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Oscar M.

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Everything posted by Oscar M.

  1.   http://vimeo.com/67271335   Keep in mind that if your monitor does not have a "Camera" or crop function, then the output will be 4:3 as the 50D does not output in 16:9 . . .  
  2.   OK. Did you have a chance to see if the video files are seamless? In other words, is there a time gap between the files?   Never mind. No way to know until the DNGs can be extracted.
  3.   Question:   Did you mean a single 10GB file, or 10GB spanned on several files? As far as I know Fat32 tops at 4GB per file.   If single, is your card formatted as Fat32 or exFat ? . . . . or did you format in camera?
  4. UPDATE:   I will post a video later tonight about this. Basically YES, you CAN get HDMI output from the 50D (output is 1080i) as well as CLEAN HDMI (Not to be confused with uncompressed HDMI) out from the 50D - All while recording RAW!   This will improve later also.
  5.   That is correct. That was a quick iphone pic I took. I will post the video tonight.
  6.   No uncompressed HDMI. As of now, no clean output either as you'll get the frames counter in the output . . . That may change later.
  7.   For some reason ACR defaults to those settings. I'm not quite sure which program. . . perhaps opening the DNGs in Adobe Lightroom will be more accurate. I'll try some different ones and see . . .
  8. Who said it was? I don't think I've heard that from anyone but you! . . . and it's not a perfect camera . . . This is not a camera to take to a time-constrained corporate shoot. It's a "LOVE PROJECT" camera. It's a nice (better than average) stills camera, and a very nice 14-bit RAW video camera - oh, did I mention it costs $400??
  9.   Monitoring - Just tested it with my Lillieput monitor. It works.    
  10.   If the adapter is good quality it's OK - It's all about the glass. In any case, I only use it for low light situations.
  11.   I'm using a Minolta MD 28mm f1.8 glass with an MD to EOS adapter- the crop factor makes it about 40mm . . . 
  12. As far as I know, there is a bit of a difference in quality from 14-bit to 10-bit (not a lot) but the savings in space is big. In 12-bit, the difference is minimal and you also get a good chunk saved in space. If the files are smaller, then the camera can write to card faster therefore allowing it to shoot in higher resolutions. I would not pick the 50D over the MK3. The MK3 has many advantages and newer technology. But for those who are thinking about a lower end Rebel model and want to shoot RAW or if you want a cheap second RAW camera, I would encourage them to seriously consider the 50D.
  13. . . . "There hasn’t been a single negative word from Canon (officially) about Magic Lantern. I think this is the best thing to happen to Canon DSLR video since it began with the 5D Mark II." . . .    I truly believe that Canon should take a closer look at what Microsoft did with the Xbox Kinect because there are many resemblances. Basically people realized that the Xbox Kinect was a major breakthrough in technology, so why use it only for games? The researchers and the scientific community saw the potential so it wasn't long after that the Kinect was hacked. Developers st
  14. Right now ML is working on another breakthrough development to shoot RAW in 12-bit and 10-bit. When that happens and with perhaps a development to write to SSD, the 50D will theoretically be able to perhaps shoot 2.5K RAW!!! . . . maybe even 3.5K RAW!!!   Get them now while they're cheap!
  15. Great Low light capability compared to H.264 . . .   http://vimeo.com/66622780
  16.   Agreed.     The cheapest RAW Camera ever made!
  17. OK for on set I understand. But for other "not time constrained" projects, why not grade first? which would be pretty easy with DNGs in AE or photoshop. All you have to do is grade one frame and AE will apply it to the rest of the sequence, then export your graded footage to ProRes for editing. The point is, for grading, ProRes just does not have the shadow/highlight recovery flexibility of RAW dng. I think though that Cinema DNG is the way to go for ML.
  18. LOL . . . The EOS 50D - an ancient camera back to life . . .
  19. That would be pointless. Encoding to ProRes automatically nulls the benefits of RAW. If you don't understand why, then RAW is probably not for you. In any case, ProRes will probably not happen - it's Apple licensed. The most logical way for ML to go - if they were to go that route - would be to encode to Cinema DNG which is open and is widely supported by many of the most popular NLEs.
  20. When you think about it the 50D was basically a scaled down version of the 5D2 and it shares much of the same hardware as the 5D2. I would not be surprized if we can get awsome RAW video from it . . . I have one. Fingers crossed! B)
  21. It's a matter of CF hardware reliability. A card that can handle the speeds from a reliable manufacturer should be sufficient. Isn't that how we shoot h.264 anyway? My gut feeling is that ML will figure out a way to get RAW out the HDMI, or a CF to SATA adapter is going to be made by someone out there.
  22.   Canon's firmware is saving that massive image to the camera's internal buffers which is then output to Live View - as Alex explained it. All ML is doing is saving the buffer to CF. These internal buffers are engineered by Canon to be very fast buffers which is why they can handle 4K RAW BURST Stills mode.   The bottleneck is in the speed of the cards - CF Cards are just not fast enough for 4K RAW 30fps bursts (even the 1000x cards). They are though fast enough for a crop mode of that such as 1920x720. This bottleneck will not last much longer as manufacturers are sure to increas
  23.   People still don't get how the Camera actually processes images. I'm going to oversimplify this . . . Magic Lantern is doing nothing more than saving "LIVE VIEW". If heat were an issue, then it would be an issue without Magic Lantern since these cameras were engineered with Live View in mind and. . . . Live View puts out RAW anyway.   Consider this analogy:     Imagine a river that runs down a mountain. At or near the top of the river you can get pure, clear water. Near the bottom of the mountain, the water looks murky and polluted from various animals, dirt, trees a
  24. Andrew, just wondering have these been your temperature settings for all your other RAW sample videos? Just wondering if this would be the offset for all RAW frames coming out of the sensor . . .
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