since Adobe Camera Raw generally gets much more resolution detail out of raw files than Resolve. (At least with raw video files shot on the Canon 50D.) 

  I principally agree - especially the quality of color -, but newcomers need to know the strings attached. Here's an example of the worst case you can run into with a 50D and raw video:   (Developed with Adobe Camera Raw from this DNG video frame.)   The aliasing and moiré of the 50D can be atrocious, worse than what Canon APS C DSLR video shooters are already accustomed to, since the camera lacks a low pass filter, and there's no mushy codec to soften the pixels (unless one applies a blur filter in post).   Detail, in general, is not pretty, and the raw process fully exposes this. Shooting in 5x zoom mode is not a realistic option either. One would need the Sigma 8-16mm zoom lens to shoot in a halfway normal focal length (8mm on 5x zoom is equivalent to 40mm APS-C and 64mm full frame), and that's not a sharp lens to provide satisfying resolution and contrast at 1:1 sensor pixel level.   It is also my understanding that all frame rates below 30p are achieved by throwing away frames of the 30p sensor readout, not by true 24p/25p from the sensor, resulting in choppy motion when filming faster moving objects.    Further limitation: the 50D has an older-generation sensor with less dynamic range (11.4 Evs according to DxOMark) than modern camera sensors (for example, 12.7 Evs on the Sony NEX-5n, and allegedly 13 Evs for the Blackmagic Pocket). Just experienced it today when shooting raw still pictures with it in the bright summer sunlight and getting blown-out highlights on sunlit skin areas, with much less gentle highlight roll-off than with a modern camera like the NEX-5n.  (The NEX sensor is also rated with having almost 2 bit more color depth, resulting in 4x as much color information than on the Canon.) Of course, shooting raw rather than dealing with suboptimal AVCHD/8bit-h264 camera output compensates for much of that. But I must say that I find it difficult to grade an image with cinematic dynamic range, nice shadow detail and gentle highlight rolloff with 50D material shot in bright sunlight.   And of course, newcomers should know that shooting raw video on the 50d at 1.5k pixel resolution maxes out the camera's I/O and means that you are running the camera at its hardware limit. Glitches, broken off video recordings, weirdness in the recorded files, do occur, at least at this point of development.   This doesn't invalid the value of shooting raw video on a $400 camera, but people should be aware of these limitations. If you can deal, on the other hand, with 40 frames-per-shot limitation, the Nikon V2 raw burst mode discussed elsewhere here on this site delivers much superior (4k, clean-detail, moiré/aliasing-free) raw video quality.

  The bottleneck for raw video on most consumer-grade Canon DSLRs is not the speed of the card, but the speed of the card controllers built into the cameras. So Canon's existing range of SD card-equipped DSLR cameras will simply not be able to make use of the high speeds offered by the Toshiba cards. This is why the 50D, with its faster CF controller, is the better option than Canon's newer APS-C sensor cameras.

It would be good if the next edition of the EOSHD 50D raw shooting guide would also cover ETTR exposure. Once again, this a topic that is hard to grasp & draw the right practical conclusion from if you dive into the diverse discussion threads on the MagicLantern board.

  Sorry, but this is comparing apples to oranges. The only Canon/Magic Lantern camera shooting raw at acceptable resolutions and costing less than $1000 is the 50D. That's a hefty camera without sound recording and a 15 megapixel instead of a native 1080p sensor, thus causing scaling/moiree/aliasing artefacts (or forcing you into a zoom mode for which no adequate focal length lenses fit the Canon EF mount). What's more, raw video on it is currently highly experimental, unreliable and prone to glitches in daily operation. And it has no ProRes+log codec as a daily workhouse HQ video recording fallback.

Has anyone good insight about the native ISO of the 50D? (When exposing with 100 ISO, highlights clip fast, so my purely speculative guess would be 200-300 ISO.)

Shot with the 50d: https://vimeo.com/70259256   Workflow: RawMagic (.raw -> .dng), Lightroom (.dng -> .tif), ffmpeg (.tif -> .mov/ProRes444), Premiere CC & FilmConvert.

Here's a video I shot today on the 50D in raw - using it in the most inadequate way as a run-and-gun camera:   https://vimeo.com/70259256   I got a lot of glitches in the material: sequences flickering between two alternate images, flickering color hotspots, decoding errors. However, given my subject, I decided to simply embrace them and partly use them in the final edit.   Technical specs/workflow: 50D with Sigma 30mm/1.4, simple shoulder mount + ND filter at ISO 100 & f5.6, MagicLantern 50d raw recording patch from 11th July (GregoryOfManhattan repository), recording resolution 1472x796@24fps, two Sandisk 60MB/s cards. Transcoding with RawMagic beta 7, DNG grading & rendering to ProRes with Resolve Lite 9.1.5, editing + occasional extra color corrections with Adobe Premiere CC, final color/grain treatment with FilmConvert.

