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Canon 5D mark iii RAW video 2018


kidzrevil
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Dammit Kid that video is like being there. I think that is the best I have seen from you!  And that is saying something. I think you and Mercer need to be thrown off of here for making the rest of us look bad LoL!!

Jesus maybe I Need to buy a 5D mk III. Say it ain't so! Between it and a 1DC I guess I am Canon bound. That is the stuff I came on here to see. I know if we were rich it might not be too hard with a Arri Alexa, etc. But you don't have to be to get the results you guys are getting. I am impressed.

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5 hours ago, kidzrevil said:

I have no clue how to save changes made in adobe camera raw so I am settling on getting the image looking right using LUT's in premiere pro. 

If you happen to particularly like Adobe Camera Raw, you can make adjustments in ACR, generate a LUT from those adjustments and then use that LUT on your footage in Premiere Pro.

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@DaveAltizer I would love to see some of your old 5d footage sometime ! What are you shooting with now ? 

@Vision thanks ! I’m gonna do another test soon 

Thanks man ! I was shocked at the image. It honestly performed way above my expectations ! It seems like the 5D had some secret sauce hidden in the sensor that the ML RAW Lets us tap into. It has a “film” like feel to it @webrunner5 too bad I dont know how to grade in adobe camera raw

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10 minutes ago, kidzrevil said:

@DaveAltizer I would love to see some of your old 5d footage sometime ! What are you shooting with now ? 

@Vision thanks ! I’m gonna do another test soon 

Thanks man ! I was shocked at the image. It honestly performed way above my expectations ! It seems like the 5D had some secret sauce hidden in the sensor that the ML RAW Lets us tap into. It has a “film” like feel to it @webrunner5 too bad I dont know how to grade in adobe camera raw

Oh I am sure you will learn. Just treat it as a Photo, and apply it to all, and hell you will be in like Flint. :glasses: Camera Raw is a Way easier program to learn than Premier.

Personally I like iMovie. That way my 5 year old Grandchild can help me out. I am old you remember. :grimace:

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@kidzrevil Oh gosh Id have to dig through some old hard drives. I did a lot of work with the 50D raw as well...but those were fun times when ML was in their heyday. 

I promised myself 4 years ago that when I could afford it that I would buy the 1DC because I did a few projects with it when it came out and I fell in love with the image quality. I got asked to shot a doc in Mexico and Guatemala about two years ago and the budget set aside just for gear was more than enough to buy a used 1DC so I finally got my "dream camera" two years ago. 

I still shoot all my YT content with the 1DC...but I have been desperately avoiding switching to like a 1DX II or 5D IV because there are so many L's that I would take with the switch. 

Over the years I have shot Digital Bolex D16 a lot as well. IMO...the 1DC and the Digital Bolex are my favorite cameras to work with. They produce such consistently incredible results. Heres a film I shot all on the D16 and their Kish lenses 

and heres a music video I directed that was shot all on the 1DC 

At the end of the day, the only thing Im waiting to "upgrade" to at this point is RED DRAGON. I actually am a huge fan of the DRAGON sensor and feel like going R3D would be the only thing out there that would feel like a worthy upgrade for me with what I do. I just simply don't have the cash to make the switch at the moment, so for now....1DC it is...which isn't bad at all!

ACF94F5F-9476-48DC-B559-C03AB63E17A7.JPG

 

By the way...I STRONGLY suggest you invest in either a kit of CONTAX ZEISS glass or Leica R's. The retro lenses take off that digital edge that you're fighting with the filters. The voigts are great though....but maybe you should try some retro glass. I have a 28, 35, 50, 85 CONTAX ZEISS kit and use them daily. (I need the 18 and then Ill be set)

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11 hours ago, kidzrevil said:

So I finally took a huge leap of faith and picked up a Canon 5D mark iii with 2 voigtlander pancake lenses. So far the image quality in its RAW video mode is astounding. You have a ridiculous amount of flexibility when it comes to grading the files in post. When comparing to today's 4k mirrorless cameras what you lose in resolution you gain in dynamic range and color fidelity. I have settled on converting the files to cinema dng and working with them in premiere. I have no clue how to save changes made in adobe camera raw so I am settling on getting the image looking right using LUT's in premiere pro. Does anyone else shoot RAW on the Canon 5D ? What is your workflow ? How do you feel about the image ? Do you think it holds up to today's standards ?

this was shot with the voigtlander 40mm f2 and a tiffen black satin filter btw. I also used neat video to reduce the noise although there was not much noise to begin with. The iso range was from 100-6400

You made the right choice, i think everyone should try 5D raw once to see if it fits to his needs.

