Justin Bacle

I think it is a thing which can be done. I'd like to try and hack one but I don't have a gimbal as I don't have use for them. If you get one open, I'll be interested to see what ICs are inside and see if we can override one

On 2/17/2017 at 9:26 PM, redimp said:

I've inserted a Sandisk Extreme Pro into my BMMCC, formatted to HFS+ internally, shot a whole day of very labor-intensive footage on it (no errors in camera whatsoever, worked perfectly), inserted into my macbook pro, and it does not appear anywhere (including disk utility).

Four other macbooks don't see it either. Windows computers hang when I insert that card in them. If the card is mounted during bootup, no OS will even boot.

Thoughts?

Have you tried using linux ? Ubuntu should be able to access the card in read-only at least. 

Looks more like compression artifacts to me. Where you recording internally or externally ? It wouldn't surprise me if this happened using the internal recording as the bitrate is not that high.

21 hours ago, webrunner5 said:

I don't see m4/3 Ever being worth a crap in low light. When you use the comparameter? it is still rather dishearting how little Any camera has gained with great Low Light ability in the last say 6 years. 1 stop if we are lucky in that amount of time. Sony A7s is the only one that is sort of great in low light. And real life that is 25,600 at the top without biting your lip. Sure more if you HAVE too, but you sure as hell don't Want to. Most cameras are still 6,400 tops, 12,800 is Oh Shit stuff. Ain't happening on a m4/3 camera video wise.

The problem doesn't come from sensor size actually but more from pixel size. 

So you could make a great low light m4/3 sensor. But only at smaller native resolutions

6 hours ago, Tito Ferradans said:

Yeah, in the case of ML, cropping goes smoother on the card.

I was thinking and maybe I didn't express myself quite right at the start. I started this rant because of the amount of messages I get from people saying "My camera doesn't have a 4:3 mode, so I'm not able to use 2x stretch lenses" and stuff like that. I don't know what leads them to think that.

There is also the bitrate problem, let say you record in FullHD, AVCHD (24 Mbps).
Using a 2x strech scope, you would end up cropping the sides to get a 2.4 aspect ratio which implies cropping 1/3 (approximately) of the image you get. Decreasing the overall bitrate in use. You then end up with a 16 Mbps 2.35:1 image to work in post, which doesn't really allow a proper grade.
That is the reason why I don't use the anamorphic on my main camera (AF100).

I may very well be wrong, but I'd like to be proven otherwise. Any thoughts on that ?

On 2/14/2017 at 4:23 PM, Tito Ferradans said:

I wanted to understand why is everyone so obsessed with 4:3.

Is it because there's more height pixels, or because of the aspect ratio itself?

I'd say both, it's great to have more vertical resolution, but having to crop less is more "storage efficient" to me. (with magic lantern being limited by the card write speeds, it's easier to achieve more vertical resolution in 3:2 or 4:3 than in 16:9  )

I actually shoot more in 3:2 with magic lantern as it allows slight movement in the shot in post if wanted, but 16:9 is just too much cropping to me.

Or you can get a nice set of samyangs (12mm T/2.2, 21mm T/1.5, 50mm T/1.3) So you get a get a nice set of cine lenses  

11 hours ago, samuel.cabral said:

The chinese m4/3 Yi M1 shoots a 4:3 2k image but at 30p.

2048*1536 is actually closer to 3K. Would stretch nicely to 4k anamorphic. The bitrate and IQ is not great however from the very few reviews I've seen. I'd like to be wrong on that though

4 hours ago, j_one said:

Oh yeah, if you're cool with hacks, the best option IQ wise, imo

5d mkiii RAW 10bit 60p 

Wedding example

I thought 60p needed to be recorder as a squished image with limited vertical resolution. I'll have to grab info

What resolution are you using ?
According to http://rawcalculator.bitballoon.com/calculator_desktop, you can get continuous recording on the 5d3 at 1776x1184 (3:2) in 14 bit. (1696x1130 3:2 for the 5d2)

Are sandisk cards recommended ? I thought only the lexar and komputerbay are able to deal with the bit rate. Anyway, do a write speed test and see the resolution you can achieve according to that

14 hours ago, webrunner5 said:

For some reason most of the 1080p output on DSLR's, Mirrorless FF cameras, even APSC that I have seen that have 4k on them seem to suck, no clue why, but 4k looks great down sampled to 1080p. So slow motion on them is not much to write home to mother about is what I am saying. Not many cameras in that sector have 4k slo mo over 30p.

Seems dedicated Camcorders are the only thing that has great 1080p with slo mo I like.

So used cameras like a Sony F3 or FS100,  older Panasonic camcorders, are my picks.

True, my AF100 is quite old, but as great in camera 60 fps slow motion (recorded to 24 fps, so you don't have to fiddle with speed on your editor of choice).

