Matt James Smith ?

I’ve been messing once again with using my EOSM as a Digital Super 8 camera and I’m pretty happy with the results. 

For the video below I used the following setup.

6mm f/1.2 Pentax TV lens (paper shim between lens and C mount-EOSM adapter, for infinity focus)
Tiffen Digital Diffusion 5 filter (reduces moire artefacts)
EOSM with latest ML build
18fps override (exact)
5x zoom
12bit lossless RAW
4:3 aspect
1440 x 1080 
i just used the aperture ring for exposure, rather than ND, as it seemed more authentically consumer Super 8.

This video has effects applied - FilmConvert’s Super 8 grain; FCPX native “aged film” effect applied very sparingly for jitter and a little dust; a telecine’d Super 8 black frame (keyed over footage). If there is interest, I can post the ungraded footage.
 
 

I’ve been messing once again with using my EOSM as a Digital Super 8 camera and I’m pretty happy with the results. 

For the video below I used the following setup.

6mm f/1.2 Pentax TV lens (paper shim between lens and C mount-EOSM adapter, for infinity focus)
Tiffen Digital Diffusion 5 filter (reduces moire artefacts)
EOSM with latest ML build
18fps override (exact)
5x zoom
12bit lossless RAW
4:3 aspect
1440 x 1080 
i just used the aperture ring for exposure, rather than ND, as it seemed more authentically consumer Super 8.

This video has effects applied - FilmConvert’s Super 8 grain; FCPX native “aged film” effect applied very sparingly for jitter and a little dust; a telecine’d Super 8 black frame (keyed over footage). If there is interest, I can post the ungraded footage.
 
 

I’ve been messing once again with using my EOSM as a Digital Super 8 camera and I’m pretty happy with the results. 

For the video below I used the following setup.

6mm f/1.2 Pentax TV lens (paper shim between lens and C mount-EOSM adapter, for infinity focus)
Tiffen Digital Diffusion 5 filter (reduces moire artefacts)
EOSM with latest ML build
18fps override (exact)
5x zoom
12bit lossless RAW
4:3 aspect
1440 x 1080 
i just used the aperture ring for exposure, rather than ND, as it seemed more authentically consumer Super 8.

This video has effects applied - FilmConvert’s Super 8 grain; FCPX native “aged film” effect applied very sparingly for jitter and a little dust; a telecine’d Super 8 black frame (keyed over footage). If there is interest, I can post the ungraded footage.
 
 

I've been playing half-heartedly with ML on my EOS-M for a while but in general lost interest due to annoyances such as the focus pixels, low resolution and workflow. However, inspired by recently released footage from Kodak's new Super-8 camera and fond memories of playing with real Super-8 footage in art school, I decided to mess around with the EOS-M again to see how close I could get to the Super-8 aesthetic. Turns out I surprised myself!

I've only shot a few early tests so far but the following video is, I think, very usable as a digital Super-8 stand-in. The basic specs are as follows:

4:3 ratio (like Super-8) 
1440 x 1078 resolution (plenty for Super-8)
18fps (same as consumer Super-8)
12-bit Lossless RAW (continuous!)
5x zoom (haven't accurately calculated crop factor/sensor size in relation to Super-8 yet - would appreciate help with this)
3X3 Crop mode (Experimental build: magiclantern-crop_rec_4k.2017Dec19.EOSM202)
Also- no focus pixels! (I have no idea why this is. They reappear if you go up to 14bit lossless or use any of the standard 10/12/14-bit modes). 

Below are two versions of my initial tests - the first is with FilmConvert film emulation applied, the second is without FilmConvert, just some basic contrast and saturation tweaks. Sorry the grade isn't very good I'm getting used to both the EOSM DNG's and FCPX's new grading tools.

FilmConvert:
https://vimeo.com/253014693/badd381eb4

No FilmConvert:
https://vimeo.com/253014620

My post workflow is very simple: convert .MLV files to DNG's with MlRawViewer and then drop them straight into FCPX. Do a bit of colour correction with an adjustment layer if needed, then export clip as ProRes 4444 XQ. Bring it back into FCPX and conform the 18fps to the fps of the timeline (I always use a 25p timeline and *think* this requires slowing the 18fps clip to 72% but I'm not confident my maths are accurate - it certainly looks close to normal speed to me though).

