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Everything posted by squig

  1. You've used ML on the 50D so it shouldn't be a problem. Use the raw histogram and the ETTR hint. I have my LCD brightness 1 notch from the minimum setting which gives a good exposure preview for ETTR shooting. You can use shutter fine tuning to get a 180 degree shutter. Set FPS to exact. If you're using an external monitor you may have to switch the camera on before you turn on the monitor.
  2. 14bit lossless works on any resolution. I've been using a Toshiba 1066x.
  3. 100 ISO - black screen ~49% 6400 ISO - black screen ~60% 6400 ISO - busy scene, fast movement ~69% Explains why you're getting 3K and I'm getting 2.7-2.8K, I've mostly been shooting at between 1500 and 6000 ISO 2.7K scope 14bit lossless. Debayered in ACR, graded in AE with filmconvert. Rendered to 1080p. Sigma 20mm f/1.8 @ f/2.8 1500 ISO
  4. The lossless compression isn't a fixed ratio, it varies; the highest I've seen it is 51%, the lowest was about 80%. The way it works is you have to go into the crop mode menu to select the sensor crop, 3K, UHD, etc, then you have to go into the regular raw video menu to select the resolution you want to record. 10bit @ 2.7K 2.39:1 is around 90MB/s, roughly the same as 14bit lossless. As I said, there is no 4K 24p recording, just a 4K sensor crop which no available CF card can record, the media is just too slow to write that much data. I've recorded up to 3.3K 2.39:1, but because the compression size varies you can't expect to record every single shot at 3.3K. I'm trying to figure out what resolution it will do 95-100% of the time, so far around 2.7K 2.39:1 24p with a 2.1x crop is pretty solid.
  5. You should mention in your article that there's no CF card that's fast enough to record 4K 24p 14bit lossless, somebody might buy a 5D Mk3 thinking they can. The highest resolution I can record continuously is 3.3K 2.39:1, but continuous doesn't mean endlessly repeatable. The lossless compression needs a bit of headroom, so 2.7-2.8K is a more realistic repeatable recording target. I don't know what the situation is with lossless compression for 10 and 12bit, that would certainly get us closer to 4K.
  6. You can record around 3.3K scope: 2272x1364 with a 1.5x anamorphic lens; maybe a little higher, but best to leave some headroom for the lossless compression. Around 2.7-2.8K is looking like the ballpark for sustained 2.39:1 24p 14bit lossless shooting with a 2.05-2.1x crop. Higher than that isn't repeatable 100% of the time in my tests.
  7. @hyalinejim did you shoot that with the 1st or 2nd build?
  8. Great, you saved me the trouble. I'd rather spend my time looking for bugs than cutting and grading. If people wanna know what it looks like; it looks exactly like a 5D MK3 photo cropped to 3K, there's millions of those around. Are you having any issues with this: http://www.magiclantern.fm/forum/index.php?topic=19300.msg182227#msg182227
  9. Use mlv_dump https://drive.google.com/file/d/0B-7nnVbwzGVkUmpHLW5kbEU3OWc/view This is the upper limit for continuous raw, beyond this you'll get x amount of frames before the buffer fills.
  10. It's not the Sigma f/1.4 ART, it's the old one; very soft at f/1.8 but really sharp at f/2.8. The 18-35mm and the new 14mm are good options too. I haven't tried the 60p mode yet. I've been shooting almost everything 14bit lossless, it's awesome. The files are 14Bit raw MLV and convert to CDNG as usual. a1ex said he knew about the JPEG compression but didn't bother messing with it because he assumed it was just 8bit. 14bit lossless files are a lot smaller than 10/12bit. Some stuff I shot was around 50% compressed. The (around) 90MB/s limit hasn't changed. There hasn't been any faster CF cards released since the Lexar 1066x. Something a bit faster could theoretically give ML a bit of a write speed boost.
  11. It's recording 3072x1286 continuously (2.39:1) with a 1.87x crop @ 80MB/s 14bit lossless. Only 2 issues ATM: the useless greyscale preview as @hyalinejim mentioned, and the menu is quite buggy. The other thing is lensing; the Tokina 11-16mm isn't great wide open, it's sharp but I don't like what it does to highlights. The Sigma 20mm f/1.8 is a lot nicer at f/2.8 but it's not very wide at around 37mm with the crop.
  12. No sound. Getting 3k now with 14bit lossless No samples yet. I'll get some anamorphic traffic shots tonight if the rain stops.
  13. So I've tried it. So far I can record continuous 14bit 1:1 2.3K 2.39:1 (2304x964) or 2.6K 14bit lossless, and 2.8K 1.5x anamorphic 2.39:1 (1920x1152) with a full color live view.
  14. @hyalinejim I haven't used the crop modes much to date, mostly just testing them. @Hans Punk I've got a Tokina 11-16mm too, ugly bokeh compared to my Leicas; the Sigma 20mm f/1.8 is better, but not exactly a wide in crop mode. The search for the ultimate affordable ultra-wide continues.
  15. Truth is we've had the ability to shoot well above 2K for ages in crop mode. People whinge and whine about crops, apparently oblivious to that newfangled invention: the wide angle lens.
  16. Replicants will be running amok first.
  17. I never use AWB. I light with mixed color temps a lot, like a 4000k practical with a 5600k backlight for example, so I dial in WB to suit in camera. I tend to warm things up a bit in post. 2010 is no better. I mostly just denoise, sharpen, and adjust WB in ACR, and sometimes make curves adjustments. It's super important to ETTR and nail exposure with the Canons otherwise they get very noisy.
  18. Yeah, a1ex said he's putting a few hours a week into digic 6 ML development.
  19. The 5D MK3 is way better than the 50D. I'll probably get an 80D too for the DPAF when ML crack it. GH5, meh.
  20. The feature's still in pre-production, but I've done a lot of testing and no, I haven't had a single bad frame or any crashes.
  21. Since ML raw happened I haven't looked back. Raw's a dream to work with in post. Yeah Ed, not having to think about white balance is a big deal.
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