I walked on an inverse path compared to you, 5D first, then a6300. In the past 3 month i didn't even touch my 5D. The ease of use of the Canon is awesome, the raw colors are great, the resolution is enough, the battery life is good... but after few TB of footage (which will come very soon), after constant strugle the lack of AF when using gimbal  you will starting to realise: does it worth it?

But for the first few weeks you will think this is the camera what you have been waiting for, so we are waiting for more footages!

About the video: that tiffen filter which gives the halo to the highlights is awesome, i really like it

ohh, and go for the Davinci path, now it's much more advanced then it was years ago

Pro tip for resolve RAW: default sharpening is 10. Go 35 for razor sharp detail, and go 0 for film look.

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7 minutes ago, Deadcode said:

You made the right choice, i think everyone should try 5D raw once to see if it fits to his needs.

I walked on an inverse path compared to you, 5D first, then a6300. In the past 3 month i didn't even touch my 5D. The ease of use of the Canon is awesome, the raw colors are great, the resolution is enough, the battery life is good... but after few TB of footage (which will come very soon), after constant strugle the lack of AF when using gimbal  you will starting to realise: does it worth it?

 

Yeah I can see how you would not use it for your daily shooter LoL. Just special stuff. Same with a 1DC, at least I would use them that way.

I know it's cheaper but why didn't you go with the A6500?

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@Deadcode yeah pretty much what @webrunner5 said I would just use this camera for special stuff ! Fashion vids and stuff like that shot with quick cuts and short takes. Things like documentaries,music videos and other shoots that require long takes I’ll take out my Sony a6500. These things are just tools after all, get the right one for the right job ?

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5D3 14-bit Raw is definitely some of the finest 1080p IQ outside of Arris etc... but shooting with it is honestly a little hit & miss. Not having sound, super choppy liveview, couple seconds before dropping frames etc makes it kind of unreliable for pro use. I only used it for certain money shots as B-cam  footage to the C100 and even then was nervous until i got home and saw the footage. Raw is already a hefty workflow on it's own, and jumping through the ML hoops to get to that DNG isn't really a walk in the park. Just trying to inform people that might be tempted to go that route.. remember it is a hack.. and bricking your camera isn't excluded (i certainly had lock-ups quite regularly). That IQ though... 

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29 minutes ago, Django said:

but shooting with it is honestly a little hit & miss. Not having sound, super choppy liveview, couple seconds before dropping frames etc makes it kind of unreliable for pro use.

Its surprising to me that people still talks about these issues that as far as I know where solved years ago.
I have never dropped a single frame, absolutely no issues with live view and there at least used to be audio (not that I would use in camera sound from any stills camera). Never had a bricked camera nor talked to anyone experiencing it.
And to get DNGs is exactly that, imo. A walk in the park. Drag-n-Drop and push one button, done.

Did you use a decent CF card? Did you have ML on the same card or the SD? What build? How many have you bricked?
It would be interesting to finally track down what causes these issues that some seem to experience.

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About supper choppy livemode : i think @Django thinks of crop mode, where monitoring sure is clunky. (1 image per second / gritty grayscale). Also framedrops after a few seconds because you exceed the capabilities of the CF controller. That's the price for being on the bleeding edge.

Then again, i filmed a whole 3 week vacation with 3k 21:9 RAW, 7seconds maximum in 10bit (compressed wasn't out back then). with sound. I still need to work through those 2 teras of footage... :grimace: 

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Yeah I shot this video with the 5DIII ML RAW

 

I still own a 5D III, but mainly for shooting pictures and shooting some clips of my little girl. I upgraded to a URSA mini pro. And It is hard to step back from such an image, so atm I do not use the 5D III for any projects anymore. Allthough the 5D III RAW has some serious mojo going on, and I like that its so tiny so for travel its so lovely. 

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14 hours ago, seku said:

(as much as i love the RAW of the 5D ... i want a waveform for monitoring. When i got exposure right, i love the 5D. The histogram helps me with ETTRing, and making sure i don't overexpose. But i have no clue where my skintones fall).