I'm not very technical so you won't find much explanation of why it's working from me. I'd appreciate contributions to what's going on here so I understand it better and other can replicate if they want to. In particular I'd like to figure out the effective sensor size I'm using, and also why there are no pink dots.

The things that excite me about it as a viable Digital Super-8 camera are:
1. The shutter speed - only Magic Lantern allows that really, and it really helps give that authentic Super-8 feel. 
2. The 12bit colour space and RAW grain makes the footage film-like and organic. 

3. The fact you can adapt C-mount lenses to the EOS-M. The lens I used for these tests is just the 15-45mm EF-M kit lens in manual focus mode. However I have a Cosmicar 6mm f/1.2 on its way to me as we speak and if I can get it to infinity focus I think I'll have a 'normal' lens (again, I need to figure out the imaging area I'm working with).

4. Shooting 4:3 and 18fps, like Super-8, allows continuous shooting.

Things I don't like:
1. Live view is not perfect but using the info button you can jump between Canon's 5x zoom to focus and ML's rather choppy live view for framing.
2. I'm not seeing horrible rolling shutter but it's no Digital Bolex so that does give it away as digital footage somewhat.

I hope some others start playing around with these settings. With the 16mm Digital Bolex discontinued and Kodak's new Super-8 camera all the rage, there's a space for a small sensor digital cinema camera to get some love.

The EOS M doesn't handle blown highlights very well in raw and you do sometimes get a flat pink (or pure white) colour in the blown out areas, and it's easy to get with harsh clipping sometimes with colourful moire appearing at the edges of the blown out areas. MlRAWviewer might make the problem worse - worth trying another program like MLV App to see if its still an issue? The way to get rid of the pink and hopefully bring back some information is clicking 'highlight recovery' in Resolve, but I'm not sure this necessarily works in every single case. If you want to go slightly further with highlight recovery, look at Juan Melara's tutorial on grading cdngs (for Blackmagic cameras but works for magic lantern raw):
 
Great work though it's a shame about the moire. I guess this must be 720p mode because when shooting 1080p mp4's (with or without bitrate hack) I'm pretty certain you wouldn't get so much moire?
Today I've tried the SD card overclock hack. It works and will post footage here soon.

I haven't carefully read every post in this thread, but everyone keeps incorrectly referring to the document in the first post as a "patent", when it is in fact only a published patent application.  Patent applications aren't officially issued patents, and normally haven't even been reviewed by an examiner when they are published.
 

Well, despite this forum’s name, there is an anti-Canon bias running rampant on these pages. But if you go on Instagram, you will see a slew of Canon video users. If you go to trade shows, you will see Canon cameras working the show floor. If you attend weddings, the lion’s share of videographers use Canon. If you follow vlogs, the majority are shot with Canon. Only in forums like this is Canon a bad word. With working professionals, Canon cameras are workhorses.
@kye

As the owner of an XC10 I find these topics fascinating.
This forum (and most of the internet) completely ridiculed the first two versions of this camera, yet Canon claim they sold more than they were anticipating and the Cinematography Database YT channel seems to run into them on professional sets on a semi-regular basis.  This leads me to believe that the internet doesn't understand the design brief and associated tradeoffs of this camera.
My impression is that it was designed to capture footage in certain situations (eg, one-operator ENG, B-Roll, BTS, or as a professional GoPro alternative) that was indistinguishable from the footage from larger cameras - which means that we might be seeing shots from it in professional releases and just not know it.  If professional film sets can include GoPro footage in feature films then they sure as hell can hide XC10/15 footage.
If this is the case then how can anyone on the internet talk with any authority when according to the above they got the first two versions so wrong?

I remember when the XC10 was launched Canon was talking about it as "the successor to the camcorder." Perhaps they've decided to invest in the format as a fully-fledged professional ENG alternative/competitor?
 

Yeah but the damn lens is another Variable Aperture lens. Who the hell needs that for video? That was part of the problem with the original lens. Crazy that Canon of all company's going to a 4/3 sensor!
Wonder if it will be the same Sony sensor that is in the GH5s, 4K BMPCC, Kinefinity 4k Terra?

The Fujinon E-mount lenses are also very long, I'd say it would be a product along those lines.
10mm-ish corresponds to a Micro Four Thirds sensor cropped to 16:9
In 4:3 they are 17x13mm

But you can also fade to an empty timeline and it will turn black.

