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Actually, this Canon camera still has far to go until it can "one-up" this Forza camera from 2014. The Canon model shoots 120mp at 9.4fps, while the 2014 Forza unit can shoot 200mp at 60fps.

If Canon does make a full frame hybrid camera, I hope it uses an EF-M mount -- unlike the EF mount on the C700 FF. The FF camera could utilize an EF-M-to-EF adapter with a shape and reinforcements that follow the contour of the camera body. By designing the adapter in this way, clueless EF lens users would never realize that they were actually mounting their lenses to an adapter. This configuration would not only allow fully functional use of EF lenses, but one would also be able to mount a zillion other lenses, focal reducers, tilt-shift adapters, etc. By the way, the EF-M mount should work with a full frame sensor, as the EF-M throat diameter is 47mm while the required image circle for full frame is 43.3mm.

N I K K O N

When opportunity knocks...

It's an unfortunate fact of life that those who do the heavy lifting often do not get the proper credit. Either some opportunist takes the credit or others simply cannot discern the facts (or have short memories). For the sake of the rest of us, please keep up the excellent work!

Thanks! Nice rig! Do you have your own 3D printer?

The center of gravity is the shoulder pad. @heart0less Can you please provide a list/links of the components in your rig?

@jonpais Wow! That's pretty!

This is exactly what I have been wondering. @Arikhan Great work! Can you please say whether you are hacking the camera itself or are you applying your "IDOB"/stacking process outside of the camera? ... or are you doing both? Thanks!

In addition to @BTM_Pix's suggestion, you could use an EOSM AC adaptor and connect the dummy EOSM battery to a Sony NP battery plate. Then you could just use readily available and inexpensive Sony NP batteries (which come in various sizes/capacities), with the added option to use wall power with your EOSM.

It's an ultrasonic tape measure (for setting focus).

Definitely, some heavy duty IBIS with that rig. Looks like they forgot the cage with a Rode and shoe mounts! /s Jeez! That's as massive than a Mitchell BNC or a Dalsa Origin.

Not sure that Tizen is "Linux-like" -- I think it actually is version of Linux. This sounds like the old Magic Lantern HDR video in which alternating H264 frames have different ISOs (WARNING! STROBING/FLASHING FRAMES): The trick is that you shoot with the ML HDR video feature at a higher frame rate (50fps or 60fps) and then combine every two consecutive images to get HDR video at half the frame rate (25fps or 30fps). As mentioned in the video, one can encounter motion/ghosting problems with this method. I wonder if the Magic Lantern HDR option works their 60fps raw video feature on the 5d III (although I am not sure if this HDR method makes sense when shooting raw).

I said that those specs would be "ideal" -- I realize that those exact specs are probably not currently feasible. On the other hand, 12-bit/10bit raw at 1800x1024 is working with the EOSM, and that is certainly close enough to what I seek. However, the Magic Lantern documentation, nomenclature and forum are so confusing, I cannot figure out whether or not those specs are available in a super16 crop. ML has not been able to get higher raw resolutions from the full sensor, but I am not sure that is due to the EOSM lacking "power." I assume that this current limitation doesn't involve the EOSM's SD card controller bottleneck, because the EOSM can obviously record full-HD+ resolutions at higher bit depths with crop modes. So, there might be a way to get raw and "near-full-HD" without a crop. I am just trying to figure out what is possible right now with the EOSM.

That's not the cause of my confusion -- I don't even have Magic Lantern installed, so I am not looking at the menus. Indeed, if all the crops were simply labeled relative to full frame, there would be a lot less confusion in regard to crop sizes. I think that a lot of the confusion with Magic Lantern comes from three things: The official documentation is not current and a lot of features are left out; The only mention of some features is scattered over a zillion forum posts, so information on is difficult to find; Since all of the features are released as they appear, the features weren't named together, all at once, so the naming has been somewhat arbitrary, reactive and haphazard. Consequently, it is difficult to tell from the feature's name what that feature does (especially relative to other similar features). Yes. I have this one. There are other brands that have "dumb" EF-to-EF-M focal reducers -- just search on Ebay. Thanks for the info!

