BLACKOUT Posted August 5, 2016 Share Posted August 5, 2016 Have a nice collection of Canon glass and don't want to take the loss of cash to change brands.For better native 1080. So...any saving graces to wring out the best possible 1080. Don't want to go down the ML RAW circuit,was thinking of an external recorder to PRO RES? What do you think - any better, any worse? Quote Link to comment Share on other sites More sharing options...
Katrikura Posted August 5, 2016 Share Posted August 5, 2016 Hello, I have a 5diii and use a blade ninja, the advantage is that I can record raw directly into the camera and parallel I have a backup in ProRes in the atoms, also I benefit the wizard histogram zebras focus, among others . Quote Link to comment Share on other sites More sharing options...
BLACKOUT Posted August 5, 2016 Author Share Posted August 5, 2016 Thanks, So propriety Atomos or Odyssey's raw delivery are a more streamlined in your NLE rather than the Magic Lantern work around. Quote Link to comment Share on other sites More sharing options...
Policar Posted August 5, 2016 Share Posted August 5, 2016 1 hour ago, BLACKOUT said: Thanks, So propriety Atomos or Odyssey's raw delivery are a more streamlined in your NLE rather than the Magic Lantern work around. The recorders are recording prores, not raw. With Canon dSLRs, the image quality is not appreciably improved by using an external recorder. The footage is immediately transcoded to prores, though, so yes it can save time and money in post. ML raw, however, is a BIG upgrade in image quality. We're talking DR impressively close to a C300 or Red MX and resolution that's not that much worse. Plus great tonality and more flexibility in post. The external recorder doesn't provide a meaningful improvement in image quality, at best imperceptibly reduced macro blocking. This isn't the case with a C500, of course. Quote Link to comment Share on other sites More sharing options...
BLACKOUT Posted August 6, 2016 Author Share Posted August 6, 2016 Thanks,with the 5D ii there was a mosaic filter so highly recommended for the ii - does one need to factor this cost into the equation for the 5d iii.(is it required)? Quote Link to comment Share on other sites More sharing options...
Policar Posted August 6, 2016 Share Posted August 6, 2016 58 minutes ago, BLACKOUT said: Thanks,with the 5D ii there was a mosaic filter so highly recommended for the ii - does one need to factor this cost into the equation for the 5d iii.(is it required)? No need. The Mark III has virtually no aliasing. Not an issue with that camera. I think it's unique among Canon dSLRs in that respect. The flip side is the image is pretty soft out of camera. Same resolution as other Canon cameras, no more, and without aliasing it can look even softer. Really only an issue for wide shots, but you'll notice it in wides for sure. Raw improves this dramatically. But for web it's still a great camera. Even for projection it holds up. Quote Link to comment Share on other sites More sharing options...
BLACKOUT Posted August 6, 2016 Author Share Posted August 6, 2016 Thanks again,looks like the ML RAW hole re opens. Quote Link to comment Share on other sites More sharing options...
Policar Posted August 6, 2016 Share Posted August 6, 2016 You can always do h264 for clients and RAW for personal projects. I found the RAW workflow unwieldily but I used it for an insert in one paid shoot even. There's always the FS100 (with an adapter) or C100. Good cameras for the price. Quote Link to comment Share on other sites More sharing options...
IronFilm Posted August 6, 2016 Share Posted August 6, 2016 ML raw is the only way to get a noticeably better image out of the 5D series. Get yourself a secondhand a7S mk2, or Panasonic G7, or Sony A6300 and get a huge leap in quality. Just use a metabones adapter to keep on using your old lenses. This looks awesome, lets you plug in ND filters:http://www.adorama.com/kanexeosaf2.html Or get this for much less (or any of the other many options): http://www.adorama.com/FDEOSNEXP.html?RRref=productPage Quote Link to comment Share on other sites More sharing options...
BLACKOUT Posted August 6, 2016 Author Share Posted August 6, 2016 Thanks for the links. Conversion factors for speed boosters in APS-C and 4/3 sensors rob me a bit in the wide end. Do we have a table linked to this forum for showing the different angles of view when choosing speed boosters? I took a Sony RX100 mk iv 4k to Thailand just recently and travelled with it really well,sold it as soon as I got back- but the 4k output from something the size of a cigarette packet is quite something else. Equivalent 20mm FOV in 35mm terms is my minimum for panning and lensing in tight areas. Got to admit 5d series works well in colour,battery life,menu's,accessories,etc,etc. Changing bodies might curb the horrid RAW demands of ML.(Looking at 4k versus h264 from Canon is a joke even from a quick shoot with the tiny Sony). Quote Link to comment Share on other sites More sharing options...
IronFilm Posted August 7, 2016 Share Posted August 7, 2016 Shooting on the wide wide angle is zero problem at all with APS-C/MFT, just get yourself an awesome Tokina 11-20mm f2.8! :D (or the cheaper Tokina 11-16mm f2.8, which is the one I have, purchased before the 11-20mm was announced). Or if you want ridiculously wide, get a Sigma 8-16mm! (equivalent to 12mm on so called "full frame") 22 hours ago, BLACKOUT said: Got to admit 5d series works well in colour,battery life,menu's,accessories,etc,etc. Many like/prefer the battery life / menus with the GH4/G7 Quote Link to comment Share on other sites More sharing options...
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