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Everything posted by Alpicat

  1. That's weird, it seems to work for me. Even when the magic lantern overlay is on liveview, I just press the Q Set physical button and from there I tap on the screen to choose different colour balance presets, which include AWB. I always leave my camera on AWB since it works very well. Very true. I've also checked with Fotodiox as they already make a Sony E-mount to M4/3 adapter, as do various other manufacturers. The Sony mount is very similar to the EOS M mount with the same flange focal distance so should be easy to produce an adadpter for EOS M to m4/3, even if it lacks electronic contacts. Fotodiox said they'd talk to the design team and see if they can make such an adapter.
  2. Yes that's an issue with the MLV App. I hadn't noticed till recently. I export to cdng so it can be corrected in Resolve, but would still be nice to get the right colour temperature from the start. Hope they can find a way to fix this. Here's another video I shot for my music with the EOS M whilst travelling to BVE expo: 12 bit lossless raw, crop mode at 1800x1024, using the EF-M 15-45mm and a Pentax 6mm f1.2 c-mount lens which vignettes slightly:
  3. Crop mode on the eos m has a area which is slightly larger than super 8mm, it's somewhere between 1/2" and 1/1.7" sensor size, depending on which resolution and aspect ratio you pick, so super 16 lenses would be fine on the eos m. For example, 1800x1024 resolution on eos m is a 4.66x crop from full frame, whilst super 16 is approx 3x crop. One of my no-brand adapters seems like your Fotodiox one, where the 6-66mm ends up exactly upside down. With this particular adapter I've been able to get closest to parfocal performance, so it's probably the best option for this lens. I made a video to test parfocal performance and vignetting in 16:9 and 4:3 aspect ratios, using this adapter. Movie crop mode records slightly off centre horizontally, so if you want 4:3 aspect ratio and are getting vignetting - you have to recentre the image in post... which I've done below in the 4:3 shots:
  4. That's not bad! Wouldn't take much of a crop to get rid of the vignetting, though obviously going for a 4:3 ratio is the best option here.
  5. I'm enjoying using magic lantern on the 50D, especially the crop mode. Only downside I'm still trying to work out is that liveview turns pink when you're in crop mode and hit record (with lens IS turned on), so focussing can be a bit tough. Other than that this camera is pretty amazing for video. Here's something I shot with my music, mostly 1920x1080 crop mode, with some shots using full sensor (1568x882). Lens: Canon 17-55mm f2.8. Unfortunately youtube compression does seem to make the image visibly softer than in the original file - I guess the snowfall doesn't help with compression!
  6. 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. Funnily enough I was talking to the MTF guys at BVE expo yesterday asking them if they had an EOS M to M4/3 adapter! It would be great to use Micro 4/3 lenses or a BMPCC speed booster on the EOS M. Unfortunately no such adapter exists. For my Pentax 6mm f1.2 prime c-mount tv lens, I've just cut out a piece of paper and am using that as a shim (making the lens screw in less), which makes it slightly more usable. Without that, infinity focus and the lens distance markings are completely off with all my adapters. Thanks so much for testing this - good to know and may consider this lens in future if I have money! I don't imagine it would cover a 16:9 crop frame on the EOS M (which is approx 1800x1024) since that's a fair amount more than super 8 size, but if you're able to check at some point that would be useful.
  7. I got my adapter from China, so it took a while to arrive, but seems to be out of stock now: https://www.miniinthebox.com/black-c-mount-cine-movie-lens-to-canon-eos-m-camera-lens-adapter-ring-cctv-lens_p927184.html The one they ended up sending me looks slightly different to the one in the photo. When I screw on the Schneider 6-66mm onto it, it aligns correctly - the internal horizontal plastic parts covering the top and bottom of the glass align horizontally, thus minimising the vignetting. I have another c-mount adapter where these internal plastic parts end up at an angle or near vertical when the lens is screwed in fully, causing a lot of vignetting. I'd recommend buying a couple of different adapters on ebay and hopefully one will work - all these adapters seem to vary so much! In any case I haven't been able to get completely parfocal performance on the Schneider zoom, the focus does seem to drift slightly at the wider end at open aperture as you mention - your theory about the flange distance being non-standard would definitely explain things. It would be nice to be able to do a back focus adjustment on this lens to fix that!
