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Andrew Reid

Which Compact Flash card for 5D Mark III raw video?

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That would be pointless.

 

Encoding to ProRes automatically nulls the benefits of RAW. If you don't understand why, then RAW is probably not for you. In any case, ProRes will probably not happen - it's Apple licensed.

 

The most logical way for ML to go - if they were to go that route - would be to encode to Cinema DNG which is open and is widely supported by many of the most popular NLEs.

um, why would that be pointless, ive been shooting raw since the red one came out and every single file has to be transcoded to prores by the DIT to be ready for the edit load in the next morning, my problem now with 5k is that the DIT, even with redrocket can hardly keep up and it takes the whole next day to transcode, all i was saying is that it would be amazing if both files were handled in camera and the editors could start right away, its a deadline thing, maybe its something you dont understand?

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I don't want to shoot raw only then to have to convert it to ProRes 422 to edit it... that is (excuse my french) bullshit.

 

It's not only bullshit, it's also how most, if not all, of the (digital workflow) movies you ever watched were edited.

Editors work with lower res files, often ugly looking with timecode and sequence/shot info printed on top.

Once they have a picture lock, they replace only the used clips with the high res raw versions, and that's what you use for grading.

Technology might catch up soon, but in the meantime editing raw files is cumbersome and hurts your editing workflow more than it helps.

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It's not only bullshit, it's also how most, if not all, of the (digital workflow) movies you ever watched were edited.

Editors work with lower res files, often ugly looking with timecode and sequence/shot info printed on top.

Once they have a picture lock, they replace only the used clips with the high res raw versions, and that's what you use for grading.

Technology might catch up soon, but in the meantime editing raw files is cumbersome and hurts your editing workflow more than it helps.

exactly, maybe OSCAR M. will see your statement and understand now why i was hoping we could still do a prores capture via hdmi, while recording raw, so that we could negate the transcoding process on set for the raw files, and have the editor to be able to start loading material in the morning after the shoot. thank you.

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I don't want to shoot raw only then to have to convert it to ProRes 422 to edit it... that is (excuse my french) bullshit.  What is the point if I can't have it in my NLE?

 

There's the option of converting the footage into CineformRAW and keep all of the RAW goodnes while keeping the file sizes down (around 5 times smaller, close to ProRes).

http://cineform.com/products/gopro-cineform-studio-premium

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Good afternoon Andrew.  In this article you state:

"Is the 4GB file size a limitation? Thankfully no, with future build of Magic Lantern you can go until the card is full as the 5D Mark III supports the more modern ExFat file system for larger files than 4GB. Already people have recorded long takes of raw video in a single 12GB file!"

 

Isn't it true the neither the Windows/MAC version of raw2dng.exe support files over 4GB?  I have read even with the "raw_rec.mo" file the allows recordings larger than 4GB that you need LINUX to extract the dng files.

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There's the option of converting the footage into CineformRAW and keep all of the RAW goodnes while keeping the file sizes down (around 5 times smaller, close to ProRes).

 

RED gives you that kind of compression in raw, but you still need to use lower res proxies to edit it.

 

Isn't it true the neither the Windows/MAC version of raw2dng.exe support files over 4GB?  I have read even with the "raw_rec.mo" file the allows recordings larger than 4GB that you need LINUX to extract the dng files.

 

The mentioned solution is not about having files larger than 4gb, it's about having the camera create a new file automatically before reaching the limit, those files could later on be merged seamlessly. Some cameras already do this. Magic Lantern already does this with h264 files and their 12 minutes limit, even though in that case there's a few frames dropped in the process.

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Good afternoon Andrew.  In this article you state:

"Is the 4GB file size a limitation? Thankfully no, with future build of Magic Lantern you can go until the card is full as the 5D Mark III supports the more modern ExFat file system for larger files than 4GB. Already people have recorded long takes of raw video in a single 12GB file!"

 

Isn't it true the neither the Windows/MAC version of raw2dng.exe support files over 4GB?  I have read even with the "raw_rec.mo" file the allows recordings larger than 4GB that you need LINUX to extract the dng files.

 

A developer's branch of code had the 4GB cut off disabled and a tester on the Magic Lantern forums recorded a 12GB raw file in one take.

