
benjolino
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Posts posted by benjolino
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If people are bored and want to pick a fight with you I suggest ignoring them entirely.
you are absolutely right. it´s a waste of time.
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is there anything new known of this vertical lines phenomenon. i have seen them in a lot of videos when the focus is at infinity and the sky is grey. for example in this video at min 2:17. i wonder if this is reproduce able. because i have seen also videos which have no vertical lines in the same conditions.
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And now you play the disingenuous troll card, "what? who? me?"
They never just own it.
you have to read between the lines you dump. i think i can say my opinion on this forum and i dont give a f... about what you are thinking. if i think this lens is not good for what i´m doing, don´t you think i can say that? open your eyes and look at the edges of the frame. what happens there might be ok for you but not for me. buy yourself some glasses hobbit.
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That argument is not an argument at all. Whether or not MOVi was some sponsored marketing ploy or not, the raw hack for 5D3 wasn't even known to work at that time...just FYI. The big surprise he didn't announce was Blackmagic's 4K camera.
i know that it wasn´t known at that time but now it´s the right time to say that the raw hack is huge and not this overpriced gyro rig...
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it´s really funny. MÖVI is the biggest thing in film industry since the 5d mk2. compared to the raw hack for the mk3 it´s really a joke. laforet should say this. or he will loose his credibility. i think it´s really a ego thing. for sure the 1dc was until now a very good camera, besides it´s very high price, but now it lost a lot of it´s worth and if you are a 1dc owner, for some people it´s hard to say, "ok maybe i spend a few dollar too much for it". but i think people like phillp bloom and vincent laforet should really stay neutral because it´s their job and a lot of people listen to them. maybe not to laforet. he takes money from manufactors. and since the mövi thing nobody really listens to him:)
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I have no problem working with Cinestyle on the 5D3, and with just a touch of green/magenta correction I can get it lined up fairly well with Canon Log (Cinelock) C100/Ninja 2 footage. ISO 10000 on the internal codec is significantly cleaner than 12800 in the same way 2500 and 5000 are...it may be in-camera NR that you can't turn off, or some other mechanism, but the pattern is consistent and I shoot that way accordingly. The 5D3 clean HDMI out to the Ninja 2 does not display the pull-down ISO pattern as strongly so you might be right in that case.
The A/B we are all waiting for is the absolute *best* you can do "officially" vs. the best you can do with the ML hack. I will test that once all the bugs are shaken out of the hack and we know what works best. The best I can get out of a 5D3 at this time officially is clean HDMI out to the Ninja 2 using ProRes 422 HQ on the Ninja, Cinestyle with default settings on the 5D3, and then applying NR (I use Neat Video) and a LUT (I use Pomfort) in post. I don't see banding after grading the Cinestyle in typical use. Even so, that image is blown away by the C100 in Cinelock to the Ninja 2 in every capacity (other than full-frame DoF and angle of view of course).
I have no delusions that the C100/Ninja 2 will be displaced by the 5D3 RAW output in absolute IQ. That sensor and system is just purpose-built and far superior for filmmaking. I think a lot of people overestimate the value of RAW, perhaps egged on by Jannard. For stills of course I only shoot RAW but that's because the only other choice (JPEG) sucks and RAW stills aren't onerous. Direct-to-ProRes HQ with a log gamma is an absolutely credible option and anyone skillful enough to get decent exposures from pre-Log DSLRs will have no trouble at all with that codec. The hassle with RAW is so intense in comparison to just capturing hours of ProRes on an SSD and loading it directly into your NLE ready to cut that it better completely blow it away even if the best possible settings and workflow is used with the compression.
The main losses for the HDMI 8 bit 422 are going to be chroma detail (422 and 444 are VERY similar to the eye, even for keying work..it's the 420 used in the internal codecs that truly sucks) and maybe a touch of DR. 8 bits with the Cinestyle gamma is not far from representing with high fidelity the full DR of that sensor on most ISOs in practice...see DxoMark's reports on all the read noise of the 5D3 sensor in stills mode. The main hit resolutionwise is going to be done at the downsampler in-camera taking the 22MP to 2MP. If you use a crop 1:1 pixel mode, you will get a ton of sensor noise and probably some aliasing/stair-stepping the OLPF doesn't fully blur out. We aren't recording 24 RAW 22MP stills in a second on this camera...there is damage done in both pathways.
What I would like as a working professional for whom any gains from RAW are likely overkill for a 5D3, is a nice internal codec from ML. If MJPEG is the best they can do, OK, make it a good one with 422 and an easy workflow in post. If that, plus the CF cards needed, is overall cheaper and better in practice than getting a second Ninja 2 I'm happy. Will be more compact to just use the Zacuto loupe and hopefully not require too much card swapping while shooting.
i really don´t know what you are talking about. ML is able to record RAW to CF cards. they are not able to process something else to the card. i would also like to see a mk3 doing really good 422 proress on a cf, for better workflow. and i would also like the sun to shine the whole year, but this will not happen. what has happened is that ML IS ABLE TO RECORD RAW WITH THE 5D MK3
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here i found an adaptor extension for cf slot. if i could connect this to a cf--->sata adaptor, i could use ssd drives with my 5d mark3. that would be great!!!##
http://www.esskabel.de/adapter/datasheet/ada-compactflash-extender-0430ffc/
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does anybody know if it´s possible to build a connector from cf card slot to sata. i think about running a cable out of the cf slot from the mk3 to a ssd drive. then we could use ssd´s direct with the 5d which would be awesome. there are adaptors from cf card to data but i could not find the other way around.maybe the powering of the ssd would be a problem. could also be that the power from the cf slot is enough. the power of an usb is enough...
Magic Lantern 5D Mark III raw video and camera reliability
In: Cameras
Posted
though i´m a 5d mark3 owner, i absolutely agree with you. for the most paid things the 5d mark raw is not a solution. even if the hack gets stable. the data rates alone make it impossible to use for documentary shooting for example. i´m really happy that this hack exists and i can play around with it but let´s see if it becomes a good way to work. i doubt it.
i also think you all should not blame canon so much. it´s a normal strategy for companies to offer different product for different prices and costumers. for example i know somebody how works for bmw in the development. the 316, the 318 and the 320i have the same engine, they just crippled the lower end engines and sell them cheaper. it´s more efficient to produce a higher number of engines and make them less strong for lower end cars, the to produce 3 different engines. all bmw would be much more expensive if they would produce 3 different engines. even if canon would would use the same sensor in the 600d and the mk3, i would still buy the mark3, because i want a magnesium body and not a plastic camera.
for example the canon ef 50mm 1,4 and the ef 50mm 1,2 are both very good lenses. but the 50mm 1,2 has a much better build quality and a bit better image and it costs 5 times the price. but if you work every day with this lens and earn money with it, then you maybe wanna buy it. i don´t start thinking is this really 5 times better then the 50 1,4? or is canon a greedy bitch because of this? i just think about if the things, this pro lens offers, is worth the more money for me personally. it´s easy like that.
i mean who would think the 5d mark raw is the right tool for one when he works every day with it? and i don´t mean making test shots and playing around. this is important to do and i´m really thankful that it´s been done, but if i can get a nearly the same image quality then the mark raw with a proress codec, and a good handling of the camera and the post workflow. this doesn´t sound too bad for me.
it´s really funny that everybody buys canon and complains about them at the same time... lol