Thanks. As I mentioned above, I have shot extensively with the BMPCC, but I don't own one nor do I own a BMMCC. I own an EOSM with an RJ focal reducer. For the optics that I have, it would be ideal to get a super16 crop, full HD, 10-bit, 4:4:4 (or raw), or to get the same specs with no crop (APS-C).

@Alpicat Thanks for the info. That clarifies/differentiates some of the features. I thought that the 3x crop is equivalent to super16 while 5x is equivalent to super8. I also was under the impression that "movie crop mode" could be super16 in size.

Thanks for the confirmation on the 3x crop. I wonder what resolutions are available at that crop and whether or not I would have to deal with focus pixels. In regards to the Blackmagic pocket and micro, I have shot a lot with the pocket, and it gives great images. I own an EOSM, but not any Blackmagic cameras. So, instead of spending another US$1000, I would rather try similar functionality with my EOSM.

What happened to Bohus? Thanks for the link. I am fairly sure that there is a 3x crop mode in Magic Lantern, but I don't know what resolutions are possible, nor if one can shoot in that mode and not suffer pink/green focus pixels. It is difficult to determine Magic Lantern capabilities as the only mention of features is sometimes spread over many threads on their forum, with some threads having 60+ pages of posts. Well, if Metabones doesn't make a speed booster that mounts on the EOSM, some of their competitors already got the EOSM covered. Plus, if an EOSM-m4/3 gets made, that would allow the use of a lot of m4/3 focal reducers on the EOSM, including Metabones. Metabones should actually make their $peedboosters with interchangeable camera mounts, so you only have to spend $500+ for one set of optics.

Nice! Does the acrylic case conform tightly to the monitor, or is it more bulky (to include a Raspberry Pi board)?

Wow! I had no idea that such adapters existed. Thanks! Here's the Fotodiox version, by the way. Indeed, both mounts have the same flange focal distance (18mm), plus the EF-M has a slightly wider throat diameter at 47mm, compared to the 46.1mm throat of the E-mount. So, it should be a little easier to make a M4/3 adapter for the EOSM. Can you post your Fotodiox contact info? I would like to "second" your proposal for such an adapter. By the way, much of this thread involves shooting with a "Super-8m" crop on the EOSM. I would like to enjoy the same HD resolution and raw benefits, but shoot with a Super-16 crop. Would that be the equivalent of the 3x crop? If so, can I shoot that crop on the EOSM with full HD, raw, 24p at 10-bit? Thanks!

There is a PL mount to EOS M adapter, but it's from MTF so it's expensive: https://www.srb-photographic.co.uk/pl-mount-to-canon-eos-m-mtf-camera-adaptor-9290-p.asp I don't know if there are cheaper alternatives. There are PL to EF-M tilt adapters for US$195. I seem to recall non-tilt versions selling for a little over US$100, but I can't find them anymore. Another option is to get a PL to EF adapter for ~US$100 and merely attach that to a dummy EF to EF-M adapter (US$9). The flange focal distance for M4/3 is 19.25mm while the flange focal distance for EF-M is 18mm. So, it should be possible to drill matching holes in a M4/3 mount to match the screws on the EF-M mount and shim the mount ~1.25mm further out. Of course, making the locking pin work is another consideration. Also, safe clearance for the EOSM's EF-M electronic contacts should be considered, to prevent damage.

Glad to know somebody gets it! I don't use luts in grading, but a lut can help with "client preview" on set.

Hybrid Log Gamma?

Ha, ha! If you start out with an uncompressed file with negligible noise, the only thing other than bit depth that determines the "bandwidth" is resolution. Of course, if the curve/tone-mapping is too contrasty in such a file, there is less room to push grading, but the bandwidth is there, nevertheless. Bandwidth probably isn't the reason that 8-bit produces banding more often than 10-bit, because some 8-bit files have more bandwidth than some 10-bit files.