Not wanting to bitch, but things get even more confusing when reading this thread. "TragicLantern"? And Andrew doesn't seem to see the "small hacks" menu within the raw video submenu that I, on the other hand, see with Gregory's 28th June release? Where do you switch on and off the crop mode, or does this happen automatically if you specify particular video resolutions?   So far, a how-to would be:   Format your CF card in the camera, take it out and put it into the card reader of your computer Download the current stable, unified 2.3.5 MagicLantern release from http://www.magiclantern.fm/download Download the most current development snapshot for 50D raw video recording either from https://bitbucket.org/GregoryOfManhattan/magic-lantern/downloads/ (Gregory's 50D Magic Lantern tree) or from https://bitbucket.org/andy600/tl50d/downloads (1%'s TragicLantern tree) Create a folder for the Magic Lantern files on your computer Unzip the downloaded archive of the stable Magic Lantern release into that folder - and trash the file "autoexec.bin" + the folder "ML" Unzip the 50D development snapshot into that same folder - after which "autoexec.bin" and the "ML" should be visible again. In this folder, you should now see a number of files ending with ".fir", the manuals "INSTALL.pdf" and "Userguide.PDF", "autoexec.bin" and the folder "ML". Copy "autoexec.bin", "ML" and "50D-109.fir" onto your CF card (that still rests in the card reader of your computer). Cleanly unmount/eject the CF card via the software menu of your operating system and put it into your camera. Make sure that you have a fully charged, preferably original Canon battery inside your camera. Switch on the camera. Press the "Menu" button (on the upper left), go to the third  (olive-colored) menu with the tool icon, go to the "Firmware" entry, press the button and run the Firmware update. Wait for all installation messages till you get the message that it is safe to switch off the camera. Switch off the camera. Switch it on again, wait a few seconds, and press the trashcan button on the lower left to enter the MagicLantern menu. With the joystick, navigate into the menu with the video camera. Scroll down and adjust the entries with the big scroll wheel. Activate the entry "REC key: HalfShutter". Scroll down to the very bottom to the submenu "RAW video". Activate this option. Then press the "Func" button on the lower left to enter its option menu. Start with conservative settings/low video resolutions (like 640x480) first. Activate the entry "Small Hacks". Press the trashcan button to leave the Magic Lantern menu. Press the Live View button on the upper left (next to "Menu") to enter LiveView. If this does not work, activate LiveView in the normal configuration menu of the camera (in the second olive tool menu). If Live View is working, adjust shutter speed and aperture (if you are using a modern Canon lens) by pressing the trashcan button and going in the first submenu of Magic Lantern. Press the trashcan icon once you are done. In Live View, half depress the normal camera release. You now see an indication that raw video is being recorded. Stop by pressing the release again. When you are done, switch off the camera, copy the files ending with ".raw" from the DCIM folder of the CF card to your computer, use a program like RawMagic for Mac OS X (http://www.magiclantern.fm/forum/index.php?topic=6218.0) or ... (don't what is the recommended Windows solution at the moment, so I better leave this blank) to transform the files into Cinema DNG sequences, then grade/transform with your favorite raw conversion/grading tool (AE, Lightroom, Resolve...).   

It's terribly difficult to obtain up-to-date practical information for setting up the 50D for raw video. MagicLantern's reference information for the 50d on http://www.magiclantern.fm/forum/index.php?topic=5586.0 is outmoded/not properly updated; among others, there are newer builds of the 50d ML raw video extensions on the download repository https://bitbucket.org/GregoryOfManhattan/magic-lantern/downloads/ - but is this even the right repository? And should its files be mixed with the stable ML 2.3.5 release or the nightly builds?   I just went on and downloaded the most current June 28th build from GregoryOfManhattan together with the stable ML 2.3.5 release, and it works for me okay... But on the other hand, I do not get the 1584*... resolution in the menu that this mentioned in the article, and I have no idea how to switch between crop and full sensor mode.    All of this information is probably buried somewhere in the (currently...) 86-pages MagicLantern forum thread mentioned above, but seemingly impossible to source from one consistent source. I don't dare to ask these questions on the ML forum itself in order not to create noise between the development threads.   (And I've even had plenty of experience with ML on my 550D, and used to be a guy who compiled his own Linux kernels...) So, users beware, shooting raw video on the 50D is highly experimental, and the information is not even straightforward to obtain for people with more technical geek leanings...   - Any help on the above questions would be highly appreciated, of course, and would likely help others, too. If EOSHD decides to write a raw video manual for the 50D, I'd be willing to pay.

  Which limits? The frames you can record in one burst? No external storage medium (linked via USB) would be fast enough, you need to write to internal buffer RAM until its full.