The gh4 is 1080p 60 fps (and more) and is quite affordable now

On 2/8/2017 at 9:33 PM, Juxx989 said:

Guy had it on ebay with 12 battries and a charger and all the original packing... I bought it 2 min after I saw the auction

http://www.ebay.com/itm/222380590185?_trksid=p2057872.m2749.l2649&ssPageName=STRK%3AMEBIDX%3AIT#viTabs_0

Said it has a sensor flaw... that its has like 6 dead/ frozen pixels... 

Ive shot on it and blew it up on my 4k monitor and I dont see anything wrong with the video.. maybe it comes and goes... but its great to play with for only $125

Man that is a great great deal you got there

On 2/6/2017 at 9:55 PM, Juxx989 said:

Yeah its dumb... I just got one (BMPCC) for $125 and was brain storming...

Were did you get a BMPCC at that price ? I'll buy one right now ! 

Can we see some pics please ?
I'd like to see how much fungus we're talking about.

On 2/2/2017 at 0:25 AM, Juxx989 said:

I'm sure I'm not the first to pose this idea.  But under any scenario is it possible to mod hack or convert a bmpcc into a dedicated   pro Rez / raw recorder for another camera?   

That would something?!

Unless you want to frankestien the hell out of it and rewire the bmpcc's encoder and recording circuitery and magically get the cpu to still communicate with the encoder to control it .... NO

13 hours ago, hyalinejim said:

To be honest, if Magic Lantern team can ever get a usable preview for 10 bit recording then I'd be very happy to stick with continuous 24p 2.8k 10bit on the 5D3 for a number of years yet. The downsample for HD or 2K DCP delivery would just tighten up the resolution nicely while still allowing for a little wiggle room with stabilisation or reframing.

At the moment the preview freezes when recording in the crop mode that allows resolutions above 1080.

10 bit just isn't enough for raw as the data is encoded in linear space and not log space. You would get too much noise (see examples on ML forum).
12 bits looks the same than 14 bits though, so that's great  

Go MFT and use dead cheap old lenses with a speedbooster :D
That is if you like vintage glass.

I bought a 50D just for using it with magic lantern. I get full HD raw for €250 (using anamorphic).
If you go with a 5d mk2, you get full HD raw (13+ stops DR with dual ISO) for ~€1000.

Yes it is a hack, but you have to love what it gives you for the price. If you don't wanna go with blackmagic in a tight budget, this is the only way to get raw !

But as you said, the 5D mk4 is an expensive camera, and it doesn't offer much. I think the ML team should concentrate on the unfinished projects first (Dual ISO video for 7D/50D & 10-12bit raw for 5d mk2 / 50D). There is still some humph to get from these 5+ y-o cameras  I wonder how the apertus project is going, if I remember correctlyctly, some developpers came from ML dev team.

23 hours ago, mat33 said:

I do agree that sensor size has become too big of a deal.  I think people often use sensor size as a way to show how pro you are rather than picking the sensor size for the aesthetic you want.  I guess it comes back to film days -where s16 was seen by some as what you used only if you didn't have the budget for s35.

The number of BMPCC and BMMCC that have been sold show that some people are not onto the sensor size race too.
Full frame is great, but I prefer S35 or S16 myself, depending on what you shoot, but the clients seem to only care about shallow depth of field :s

19 hours ago, Hans Punk said:

I recently experimented with macro anamorphic, but not at high speed. Here are some pretty boring frame grabs from a quick initial test.

https://www.flickr.com/photos/129041403@N06/albums/72157677743824746

Camera: 5Dmk3 shooting 3.4k raw in crop mode - taking lens Helios 44-2 (16 blade) at around f5.6 to f/8

Anamorphic lens: Kowa Inflight 1.74x + Tokina +0.4 and RedStan Singlet closeup filters

Wah, these pictures are gorgious ! Can you explain the setup a bit ? DO you need macro rings or is the close-up ability only done with the diopters ?

The Isco Ultra Star is equivalent to the Cinelux in terms of IQ and close up distance is 1.5 meters too.

I don't know a thing about the Sankor Ultra HD though :s

3 hours ago, Evgeniy said:

It's funny when people suggest to work in ACES without knowing what ACES actually is.

Sorry, I just began working with it, I don't know eveything about it (yet)

If you use Resolve, you may wanna try to convert your F3 Slog footage to ACES and then you can convert to whatever you want. (Not sure there is a specific F3->ACES profile but I can check if you want when I get home)

justinbacle.com/temp/DSCF8515.RAF

Here you go for the X-T1

8 hours ago, Bozzie said:

The slow motion was an after thought. Settings wise, I shot at 24p with 180º shutter. Software wise, I used Optical Flow in Adobe Premiere to slow the footage down by around 60%. It can be really good under certain conditions. Ideally I'd have shot at 30fps with a 45º shutter if there was enough light. Hope that helps.

I have to try that next time I'm playing with my camera. Thanks for the tips