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Andrew Reid

2.5K CinemaScope anamorphic raw on the 5D Mark III

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Hi Andrew, 

 

I have been reading your blog for a while and have always liked your posts but have probably become a regular only now that the whole RAW thing came up, that alone exceeded even my wildest dreams! First of all I'd like to say is: Thank you!

Ever since I can remember I am running around with (video - the name alone somehow sucks) cameras pursuing my life long dream of capturing cinematic images (and I did not have the pleasure of a formal education in the field with the chance of ever shooting on real film) it has been a long way full of disappointments, getting the 5D2 was a great leap ahead, not only because of the camera itself but because of how much more information became accessible to regular folks like me.

And this why I'd like to say thank you! Thanks for sharing and for thinking of the community! Thanks for the passion and for making all this magic accessible to the people!

That said, I'll probably have to stop visiting your blog; seeing all your toys (especially all those anamorphics!) just makes me way too gear porn addicted, then you top it up by putting my favorite song of all times (of the probably most complete album ever created) onto your latest video, too much for me to handle really!

No but for real, thanks a lot!

 

Greetings from Kenya,

 

Raul  

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

i don´t really like the anamorphic lens. there is too much weakness for me, especial in the corners. the quality of the 5d mk raw is amazing but i prefer modern lenses which perform really god. i don´t need this nostalgic retro trash look...

 

Weakness?  In the corners?  you wont get much better corner performance on a full frame sensor with any other lens giving you this field of view, while covering this size sensor.  You'll just have a boring Raw image with zero character, and little to no improvement in the corners.  I think you are mistaking the shallow depth of field and the excentuated anamorphic bokeh distortion created by the larger sensor area (bigger than anything any other digital camera in mass circulation) for lens issues.  

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The LA7200 is lovely but on a full frame sensor it's not best suited...

 

It was designed for the small chip DVX100.

 

It works best at wide focal lengths, deep DOF, F4 to F11.

 

With a full frame sensor, wide focal lengths vignette with the LA7200 as they do any anamorphic adapter so you need to use a longer focal length. The LA7200 doesn't work very well with long focal lengths or the shallow DOF these lenses create.

 

You are better off saving up for an Iscorama or finding one for 70 euros in a second hand store like I did after 4 years of searching :)

Here's a short shot with the panasonic LA 7200 and 5D iii from a few years ago and it looks suprisinly good. I think.   : 

Correction : It was shot with 5Diii not 5Dii . No magic Lantern .

http://vimeo.com/52401060

 

[Edited by EOSHD - just paste Vimeo URL no need for embed code. Cheers]

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I just have a question concerning the "anamorphic", i'm just learning about that, but didn't get everything..

Is it a lens or an adaptator?

 

If both exist, which configuration is the best? "anamorphic lens" or "anamorphic adaptator + Zeiss lens (or other good lens)"?

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I'd say there's nothing in that F35 shot that the 5D Mark III can't match in raw.

 

 

If you can't see the difference, then great for you!

 

I haven't yet seen anything from the 5D that looks as filmic as the f35, is it the global shutter that makes the difference?, I'd like to think that it is possible in the right hands, because in the end is it not just a series of raw stills scaled to 1080p?

...and you all know how good stills can look from the 5d, just look at national geographic.

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I haven't yet seen anything from the 5D that looks as filmic as the f35, is it the global shutter that makes the difference?, I'd like to think that it is possible in the right hands, because in the end is it not just a series of raw stills scaled to 1080p?

...and you all know how good stills can look from the 5d, just look at national geographic.

 

Yes that's actually what it is, raw still quality.

 

1080p is sampled from the full sensor area.

 

The 1:1 crop modes at up to 3.5K are a crop of the CR2 raw stills (every pixel read from a crop of the sensor).

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Here's a short shot with the panasonic LA 7200 and 5D ii from a few years ago and it looks suprisinly good. I think.   : 

 

http://vimeo.com/52401060

 

[Edited by EOSHD - just paste Vimeo URL no need for embed code. Cheers]

Nice! Very nice actually.

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Can I ask about the shutter. You have said that the BMCC has the advantage of the 'Global Shutter'. Whats the difference between that shutter and what the 5D III has?

 

The BMCC doesn't have this, the upcoming 4K Production Camera does.  I guess that would be the BMCPC...and the new little one would be the BMPCC (Blackmagic Pocket Cinema Camera).  The BMCC (Blackmagic Cinema Camera) has a rolling shutter just like the 5D so they both are prone to jello, like all CMOS cameras.  

 

Even RED and Alexa have this issue, though to a much lesser degree.  I've still seen, on cop shows, problems with police strobe lights tearing or only visible in half of a frame.  Southland is a RED show while The Following is an Alexa show.  Pretty sure I saw this in isolated scenes in both shows.  You gotta watch out for strobe lights too so, no shooting at the discoteque.

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And now you play the disingenuous troll card, "what?  who?  me?"  

 

They never just own it.

you have to read between the lines you dump. i think i can say my opinion on this forum and i dont give a f... about what you are thinking. if i think this lens is not good for what i´m doing, don´t you think i can say that? open your eyes and look at the edges of the frame. what happens there might be ok for you but not for me. buy yourself some glasses hobbit.

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is there anything new known of this vertical lines phenomenon. i have seen them in a lot of videos when the focus is at infinity and the sky is grey. for example in this video at min 2:17. i wonder if this is reproduce able. because i have seen also videos which have no vertical lines in the same conditions.

 

https://vimeo.com/66480704

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is there anything new known of this vertical lines phenomenon. i have seen them in a lot of videos when the focus is at infinity and the sky is grey. for example in this video at min 2:17. i wonder if this is reproduce able. because i have seen also videos which have no vertical lines in the same conditions.

 

https://vimeo.com/66480704

 

That's certainly interesting, and it's still there in the original downloadable version. It may be an artifact of the screen you're viewing on, the waves in the ocean may set up a striping that you can see in that gray by virtue of the way LCD screens work. Or it may be some other artifact. But it does look real from here.

 

(I'm more bothered by the audio clipping personally...leave gain at unity, or if you want to press it, use a limiter...)

 

BTW your opinion that a vintage look sucks is completely valid in a subjective world. Expressing it I think is fair play as well; certainly our host criticizes other site hosts and their work unashamedly. If people are bored and want to pick a fight with you I suggest ignoring them entirely.

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"What I later found was that if I shot at the desired ISO in-camera the image is cleaner than shooting at what I assumed to be the native ISO and adjusting the exposure in post, so it is likely the native ISO is more like 2500 than 800!"

 

Does this mean that what's coming from raw2dng is like a sorta-raw? It sounds like the ISO is being baked in instead of being just metadata. Am I missing something? At least on my 600D and shooting in raw mode, raising the ISO in camera reduces the raw dynamic range by 3 - 4 stops and takes away the possibility of recovering highlights later on in ACR.

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