blackrat

Yeah Dark Knight in a real IMAX theater was pretty amazing. Soooooo crisp for all the IMAX scenes! Almost like you were really on the streets of NY.

I'm pretty sure there have been some true 4k theatrical projections. All TV broadcasts are not 720p. In fact relatively few are. Most stations are 1920x1080i. Only ABC and cable affiliates such as ESPN and FOX and cable affiliates such as FX are 720p. Blu-ray are mostly 1080p (with the very occasional 1080i).

See my message above. And heck look out the window and then look at a blu-ray on a HDTV 1080p TV set. If you can't see a difference then you have bad vision. 4k sets they say start beginning to give you that looking out a window feeling. Another thing people print out images and say you need to do that to see all the details, well many prints are no larger than a regular PC monitor so how come the prints look much sharper than that 1080p on a 24" screen never mind 55"?

People said the same thing about 1080p and how you'd need a 70" screen to even notice it etc. Heck I noticed it even on a 24" screen. Why do you think video games at 1920x1200 need AA to not look nasty on even 24" screens? Because that resolution is nearly enough to match the eye! Look at a retina iPad for a while and then look at a typical 24" PC monitor, the PC monitor suddenly looks blocky and grainy as heck. It'll take some time but 4K in the home will arrive and it makes every bit of sense in the world.

Sort of. Some of that BM stuff there is verging on looking like screen caps from a video game with AA 100% turned-off though. Aliasing is false detail. Even the 5D3 RAW has some aliasing for sure, as much as you'd ever want.

Once again the long form narrative folks always seem to think that nothing else exists. Not music video, not commercials, not short take pieces (and even very many long for narrative takes are 49 seconds or less, although certainly plenty are longer), not wildlife, not natural world/landscape/scenics. Long form narratives are just a part of a larger world. I'm pretty sure there will file span soon anyway. Although for really serious stuff if it skips 1 or 3 frames every 49 seconds I supposed that may be one frame too many, but just one or two frames as repeats every 49 seconds might not really be terribly noticeable.

What setting gives the 1:1 zoomed mode? That looks great for wildlife and macro.

Yeah or lots of natural world/wildlife/scenics. People always forget it's not all long format scripted stuff.

It doesn't appear to get hot. The liveview stream is put out there all the time anyway when in liveview or movie mode. All-i already sometimes writes out to the card jsut as fast as does holding the shutter down when stills mode. OTOH it seems to stop every 4GB for now which means only 49 seconds continuous at 1920x1080. Once the hack is further along I imagine they will be able to have it immediately start up a new file, hopefully with no frames or maybe only 1 or 2 skipped (maybe this is already possible I've only fiddled with the hack a little bit so far). If you mess around with pressing info button or run it with full ML zebra/focus peaking and everything tryng to work at once sometimes it quits out. But basically it can keep recording to that for as long as it doesn't hit disk format file size limitations (4GB for FAT32) and I expect they will be able to seamlessly (or all but so) get around that as happens with regular video (and maybe there is already a setting that allows for that).

Don't forget that the D4 video is pretty soft and weird while the 5D3 RAW footage is a million times more detailed. Maybe if you did a ton of NR on it and ended up with the same detail the D4 video shows it would be even or better.

As far as detail goes the ML RAW has MUCH more than using HDMI to Ninja 2. Absolutely no question at all. How much the final difference in DR will be I don't know. The RAW, at the very least, grades a lot more easily and with the extra detail it has richer color input too, you can easily pull sliders all over the place, raise exposure like crazy, pull shadows, change WB radically and it all holds together. I mean look at what RAW 22mP stills processing is like vs. manipulating an in cam JPG (and the in cam jpg generally seem hold together better than the video).   I have ML pre-alpha with RAW. I have 1000x cards. I have Ninja 2. Boulders that are waxy with internal or ninja 2 (and for fine static detail there is barely a difference at all between those two) suddenly have texture and subtle roughness, different color shadings using RAW Video for ML.   Just grab one Lexar 1000x 32GB card and the ML and try for yourself quickly if you don't believe any of us.   Sure the Ninja 2 collected footage is easier to handle. It goes straight to a nice larger HD and record clips longer than 50 seconds with ease and you don't need to pre-process it or anything. (OTOH ACR is so powerful that you can often skip having to use slow grading tools in premiere inwhich case you gain some back in saved render time there and it's not quite as bad a comparison overall). And the Ninja 2 takes way less space. But the detail just ain't there compared to the RAW ML Video.

