SoFloCineFile

Shot this video in Prores Raw 12-bit the other day with my Lumix S5:
-Filmed on Panasonic Lumix S5 in 5.9k 12-bit ProRes Raw (recorded externally on Atomos Ninja V)
-Camera mounted to DJI RSC2 Gimbal
-Tokina AT-X 116 Pro DX-II 11-16mm F-2.8 (wide-angle lens) attached to camera via Vizelex Fusion ND Throttle Smart Adapter (EF - L mount)
-Shot with V-log picture profile (original footage resolution was 5.9k 24p, and 4.1k 60p footage slowed down to 24fps) 
-ProRes Raw Files converted to ProRes 4:4:4 and some minor color grading and final editing was done in Davinci Resolve 17 (Final export was 4.1k 24ps)
-Exported and uploaded to Ytube using 10-bit H.265 codec

Shot this video in Prores Raw 12-bit the other day with my Lumix S5:
-Filmed on Panasonic Lumix S5 in 5.9k 12-bit ProRes Raw (recorded externally on Atomos Ninja V)
-Camera mounted to DJI RSC2 Gimbal
-Tokina AT-X 116 Pro DX-II 11-16mm F-2.8 (wide-angle lens) attached to camera via Vizelex Fusion ND Throttle Smart Adapter (EF - L mount)
-Shot with V-log picture profile (original footage resolution was 5.9k 24p, and 4.1k 60p footage slowed down to 24fps) 
-ProRes Raw Files converted to ProRes 4:4:4 and some minor color grading and final editing was done in Davinci Resolve 17 (Final export was 4.1k 24ps)
-Exported and uploaded to Ytube using 10-bit H.265 codec

Boy I have been there a lot of times. Only place I know of that a Hot Dog costs more money there than a T Bone steak on the Mainland. Captiva is even worse. I lived in Fort Myers, North Fort Myers for 12 years.
Sanibel is the seashell capital of nearly the whole world. People make 10,000s of dollars a year hunting shells there. 

Shot this video in Prores Raw 12-bit the other day with my Lumix S5:
-Filmed on Panasonic Lumix S5 in 5.9k 12-bit ProRes Raw (recorded externally on Atomos Ninja V)
-Camera mounted to DJI RSC2 Gimbal
-Tokina AT-X 116 Pro DX-II 11-16mm F-2.8 (wide-angle lens) attached to camera via Vizelex Fusion ND Throttle Smart Adapter (EF - L mount)
-Shot with V-log picture profile (original footage resolution was 5.9k 24p, and 4.1k 60p footage slowed down to 24fps) 
-ProRes Raw Files converted to ProRes 4:4:4 and some minor color grading and final editing was done in Davinci Resolve 17 (Final export was 4.1k 24ps)
-Exported and uploaded to Ytube using 10-bit H.265 codec

Shot this 4K video on the G9 of my favorite park:
-12-60mm Panasonic kit lens
-HLG Picture style
-Edited in Davinci
 

Shot in 2160p HLG picture style  on the Lumix G9:
 

And the ability to punch in while recording.

Understood.
Are you using Davinci for post-editing? Whenever I've had clips with different frame rates I make sure to first set my timeline to the desired framerate (and not let it automatically decide framerate based on the clip properties). then I just work on the ones that I want to conform first by doing multiselect on those clips and then right click, change speed, and set the framerate to 24.
Also, I've noticed since updating to Davinci 17 that when I specify a project framerate of 24 fps, all those 23.98fps clips appear as 24fps once I drop them onto the timeline...so I really don't think the aforementioned additional step is even needed  if using the latest version of Davinci 17 and specifying project framerate beforehand.

Yes and its wonderful. Now if they would just add false color and better focus peaking it would be great.

Understood.
Are you using Davinci for post-editing? Whenever I've had clips with different frame rates I make sure to first set my timeline to the desired framerate (and not let it automatically decide framerate based on the clip properties). then I just work on the ones that I want to conform first by doing multiselect on those clips and then right click, change speed, and set the framerate to 24.
Also, I've noticed since updating to Davinci 17 that when I specify a project framerate of 24 fps, all those 23.98fps clips appear as 24fps once I drop them onto the timeline...so I really don't think the aforementioned additional step is even needed  if using the latest version of Davinci 17 and specifying project framerate beforehand.

It is one less step I have to do in post. In a multiple camera set-up, it is one less headache if I can set all cameras to 24 fps.

It doesn't, camera nerds on fora have a hard on for it, that's all. In the extremely unlikely event that you would ever need to show your movie on a projector that doesn't support 23.98 fps you'll have to speed up your footage by some imperceptible amount. (I'm speaking from experience here).