Yes, of course! Good explanation. If it's the last clip (appended at end), you could also hold p and slightly move it to the right (produces a slug). That'd be the fade-in. Then comes Matthias:
This will fade out.

@Andrew Reid if you want to fade to black, you need some black to fade to. 
Snap the cursor to the beginning/end of your clip and hit Alt-W. That drops in a slug. Now you can Cmd-T (or drag any transition) onto your clip and it will transition to black. Simples.
You have to stop thinking of the timeline as a static, empty canvas. It's more like a sculpture in space. The magnetic timeline is made up only of the elements you add and their interrelationships.

I will be able to post some experimentation with s8 lenses soon. Have a few in transit.

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. 
 
 

Can one record 4:3 in "movie crop mode", something like 1370x1024... this would create a 4:3 image (like Super 8) and would help reduce file sizes and give you more time of 12-bit lossless? When you say recording time is drastically reduced with a "brightly lit scene," how many seconds you are taking about. Is it around 15 seconds at least? It could be interesting if so. Super 8 has a cartridge of around 3 minutes, I would rarely record more than 15 seconds per take, it was like shooting and editing at the same time, and that was really, really fun and of course less stressing than digital when doing the final editing, having to deal with hours and hours of long takes in post now!

It's way past the point now for the regular FCPX bashing. It still goes on. 
While that happens, we FCPX users can enjoy this outstanding editing program. 
I bloody love it!!!

I've been playing half-heartedly with ML on my EOS-M for a while but in general lost interest due to annoyances such as the focus pixels, low resolution and workflow. However, inspired by recently released footage from Kodak's new Super-8 camera and fond memories of playing with real Super-8 footage in art school, I decided to mess around with the EOS-M again to see how close I could get to the Super-8 aesthetic. Turns out I surprised myself!

I've only shot a few early tests so far but the following video is, I think, very usable as a digital Super-8 stand-in. The basic specs are as follows:

4:3 ratio (like Super-8) 
1440 x 1078 resolution (plenty for Super-8)
18fps (same as consumer Super-8)
12-bit Lossless RAW (continuous!)
5x zoom (haven't accurately calculated crop factor/sensor size in relation to Super-8 yet - would appreciate help with this)
3X3 Crop mode (Experimental build: magiclantern-crop_rec_4k.2017Dec19.EOSM202)
Also- no focus pixels! (I have no idea why this is. They reappear if you go up to 14bit lossless or use any of the standard 10/12/14-bit modes). 

Below are two versions of my initial tests - the first is with FilmConvert film emulation applied, the second is without FilmConvert, just some basic contrast and saturation tweaks. Sorry the grade isn't very good I'm getting used to both the EOSM DNG's and FCPX's new grading tools.

FilmConvert:
https://vimeo.com/253014693/badd381eb4

No FilmConvert:
https://vimeo.com/253014620

My post workflow is very simple: convert .MLV files to DNG's with MlRawViewer and then drop them straight into FCPX. Do a bit of colour correction with an adjustment layer if needed, then export clip as ProRes 4444 XQ. Bring it back into FCPX and conform the 18fps to the fps of the timeline (I always use a 25p timeline and *think* this requires slowing the 18fps clip to 72% but I'm not confident my maths are accurate - it certainly looks close to normal speed to me though).

I'm not very technical so you won't find much explanation of why it's working from me. I'd appreciate contributions to what's going on here so I understand it better and other can replicate if they want to. In particular I'd like to figure out the effective sensor size I'm using, and also why there are no pink dots.

The things that excite me about it as a viable Digital Super-8 camera are:
1. The shutter speed - only Magic Lantern allows that really, and it really helps give that authentic Super-8 feel. 
2. The 12bit colour space and RAW grain makes the footage film-like and organic. 

3. The fact you can adapt C-mount lenses to the EOS-M. The lens I used for these tests is just the 15-45mm EF-M kit lens in manual focus mode. However I have a Cosmicar 6mm f/1.2 on its way to me as we speak and if I can get it to infinity focus I think I'll have a 'normal' lens (again, I need to figure out the imaging area I'm working with).

4. Shooting 4:3 and 18fps, like Super-8, allows continuous shooting.

Things I don't like:
1. Live view is not perfect but using the info button you can jump between Canon's 5x zoom to focus and ML's rather choppy live view for framing.
2. I'm not seeing horrible rolling shutter but it's no Digital Bolex so that does give it away as digital footage somewhat.

