squig

The daylight model should be quite a bit brighter too, even more so if you're putting CTB gels on the tungsten model.

I'm holding out for the daylight version. I found a Bowens fresnel mount for $100. Aaron do you know what the beam angle is? There's no mention of it in the specs.

The 5D MK3 has an OLPF. I've never seen a frame with any aliasing or moire. As for the resolution it's just about perfect for narrative filmmaking even after denoising in ACR. 2.5k would be perfect. You can get around the pixel binning by shooting full sensor in crop mode but there's a bit of a noise penalty. I wouldn't shoot 4k narrative without filters; too harsh. Plus I'd need 50 terabytes of storage to shoot a feature! It's a shame the C500 doesn't record 2k or 2.5k raw internally.

It would be interesting to see how a $30,000 camera stacks up against a $3000 camera (5D MK3 raw). Up to 1600 ISO I don't think there'd be much in it besides the higher resolution. Beyond 1600 ISO the 5D wouldn't be able to compete due to the analog gain. Another thing worth noting is the Adobe camera raw debayer produces a better image than the Resolve debayer so that may give the 5D CDNG files an edge in the final grade over the Canon raw files.

You can either edit the MLV files directly in Resolve or Premiere using MLVFS http://www.magiclantern.fm/forum/index.php?topic=13152.0, or transcode to DNG in MLP http://www.magiclantern.fm/forum/index.php?topic=13512.0, or transcode to ProRes in MLP or AE, and cut in your preferred NLE.

a1ex is working on Magic Lantern for the 7D MK2. The 7D MK2 raw image looks slightly softer than the 5DMK3, but it might be a tad better in low light. I can't find any rolling shutter measurements for the 7D MK2 but I think it might have a faster readout than the 5D MK3. The 7D MK2 also has 1080p 60p and is of course cheaper than the 5D MK3. It could be a pretty awesome S35 package. As for the 5D MK4: fanboy fodder. H.264 is so 2009.

I was sure you said it was the other way around. Do you mean the replacement Micro you got?

slashCAM are dreaming. The Micro has less usable DR than the 5D MK3 raw which is rated at 11.7 stops by DXOmark. It's also clear that the Micro is slightly noisier than the Pocket.

It's not a big IQ difference, they match quite well in post. But the Micro is a lot noisier than the 5D at 800 ISO. Noise isn't really an issue on the 5D until you go over 1600 ISO. In all the tests I did the 5D had more usable dynamic range. The Micro highlights clip before the 5D and there's more noise in the shadows. I've got a couple of Iscoramas, so I can get 60p out of the 5D. 13ms is nice but the extra dynamic range is more important to me. The Micro also appears to have an issue with saturation variance at different exposure levels, not a major drama but an extra step in post. The 5D consistently gives me better results with less work in post. If the 5D couldn't shoot raw the Micro would be the next best option for me.

I think the form factor & no screen vs the Pocket + LCD point and shoot thing really is a non issue. Who shoots with a Pocket handheld pulling focus off the LCD? The smallHD 501 with a ball mount or that smallHD mount Zak has is a really compact setup, no bigger than a DSLR with a z-finder, and a much better image than the Pocket LCD with rec709 LUT monitoring.

The 5D mk3 raw has a nicer image and more usable dynamic range. 60p and 13ms rolling shutter are the reasons why I haven't sold my micro yet. The form factor does make it handy to have in my bag as a b-cam, but I'm thinking about just buying a 2nd 5D mk3 instead.

So when you say "close to CLog" does that mean the dynamic range and low light IQ isn't quite as good as the C300 MKII or 5D MK3 raw?

Grrr. The 35 is the one I need.

I've got the old Sigma 20mm f/1.8 which is pretty good past f/2. The only thing I hate about Sigma lenses is the short focus throws.

I had a full set of Nikon ai/ai-s primes and a 35-70mm that I used with the 5D MK2. Great old school optics. I only got rid of them because I upgraded to a set of old Leicas. A 'friend' stole my 35-70. Another great lens is the Pentax 35-105mm "stack of primes". https://www.flickr.com/groups/2109431@N20/ I'ts not parfocal like the Nikon though.

Yeah I liked the Ursa shot better too. The Kine looked a bit Ken doll. But it's nothing definitive.