There is no such thing as setting the WB in camera for RAW. The camera records what it records and that is it.   NeatVideo won't bring back all the detail that got smeared away.   This was not carried out ideally, but look at this comparison and the detail at least is much better: http://farm8.staticflickr.com/7286/8742046520_18fc4c218e_o.jpg   Granted a fair test does need the best profiles to be used in all cases and the best PP done, etc. but for detail at the least even a quick hack of a test makes the difference clear and it's clear that at the very least the RAW video files are much easier to deal with when messing around with tone response/color/WB/etc.

All I can say is try the hack and you will see. It's a night and day difference for dynamic range, detail, color tonality, ease of color and tone processing (just think how power ACR is for stills and imagine using those sliders and all that power for video correction; just think that you can adjust WB in post without losing anything). At times it is almost laughably better.   The workflow is a tedious slow mess to get stuff converted true and it burns up CPU cycles like mad (although color correction and processing the steps where you do stuff are actually much easier and quicker thanks to the power of ACR) and yeah less than a minute and it cuts off at the 4GB limit. But man the quality!   I'm telling you if you think internal vs Ninja 2 is much of a difference then this ML RAW will blow your mind. The difference is like 1000x, literally, more noticeable.

A sensor issue. The image processing engine filters it out and counter acts it normally.

1. There is no such thing as pull down ISOs once you are that high. Above ISO3200 everything is simply 1/3 more and more and more digitally pushed.   2. Cinestyle can be dicey to work with, that flat and 8 bits doesn't always grade so easily. Some of the others have even a touch more DR but keep some better pop in the mids.   3. The RAW gives truly amazing rich colors and all the advanced tools of Adobe ACR processing with ACR pseudo-HDR sliders, raw pre-sharpening, advanced NR, etc.   4. Maybe this is not quite scientifically carried out, but believe me Cinestyle doesn't process the way these RAWs do and you get somewhat less DR and a lot less beautiful tonality (and of course the detail is simply much less).

+1 indeed

Nope you are making it two times too scary :) . It's about 3.5MB and around 4.4GB per minute. Still yikes of course though.

I'm not saying that the 5D3 RAW video has more DR than a still, but since it is normalized down to 2MP vs. 22MP it surely could. You have the same max allowed value but have averaged potentially tons of pixels together to form each deep shadow pixel, trading spatial information and detail away (the 22MP starting point).

I suspect it won't be possible. Nikon I believe is much harder to hack. The liveview feed on the D800 is awful, choppy and aliased so I'm not sure it's possible to do this trick with the D800. Someone said the Exmor chips might become too hot if read smoothly at 24fps (???).

It sure is nice when you have a one of chance and something goes wrong or you don't have time to change settings before the scenario is over. Also you are missing the point, what if the scene has more than 10 stops of DR that you wan't to capture? It doesn't matter how carefully your expose, it won't work out.

A foggy day. Try it with sun beams shooting through the forest. Then you'd wish for the extra nearly three stops at ISO100 of the Exmor sensors. Sure your scene has a decent DR range but it's not crazy high. I should also say that anything downscaled to like 1/8th of a MP look good too.

5D3 has worse than 11.7 EV at 1:1 level but when at normalized to 8MP it rises and normalized to 2MP it would really rise (if the info was used well and not tossed).

Just look at the SNR of the 5D2 vs the 5D3 (nearly 2 stops better, because it is not line the skipping, the 5D3 sensor is only maybe 2/3rd of a stop better for SNR at best) and the difference in moire/aliasing. No way the 5D3 is skipping that much. They are probably doing a 3x3 bin style (C300 stuff does 2x2 bin style).

The new video footage takes it even to another level yet. Simply speechless.

Exactly. Instead of worrying about internal market segmentation and this and that they should've charged ahead. I started getting on them years ago because I saw where they were headed from how they were talking and acting and what stuff they had and were either sitting on or not deciding to improve yet and got called a troll, but now we see a bit that their short term margins and safety lead to loss of perhaps much larger sales in the long run. Sure they are surviving overall fine, but....