 

You can use the spotmeter for this. This simple tool is faster/better than a waveform for judging skin exposure and not nearly as obtrusive as false color (you can have it on ALL the time). All you need to know to make good use of it is the map between the numbers you see in the profile you are monitoring with (say, you have the camera set to Standard while shooting raw) and the the numbers you'll get in post after doing your raw import routine. Shoot a grey chip chart, record what goes where in live view (or just record a clip in Standard), import the raw footage and make a table with two columns. Voila,  you now know that +1 is ~175 in "spotmeter values" and falls wherever in your imported footage. You don't really need to memorize the mapping with great precision. All you need is knowing where a -3 to +3 range falls as this is where the important stuff is in an image.

Knowing your tonal curves is useful in most situations anyway. But it happens to be priceless when shooting raw and monitoring an image which you know is different than what you'll be seeing in post.

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2 hours ago, Mattias Burling said:

Its surprising to me that people still talks about these issues that as far as I know where solved years ago.
I have never dropped a single frame, absolutely no issues with live view and there at least used to be audio (not that I would use in camera sound from any stills camera). Never had a bricked camera nor talked to anyone experiencing it.
And to get DNGs is exactly that, imo. A walk in the park. Drag-n-Drop and push one button, done.

Did you use a decent CF card? Did you have ML on the same card or the SD? What build? How many have you bricked?
It would be interesting to finally track down what causes these issues that some seem to experience.

honestly, i don't remember all the details, it's been a while and for all i know these issues have all been solved..?

It was Nightly build and ML was on the SD i remember that but i can assure you i'd often be getting frame drops, live view / audio issues etc.. I did make full use of a lot of options (perhaps too many were activated)

yeah getting DNGs can be drag n drop with that one paid app.. still converting is time consuming depending on your cpu / hard drives..

i never fully bricked a 5D thank god but definitely severe lock ups requiring battery pull method etc. one day it took like 10mn for the 5D to come back to life, boy was i ever nervous.. didn't really do much RAW with it after that!

of course your mileage may vary.. just giving my own experience of which ML felt unreliable at times.

today if i needed raw for commercial usage i would look at any second hand Blackmagic camera before going to a hacked 5D3. again just my .2c

 

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28 minutes ago, cpc said:

You can use the spotmeter for this.

As a starting point, middle grey as understood by the 5D3's internal meter clocks in at around 128 in RGB values, or 50% if you use the "percent" readout. This remains roughly true across all stock picture styles and contrast levels. But values above and below this middle point would change when you change the picture style.

If you set the spotmeter to show RAW EV (number of stops below clipping) then you're getting a readout of the actual RAW data, which is independent of picture style. Here, middle grey as understood by the metering system is approx -4 EV.

@kidzrevil You could also try setting your histogram to show RAW values - this helps an awful lot with exposure.

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21 minutes ago, Django said:

honestly, i don't remember all the details, it's been a while and for all i know these issues have all been solved..?

It was Nightly build and ML was on the SD i remember that but i can assure you i'd often be getting frame drops, live view / audio issues etc.. I did make full use of a lot of options (perhaps too many were activated)

yeah getting DNGs can be drag n drop with that one paid app.. still converting is time consuming depending on your cpu / hard drives..

i never fully bricked a 5D thank god but definitely severe lock ups requiring battery pull method etc. one day it took like 10mn for the 5D to come back to life, boy was i ever nervous.. didn't really do much RAW with it after that!

of course your mileage may vary.. just giving my own experience of which ML felt unreliable at times.

today if i needed raw for commercial usage i would look at any second hand Blackmagic camera before going to a hacked 5D3. again just my .2c

 

Nowdays: no frame drops at 1080p 25p 14bit.

Possible to use 10/12bit mode with almost no penalty (ok, deep blacks can show some banding with +5EV push), there is lossless compression which allows to save card space.

In fullframe 1080p 24/25p mode there is live view with peaking or focus assist with focus confirmation, sound recording, real time histogram/ETTR hint for proper exposure.

Post process workflow: you can post process your files without transcoding... The MLVFS (magic lantern file system) fuse based app simply translates your MLV files which contains the raw images and the sound to you Davinci resolve or After Effects. If i remember correctly, Premiere CC can handle .MLV files out of the box.

The camera with the hack is now rock solid, and you can easily use it for payed gig.

I have tried BMPCC and the ease of use compared to 5D is night and day... and the 5D is the winner. (however the BMPCC is clearly a winner in dynamic range)

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