Did the update also add true 24.0 fps?

Nice job. Looks a tad oversharpened though and I am not sure  how effective those blurred shots are, looks a bit too artificial. 

This is interesting. 
I'm always amazed by what the EOS M and magic lantern can do. I love mine very much and it still is one of my favorite mirrorless camera. Although I will not take it to paid jobs, it is very fun to use and despite the price, has so much to offer. Shooting RAW continuously in such a small body is simply crazy. Though I had never thought of trying it, for some reason, and I only used magic lantern for focus peaking and audio level monitoring. 
Anyway, I suggest to invest a prime lens because the kit lens really isn't that great. Many of the shoots in the video would benefit from a shallower DOF and lower iso setting. 

Also, just want to give a disclaimer that I made a mistake earlier when I said that the 33 min video test recording mentioned above was 16 by 9 format. I opened the recording up in MLV and its actually 21 by 10...however, that's still a fuller look than 2:35 or 2:39, so it's awesome imo to be able shoot continuously in this mode, as well as 2.7k and 2.8k raw continous in the cropped aspect ratios.
Before this latest build, I was only able to get continuous in the 1080 rewire and anamorphic pixel binned modes, where the image needed to be stretched in post and didn't look like true 2.5k.
My next goal is to do a short film and try to film it entirely in 2.5k or above resolution.

Here is the latest build which I was using for the recording test above:
https://drive.google.com/file/d/144TxEEVYpHpMK0t77y3sKj_ZeTGRuY3L/view

I can confirm that the Magic Lantern build I am using does bypass the factory record limit on the Canon EOS M!
I was able to record continuous 2.5k Raw (2512 x 1190, 16:9 format) for 33:51 minutes, reaching the capacity limit of my 128 SanDisk Extreme Pro (170MB/s).
See snapshots below: 

This has turned out to be an amazing camera and the best $150 I've ever spent! I purchased it pre-owned a few weeks ago just wanting something i could quickly use on the go for quality shots and now I have a cinematographic beast on my hands thanks to this latest ML build!

It looks so much better now, so it was indeed the workflow that was causing issues. There's still some noise in low light, but the mushiness is gone and the color has life in it. Also, I'm not sure if you slowed it down before or had a frame rate mismatch, but that opening shot of the front gate used to have jerky and unnatural movement but looks normal now.
One thing though is that you've got some over exposure that wasn't present before. You might want to adjust the curves in Resolve, or experiment with the raw settings. The shot of the bust at 0:44 in the original is properly exposed, but that shots at 0:48 of the bust in the new one is blown out. But yeah, definitely looks like it was captured in Raw now, which the first video did not.

That looks really good on my phone. What's the max clip length in 2.5k raw?

Updated video using higher quality export settings workflow:

RAW MLV clips from EOS-M ---> CinemaDNG lossless ---> Edited and Graded in Davinci Resolve 16 (free version) --->Final delivery codec for YouTube Export was .mov / PhotoJPEG w/ 250mbps bitrate.

Still some noise due to high iso settings (3200+ for the indoor shots) but better than initial export above (h264 codec)
 

Hello everyone, 
I just recently picked up an EOS-M after being inspired by Zeke and wanted to share a short film I shot using Danne's new ML build (7/29/2020): https://bitbucket.org/Dannephoto/magic-lantern_jip_hop_git/downloads/crop_rec_4k_mlv_snd_raw_only_2020Jul29.EOSM202.zip
YouTube link to my short film, "A Venetian Splendor on the Gulf:" 
 
 
Shooting Conditions:
Shot hand-held using neck-strap to stabilize
15-45mm EF-M lens
23.972 fps
12-bit, raw 4k anamorphic and 10-bit 2.5k raw clips
Exported from MLV as h264 12-bit mov, up-scaled to 2160p and graded in LumaFusion

Hello everyone, 
I just recently picked up an EOS-M after being inspired by Zeke and wanted to share a short film I shot using Danne's new ML build (7/29/2020): https://bitbucket.org/Dannephoto/magic-lantern_jip_hop_git/downloads/crop_rec_4k_mlv_snd_raw_only_2020Jul29.EOSM202.zip
YouTube link to my short film, "A Venetian Splendor on the Gulf:" 
 
 
Shooting Conditions:
Shot hand-held using neck-strap to stabilize
15-45mm EF-M lens
23.972 fps
12-bit, raw 4k anamorphic and 10-bit 2.5k raw clips
Exported from MLV as h264 12-bit mov, up-scaled to 2160p and graded in LumaFusion