  8. I don't think you need the experimental build to activate higher resolutions on EOS M, all you need to do is select the movie crop mode or use the 5x zoom mode and in theory you can select any resolution you like up to the 2.5k limit (or 1800x1030 limit in movie crop mode)- that applies to any build of magic lantern on EOS M. However the limitation on the standard build is that you're stuck with 14 bit uncompressed raw - and the data rate is so high that you can't go much further than 1280x720 if you want continuous recording on the standard build. For higher resolutions you need the experimental builds. The 10/12 bit experimental build still allows you to use the regular mlv_rec and sound modules I think, so you can record sound and shoot 10 bit uncompressed raw for example. That should be sufficient for you if you're aiming for 1408x1030. However if you want to get longer record times with higher resolutions, you'll need the "4K raw video recording; lossless compression" experimental build, and that only works with mlv_lite module - i.e. no sound. The experimental builds are here: https://builds.magiclantern.fm/experiments.html
  9. The resolutions I've mentioned are the limit that magic lantern imposes on this particular camera - that's just the way they designed it. It might be because it would be unstable to go beyond, not sure. In any case, the limited card write speed (40 mb/s) plays a major factor in this limitation - with the higher resolutions you can only record a couple seconds of footage before the buffer fills up.
  10. Using the full sensor you can't go beyond 1736x692 without cropping on the eos m, and it's not very usable given the amount of aliasing / moire unfortunately. Instead I'm using movie crop mode which allows you to record 1800x1024 with a 4.66x crop (from full frame). Using the 5x zoom mode you can shoot 1920x1080 (4.37x crop) and even up to 2.5k, but then you don't get the correct framing on liveview, it's very zoomed in.
  11. Here's a very quick test I shot with a Schneider / Beaulieu Optivaron 6-66mm f1.8 super 8 lens. 12-bit lossless, continuous shooting at 1392x1028 resolution. You can't really go higher than this resolution without getting excessive vignetting, and 4:3 aspect ratio is definitely the way to go with this lens. Also here's a test with an EF-M 15-45mm stock lens, this time at 1792x1030 resolution. I wrote the music on ableton live for both these videos.
  12. In the magic lantern menu, I'm using the "real-time preview" option under the Raw video options (selectable under the Preview options). This gives me the correct framing (including correct aspect ratio) in live view if I press the "info" button on the camera a couple times until the magic lantern overlay appears. Also Global draw has to be enabled - ensure that's switched on in the magic lantern menu. I'm doing this with the Movie crop mode enabled (i.e. the "600D style movie-crop mode"). If you try this with another crop mode, you won't get the correct framing.
  13. The EF to EF-M focal reducer with electronic contacts in the ebay link may possibly be a modified Viltrox EF to Sony E-Mount speed booster. E-mount and EF-M have the same flange focal distance of 18mm, and the diameter of both mounts is fairly similar, so apparently it's possible to change the mounts over, with a bit of work. In terms of making the electronic contacts work, here's a guide on how to do it: https://***URL removed***/forums/thread/3941898#forum-post-59943832 I might look into doing this, but hoping Metabones will release an EF to EF-M adapter soon considering the increased interest in EOS M cameras. For the M50 with its 2.5x crop in 4k video it would be good to have a 0.64x XL speed booster to get aps-c crop, or a 0.58x BMPCC style speed booster. An alternative would be a EF-M to MFT adapter, which I've never been able to find. I imagine that's hard to make as it has to be 1.25mm thick, tough to fit the electronic connections in that space. However it would be nice to use smaller MFT lenses on the Canon M50, in combination with the 4k video crop, but also have the option to use an EF to MFT speed booster.