920g, 15 stops rolling, 13 stops global, what's not to like? If it's as good in action as it is on paper, the revolution is nigh.

I read Jimmy's rants (thanks Jimmy ), then I read Andrew's blog post. Jimmy, you forget to take your happy pills mate?

Purple fringing. Yucky. http://www.photozone.de/canon_eos_ff/970-tamron35f18vc?start=1 I'm getting the Sigma

Did you do any post sharpening? I usually sharpen my 5D raw shots a bit in resolve, it doesn't fall apart and look unnaturally sharpened like most compressed footage does. Adding some grain also increases the perceived resolution.

I wouldn't touch the A7sII for a doco. The last I wanna do is white balance mixed practicals when I need to be focusing on focusing and framing the action.

I don't use auto ETTR, just the ETTR exposure hint in the histogram. I tend to push the exposure 'till it hits the "over" point in the histogram, but it really depends on the shot. The 5D needs a hot signal to minimise the noise. I like the look of the 1Dc and 1DxII mjpeg, it's a lot better than H.264, but I wouldn't trade raw for mjpeg, especially for that price. I love the size and weight of the 5D, and I wouldn't go for anything bigger unless there was a substantial IQ improvement, I'm talking Alexa good. I'm not interested in 4K at all, I just want another 2 stops of dynamic range. Too bad the Nikon raw hack didn't succeed, but maybe the Sony hackers will crack raw, or ML might try to crack the 5D MK4. The only time I've ever been able to make the A7s look any good is under studio lighting. Well lit the A7s 1080p codec holds up pretty well, but it's not as resolute as the 5D raw, and the DR looks about the same graded. I look forward to the day Canon, Sony, or especially Nikon DSLRs record raw out of the factory.; or Blackmagic sources some higher sensitivity sensors. If you haven't seen that German film 'Victoria' shot on the C300 check it out. I was really impressed with the cine, all shot in one take and mostly with practicals. If the 5D couldn't shoot raw I'd be all over a C100MKII and a ninja star or BM video assist. I might have to hire a D750 and a C100MKII just to convince myself once and for all that the MK3 is the right tool for the job.

I'm gonna start a thread soon "Squig's apocalypse" with some behind the scenes tech stuff, and I'll show some snippets of 5D raw stuff from the film there. Workflow is a breeze now using MLVFS; you can just load up the MLV raw files in Resolve or Premiere without any transcoding. I get realtime playback in Resolve with up to 12 nodes on my 2010 6 core 3.33GHz Mac Pro with a GeForce GTX-980. I've got 4 x 4Tb internal drives running a 12Tb raid 5 with SoftRAID 5, and a 1TB SSD system disk. That's enough storage for around a 40 day narrative shoot (75min per day) filming a 2.39:1 aspect ratio, and backing up to LTO-5 tape. There aren't really any drawbacks I can think of, there were so bugs but they've been squashed and stability is really good. There's analog gain added to the signal past 1600 ISO but I'm comfortable with the IQ up to 6400 ISO, but I expose to the right and blow the highlights a bit to keep the fixed pattern noise at bay. Highlight recovery and rolloff are good, better than the BMMCC. I shoot 60p 720p 1.5x anamorphic and stretch it to 2K. I've still got my A7s but I'm only using it for production stills. From what I've seen the A7sII has much better skin tones, and is better in low light, but the rolling shutter is too high for my liking. I really like the D750 image, and I might have a play with one; I like the C series look too, but I love how raw grades and I'm not sure I could go back to compressed codecs.

I wouldn't be worried about projection at all. I haven't bothered to do any projection tests; Magic Lantern IQ looks great at 2K. 14bit CDNG is the gold standard for digital filmmaking.

I wanna see it. Not sure what you mean by image limitations. Tangerine was shot on an iPhone and had a theatrical release. Act of Valor was shot with a 5D MK2 (not raw, but lots of big $ post tweaks). German film Victoria was shot with a C300 and looks cool. I'm shooting a feature http://www.gamma-movie.com with the 5D MK3 raw for theatrical release. I recently tested the Blackmagic micro cinema camera, and the 5D beat it in just about every test; same goes for the A7s and D5200. This dude might be able to give you some ML projection tips-