I hope some others start playing around with these settings. With the 16mm Digital Bolex discontinued and Kodak's new Super-8 camera all the rage, there's a space for a small sensor digital cinema camera to get some love.

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. 

I've been playing half-heartedly with ML on my EOS-M for a while but in general lost interest due to annoyances such as the focus pixels, low resolution and workflow. However, inspired by recently released footage from Kodak's new Super-8 camera and fond memories of playing with real Super-8 footage in art school, I decided to mess around with the EOS-M again to see how close I could get to the Super-8 aesthetic. Turns out I surprised myself!

I've only shot a few early tests so far but the following video is, I think, very usable as a digital Super-8 stand-in. The basic specs are as follows:

4:3 ratio (like Super-8) 
1440 x 1078 resolution (plenty for Super-8)
18fps (same as consumer Super-8)
12-bit Lossless RAW (continuous!)
5x zoom (haven't accurately calculated crop factor/sensor size in relation to Super-8 yet - would appreciate help with this)
3X3 Crop mode (Experimental build: magiclantern-crop_rec_4k.2017Dec19.EOSM202)
Also- no focus pixels! (I have no idea why this is. They reappear if you go up to 14bit lossless or use any of the standard 10/12/14-bit modes). 

Below are two versions of my initial tests - the first is with FilmConvert film emulation applied, the second is without FilmConvert, just some basic contrast and saturation tweaks. Sorry the grade isn't very good I'm getting used to both the EOSM DNG's and FCPX's new grading tools.

FilmConvert:
https://vimeo.com/253014693/badd381eb4

No FilmConvert:
https://vimeo.com/253014620

My post workflow is very simple: convert .MLV files to DNG's with MlRawViewer and then drop them straight into FCPX. Do a bit of colour correction with an adjustment layer if needed, then export clip as ProRes 4444 XQ. Bring it back into FCPX and conform the 18fps to the fps of the timeline (I always use a 25p timeline and *think* this requires slowing the 18fps clip to 72% but I'm not confident my maths are accurate - it certainly looks close to normal speed to me though).

I'm not very technical so you won't find much explanation of why it's working from me. I'd appreciate contributions to what's going on here so I understand it better and other can replicate if they want to. In particular I'd like to figure out the effective sensor size I'm using, and also why there are no pink dots.

The things that excite me about it as a viable Digital Super-8 camera are:
1. The shutter speed - only Magic Lantern allows that really, and it really helps give that authentic Super-8 feel. 
2. The 12bit colour space and RAW grain makes the footage film-like and organic. 

3. The fact you can adapt C-mount lenses to the EOS-M. The lens I used for these tests is just the 15-45mm EF-M kit lens in manual focus mode. However I have a Cosmicar 6mm f/1.2 on its way to me as we speak and if I can get it to infinity focus I think I'll have a 'normal' lens (again, I need to figure out the imaging area I'm working with).

4. Shooting 4:3 and 18fps, like Super-8, allows continuous shooting.

Things I don't like:
1. Live view is not perfect but using the info button you can jump between Canon's 5x zoom to focus and ML's rather choppy live view for framing.
2. I'm not seeing horrible rolling shutter but it's no Digital Bolex so that does give it away as digital footage somewhat.

I hope some others start playing around with these settings. With the 16mm Digital Bolex discontinued and Kodak's new Super-8 camera all the rage, there's a space for a small sensor digital cinema camera to get some love.

I've been playing half-heartedly with ML on my EOS-M for a while but in general lost interest due to annoyances such as the focus pixels, low resolution and workflow. However, inspired by recently released footage from Kodak's new Super-8 camera and fond memories of playing with real Super-8 footage in art school, I decided to mess around with the EOS-M again to see how close I could get to the Super-8 aesthetic. Turns out I surprised myself!

I've only shot a few early tests so far but the following video is, I think, very usable as a digital Super-8 stand-in. The basic specs are as follows:

4:3 ratio (like Super-8) 
1440 x 1078 resolution (plenty for Super-8)
18fps (same as consumer Super-8)
12-bit Lossless RAW (continuous!)
5x zoom (haven't accurately calculated crop factor/sensor size in relation to Super-8 yet - would appreciate help with this)
3X3 Crop mode (Experimental build: magiclantern-crop_rec_4k.2017Dec19.EOSM202)
Also- no focus pixels! (I have no idea why this is. They reappear if you go up to 14bit lossless or use any of the standard 10/12/14-bit modes). 