  14. I had the same problem with MLVFS lossless compressed raw files from my EOS M - could only see noise. I think there's an updated version which supports lossless raw but couldn't find it. I'm now using a program called MLV App which works fine with lossless. It also allows you to batch convert the files directly from card into computer if you want it to (similar to mlvfs). I'm using the QTv0.13alpha version of the program: https://ilia3101.github.io/MLV-App/
  15. You can record 1376x1030 (4:3) 12-bit lossless continuously on the EOS-M in Movie crop mode no problem (or 14-bit lossless though that may reintroduce focus pixels). In fact you can record any resolution and aspect ratio with magic lantern, the limit is the camera's write speed. You can go even go up to 1440x1078 with the 5x zoom function as mentioned in the first post here (that's different to Movie crop mode) - though I haven't tested that yet. In terms of recording time with 1800x1024 12 bit-lossless, I'm getting between 10 seconds (very worst case) to 1 minute or so. Just tested it again and actually it seems that the amount of contrast in an image affects record times more than anything. If you want better record times in 12 bit, probably best to lower the res to 1792x1008 or so. Also I've just started using another program to convert MLVs to cdng files which has a very nice interface and features: https://ilia3101.github.io/MLV-App/ it was suggested by this youtube user: https://www.youtube.com/watch?v=_yXb2bt8l60 I definitely miss my old BMPCC too. For sure the XC10 is much more ideal for normal HD filming than the EOS-M will ever be, but still the EOS-M isn't too bad for a camera that costs about £100.
  16. Yes it's very confusing! Took me a while to figure out how to get this to work. I've been testing the settings I suggested above further, and with the max resolution (1800x1024) if a scene is overexposed or has blown out highlights, and everything is in focus, the recording time reduces drastically - it can be a bit unpredictable. So if you're filming a brightly lit scene you need to reduce the resolution slightly or use 10-bit lossless.
  17. I'm actually using a slightly newer build called "crop_rec_4k.2018Jan25.EOSM202" from magic lantern forum member dfort, available here: https://bitbucket.org/daniel_fort/magic-lantern/downloads/ However the "magiclantern-crop_rec_4k.2017Dec19.EOSM202" build which is in the experimental builds page you've linked to also works absolutely fine from what I remember - and probably wiser to use that one. I am using the mlv_lite module yes, which means that I can't record sound unfortunately. The mlv_rec module completely fails to load on the camera when using this experimental build - I don't know if that will be fixed in future. Once the mlv_lite module is turned on - I'm just activating "Movie crop mode", and in the raw video options I select 12-bit lossless or 10 bit lossless at max 1800x1024 resolution. The length of time you can record in 12-bit depends on how much contrast and light there is in the scene, it can vary a lot. Lowering the resolution slightly will help increase record time in 12 bit lossless.
  18. I just started using the crop rec 4k experimental build on the EOS-M, and when shooting in movie crop mode it goes up to 1800x1024 resolution (max resolution available for 1:1 crop mode) at 23.976 fps, shooting continuously in 10-bit lossless raw, or approx a minute or so in 12-bit lossless. That's close to full HD, which is incredible for this camera. To me it looks great, and also the focus pixels seem to have gone. What's nice about movie crop mode is that it displays the image at the normal framerate in colour with the correct framing, no choppy b&w preview. I'm using this programme to convert files to DNGs directly from the SD card into the harddrive: https://www.magiclantern.fm/forum/index.php?topic=10526.100 (latest version of the program is in page 5)
  19. Cheers Mercer, your film project looks great too! Thanks Juan, for that shot I used a schneider cinelux anamorphic with the rectilux HCDNA, which pairs nicely with the 50D. I've posted a quick video test using your grading method (this time with EOS-M footage), I put it on the magic lantern thread as it's probably more relevant there, here's the link:
  20. Here's a quick test I've done with an EOS-M using crop mode 12-bit - 1472x796. I colour corrected on Resolve, using a grading method which Juan Melara posted on another EOSHD thread (see link below the video). The music is a fragment from a track I wrote on Ableton Live: Grading tutorial in the Blackmagic thread:
  21. Thanks Juan for this great tutorial! seems to works nicely on BMPCC raw footage too. I don't have a 5D3 but have done a quick test on some MLV files from my Canon 50D and it's looking good to me, see image below. I'll post a video if I get a chance:
  22. Hi everyone, I'm new to the forum but have been following it for a while. I'd like to share some music videos I shot for an electronic music album I wrote and just released. They were all filmed on the Blackmagic pocket cinema camera. The videos are essentially camera tests, but I tried to capture the mood of the music when putting it all together. I used the Tamron 17-50mm f2.8 and 55-200mm f3.5-5.6 lens with a Metabones speed booster (Nikon mount), and also the Panasonic Lumix 14-42mm kit lens and Olympus 9mm bodycap lens for the 4th video here. Editing and colour was done on Davinci Resolve 12.5 ASGAT (raw) Story of Photon (raw) Themis I (raw) Parallax Error (Prores HQ)
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