 

Yes Raw2DNG will need updating, all this is to come please be patient. That app was only put together about a week ago!

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Andrew,

 

Can you clarify? I just received a Komputerbay 64GB 1000x card and disapointed it drops out in 1920x1080p with globaldraw on. When I turn off globaldraw I am able to get up to the 4GB file recording but I have to have the audio not recorded. Are your cards experiencing the same or are you just skipping using the global draw and seperate wav file in camera? Thanks.

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Hi Andrew, I was wondering if it is possible to simultaneously record a sequence of images on both cards in the Mark III? I think this could be a solution to reach larger image resolutions.
 
You could spend 12 images to SD and 12 images to the CF from every second of shots.
 
For the audio I do not see any problem. In a professional recording this recording with condenser microphones and external recorders and can be synchronized with a blackboard.

 

Thanks.

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exactly, maybe OSCAR M. will see your statement and understand now why i was hoping we could still do a prores capture via hdmi, while recording raw, so that we could negate the transcoding process on set for the raw files, and have the editor to be able to start loading material in the morning after the shoot. thank you.



OK for on set I understand. But for other "not time constrained" projects, why not grade first? which would be pretty easy with DNGs in AE or photoshop. All you have to do is grade one frame and AE will apply it to the rest of the sequence, then export your graded footage to ProRes for editing.

The point is, for grading, ProRes just does not have the shadow/highlight recovery flexibility of RAW dng. I think though that Cinema DNG is the way to go for ML.

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LOL . . . The EOS 50D - an ancient camera back to life . . .

 

Only DNG burst so far, but I guess it should work in theory. This is going to be the biggest joke of all. Never liked the 50D... Now I will :)

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Hi Andrew, I was wondering if it is possible to simultaneously record a sequence of images on both cards in the Mark III? I think this could be a solution to reach larger image resolutions.
 
You could spend 12 images to SD and 12 images to the CF from every second of shots.
 
For the audio I do not see any problem. In a professional recording this recording with condenser microphones and external recorders and can be synchronized with a blackboard.

 

Thanks.

 

 

SD runs less than 1/5th the speed of UDMA7 CF. So you could maybe get a 10-15% speedup including the SD card in the writes.

 

But better would be writing an IPB proxy to the SD card simultaneously. If that wouldn't tie up the CPU too much.

 

And it's a clapboard or slate not a blackboard. Blackboards are written on with chalk in schools.

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OK for on set I understand. But for other "not time constrained" projects, why not grade first? which would be pretty easy with DNGs in AE or photoshop. All you have to do is grade one frame and AE will apply it to the rest of the sequence, then export your graded footage to ProRes for editing.

The point is, for grading, ProRes just does not have the shadow/highlight recovery flexibility of RAW dng. I think though that Cinema DNG is the way to go for ML.

understood, but i only work on sets, so not understanding the context of the question i was asking you should of not of been so quick to say i dont understand raw, just be careful what you say to professionals on this forum, some people arent as nice as me :)

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LOL . . . The EOS 50D - an ancient camera back to life . . .

 

http://vimeo.com/66622780

 

Wow 50D is looking very impressive, better than 600D.

 

Ssshhh don't tell ebay!!

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So nobody has tried the Toshiba 1066x yet?  I am thinking of buying one, just waiting for the first review on that, see if its worth it.

I have 32GB Toshiba 1066x card.

Unfortunately, dispite its price, it only allows 91MB/s read and 119MB/s write in 16384 blocks.
And it sometimes skips frames in 1920x1080 24fps

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understood, but i only work on sets, so not understanding the context of the question i was asking you should of not of been so quick to say i dont understand raw, just be careful what you say to professionals on this forum, some people arent as nice as me :)

 

Agreed.

 

Wow 50D is looking very impressive, better than 600D.

 

Ssshhh don't tell ebay!!

 

The cheapest RAW Camera ever made!

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The point is, for grading, ProRes just does not have the shadow/highlight recovery flexibility of RAW dng. I think though that Cinema DNG is the way to go for ML.

 

That's funny considering how many projects have been shot with the Alexa straight to prores. And it has GREAT highlight/shadow dynamics.

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Yeah and those same Alexa crews carry a generator and Arri suns 100m down the road, spending countless dollars to do so, then go and shoot ProRes. Madness.

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