Below are two versions of my initial tests - the first is with FilmConvert film emulation applied, the second is without FilmConvert, just some basic contrast and saturation tweaks. Sorry the grade isn't very good I'm getting used to both the EOSM DNG's and FCPX's new grading tools.

FilmConvert:
https://vimeo.com/253014693/badd381eb4

No FilmConvert:
https://vimeo.com/253014620

My post workflow is very simple: convert .MLV files to DNG's with MlRawViewer and then drop them straight into FCPX. Do a bit of colour correction with an adjustment layer if needed, then export clip as ProRes 4444 XQ. Bring it back into FCPX and conform the 18fps to the fps of the timeline (I always use a 25p timeline and *think* this requires slowing the 18fps clip to 72% but I'm not confident my maths are accurate - it certainly looks close to normal speed to me though).

I'm not very technical so you won't find much explanation of why it's working from me. I'd appreciate contributions to what's going on here so I understand it better and other can replicate if they want to. In particular I'd like to figure out the effective sensor size I'm using, and also why there are no pink dots.

The things that excite me about it as a viable Digital Super-8 camera are:
1. The shutter speed - only Magic Lantern allows that really, and it really helps give that authentic Super-8 feel. 
2. The 12bit colour space and RAW grain makes the footage film-like and organic. 

3. The fact you can adapt C-mount lenses to the EOS-M. The lens I used for these tests is just the 15-45mm EF-M kit lens in manual focus mode. However I have a Cosmicar 6mm f/1.2 on its way to me as we speak and if I can get it to infinity focus I think I'll have a 'normal' lens (again, I need to figure out the imaging area I'm working with).

4. Shooting 4:3 and 18fps, like Super-8, allows continuous shooting.

Things I don't like:
1. Live view is not perfect but using the info button you can jump between Canon's 5x zoom to focus and ML's rather choppy live view for framing.
2. I'm not seeing horrible rolling shutter but it's no Digital Bolex so that does give it away as digital footage somewhat.

I hope some others start playing around with these settings. With the 16mm Digital Bolex discontinued and Kodak's new Super-8 camera all the rage, there's a space for a small sensor digital cinema camera to get some love.

I've been playing half-heartedly with ML on my EOS-M for a while but in general lost interest due to annoyances such as the focus pixels, low resolution and workflow. However, inspired by recently released footage from Kodak's new Super-8 camera and fond memories of playing with real Super-8 footage in art school, I decided to mess around with the EOS-M again to see how close I could get to the Super-8 aesthetic. Turns out I surprised myself!

I've only shot a few early tests so far but the following video is, I think, very usable as a digital Super-8 stand-in. The basic specs are as follows:

4:3 ratio (like Super-8) 
1440 x 1078 resolution (plenty for Super-8)
18fps (same as consumer Super-8)
12-bit Lossless RAW (continuous!)
5x zoom (haven't accurately calculated crop factor/sensor size in relation to Super-8 yet - would appreciate help with this)
3X3 Crop mode (Experimental build: magiclantern-crop_rec_4k.2017Dec19.EOSM202)
Also- no focus pixels! (I have no idea why this is. They reappear if you go up to 14bit lossless or use any of the standard 10/12/14-bit modes). 

Below are two versions of my initial tests - the first is with FilmConvert film emulation applied, the second is without FilmConvert, just some basic contrast and saturation tweaks. Sorry the grade isn't very good I'm getting used to both the EOSM DNG's and FCPX's new grading tools.

FilmConvert:
https://vimeo.com/253014693/badd381eb4

No FilmConvert:
https://vimeo.com/253014620

My post workflow is very simple: convert .MLV files to DNG's with MlRawViewer and then drop them straight into FCPX. Do a bit of colour correction with an adjustment layer if needed, then export clip as ProRes 4444 XQ. Bring it back into FCPX and conform the 18fps to the fps of the timeline (I always use a 25p timeline and *think* this requires slowing the 18fps clip to 72% but I'm not confident my maths are accurate - it certainly looks close to normal speed to me though).

I'm not very technical so you won't find much explanation of why it's working from me. I'd appreciate contributions to what's going on here so I understand it better and other can replicate if they want to. In particular I'd like to figure out the effective sensor size I'm using, and also why there are no pink dots.

The things that excite me about it as a viable Digital Super-8 camera are:
1. The shutter speed - only Magic Lantern allows that really, and it really helps give that authentic Super-8 feel. 
2. The 12bit colour space and RAW grain makes the footage film-like and organic. 

3. The fact you can adapt C-mount lenses to the EOS-M. The lens I used for these tests is just the 15-45mm EF-M kit lens in manual focus mode. However I have a Cosmicar 6mm f/1.2 on its way to me as we speak and if I can get it to infinity focus I think I'll have a 'normal' lens (again, I need to figure out the imaging area I'm working with).

4. Shooting 4:3 and 18fps, like Super-8, allows continuous shooting.

Things I don't like:
1. Live view is not perfect but using the info button you can jump between Canon's 5x zoom to focus and ML's rather choppy live view for framing.
2. I'm not seeing horrible rolling shutter but it's no Digital Bolex so that does give it away as digital footage somewhat.

I hope some others start playing around with these settings. With the 16mm Digital Bolex discontinued and Kodak's new Super-8 camera all the rage, there's a space for a small sensor digital cinema camera to get some love.

Not if your shot is static, you should get away with it ok. If you're panning in your shot the motion cadence may show up. 
 

I've been playing half-heartedly with ML on my EOS-M for a while but in general lost interest due to annoyances such as the focus pixels, low resolution and workflow. However, inspired by recently released footage from Kodak's new Super-8 camera and fond memories of playing with real Super-8 footage in art school, I decided to mess around with the EOS-M again to see how close I could get to the Super-8 aesthetic. Turns out I surprised myself!

I've only shot a few early tests so far but the following video is, I think, very usable as a digital Super-8 stand-in. The basic specs are as follows:

4:3 ratio (like Super-8) 
1440 x 1078 resolution (plenty for Super-8)
18fps (same as consumer Super-8)
12-bit Lossless RAW (continuous!)
5x zoom (haven't accurately calculated crop factor/sensor size in relation to Super-8 yet - would appreciate help with this)
3X3 Crop mode (Experimental build: magiclantern-crop_rec_4k.2017Dec19.EOSM202)
Also- no focus pixels! (I have no idea why this is. They reappear if you go up to 14bit lossless or use any of the standard 10/12/14-bit modes). 

Below are two versions of my initial tests - the first is with FilmConvert film emulation applied, the second is without FilmConvert, just some basic contrast and saturation tweaks. Sorry the grade isn't very good I'm getting used to both the EOSM DNG's and FCPX's new grading tools.

FilmConvert:
https://vimeo.com/253014693/badd381eb4

No FilmConvert:
https://vimeo.com/253014620

My post workflow is very simple: convert .MLV files to DNG's with MlRawViewer and then drop them straight into FCPX. Do a bit of colour correction with an adjustment layer if needed, then export clip as ProRes 4444 XQ. Bring it back into FCPX and conform the 18fps to the fps of the timeline (I always use a 25p timeline and *think* this requires slowing the 18fps clip to 72% but I'm not confident my maths are accurate - it certainly looks close to normal speed to me though).

I'm not very technical so you won't find much explanation of why it's working from me. I'd appreciate contributions to what's going on here so I understand it better and other can replicate if they want to. In particular I'd like to figure out the effective sensor size I'm using, and also why there are no pink dots.

The things that excite me about it as a viable Digital Super-8 camera are:
1. The shutter speed - only Magic Lantern allows that really, and it really helps give that authentic Super-8 feel. 
2. The 12bit colour space and RAW grain makes the footage film-like and organic. 

3. The fact you can adapt C-mount lenses to the EOS-M. The lens I used for these tests is just the 15-45mm EF-M kit lens in manual focus mode. However I have a Cosmicar 6mm f/1.2 on its way to me as we speak and if I can get it to infinity focus I think I'll have a 'normal' lens (again, I need to figure out the imaging area I'm working with).

4. Shooting 4:3 and 18fps, like Super-8, allows continuous shooting.

Things I don't like:
1. Live view is not perfect but using the info button you can jump between Canon's 5x zoom to focus and ML's rather choppy live view for framing.
2. I'm not seeing horrible rolling shutter but it's no Digital Bolex so that does give it away as digital footage somewhat.

I hope some others start playing around with these settings. With the 16mm Digital Bolex discontinued and Kodak's new Super-8 camera all the rage, there's a space for a small sensor digital cinema camera to get some love.