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Andrew Reid

2.5K CinemaScope anamorphic raw on the 5D Mark III

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Great stuff indeed, Andrew!

 

One question: what are those harsh blue outlines around the leaves, top of the frame at 1:52?  To me they look like a botched HDR merge or something.  Is that an artifact of the program used to debayer and can be fixed in the future, or a limitation of the camera?

 

I would have loved using this on my last shoot.  We did a night club scene with lots of high contrast color lighting.  Used the FS100, which was the "low light" king with the "best H.264 implementation."  Well, the codec got obliterated by the irregular flashing lights making 80% of the footage unusable and requiring a lot of After Effects cleaning up in post.

 

Cheers!

Alex

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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

 

 Well, the codec got obliterated by the irregular flashing lights making 80% of the footage unusable

 

 

Was it horizontal splitted frame with the top having the lights on, and bottom lights off ?

 

Then no luck, this hack will do nothing for you. This is a rolling shutter problem, not a codec problem. Get a global shutter camera.

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Although I have general antipathy toward Blackmagic because of the way they overhyped and underdelivered the original BMCC, I have to admit their new 4K camera does look somewhat promising. The pocket camera and the small sensor originals are worthless doorstops. I would rather have even the hacked GH2 and much rather have the hacked 5D3.

 

The main problems with the 4K offering are the ergonomics still are ridiculous (how many cameras other than the iPhone don't have replaceable batteries ffs?) and I understand the dynamic range of that sensor is disappointing in practice. 12 stops may be a stretch to claim (we need independent tests). But the resolution should be good (if not true 4K...it should have more distinguishable pixels than 1080p at least...again we need tests) and it's better to be able to record ProRes onto commodity SSD than RAW onto CF. And maybe they will finally have more EF lenses working properly and firmware that lets you do absolute basics like review and erase and reformat the drives. And not suffer dropped frames, moire, etc. etc. that their earlier crude attempts at making a camera suffered from.

 

But Super35 global shutter 4K direct to ProRes on commodity media is a nice set of checkmarks for $4000, with a full version of Resolve in the tin. It's a competitor to the 5D3 RAW if it works well in practice and actually ships in quantity sometime this decade. The lack of jello and onboard ProRes makes it a worthy competitor to the KineRAW for those on the bleeding edge. But for those who can only afford one body the hacked 5D3 offers terrific stills, timelapse, SLR ergonomics, Canon professional build and service, mature ecosystem, etc. And it's here now.

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[media]http://vimeo.com/66574661[/media]

Download the 3K Vimeo file and playback on a 2.5K or 4K display for best results

Download a pack of DNG frames from the original raw files to judge quality

dng_logo.png

The spec sheet is impressive. 4:4:4 colour sampling from 14bit linear raw and 1280 lines of resolution with an anamorphic compliant 4:3 aspect ratio.

This compares to the image quality of the Sony F35 (Superman Returns, Tim Burton's Alice In Wonderland) which cost $250,000 just 5 years ago.

Read the full article here

 

Hi Andrew !!

How you expose perfectly the scene or what is your setting to have the image like this one, not darker and not yellow ?

 

I try to shot in raw, but my rushes are so dark and yellow :(

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Although I have general antipathy toward Blackmagic because of the way they overhyped and underdelivered the original BMCC, I have to admit their new 4K camera does look somewhat promising. The pocket camera and the small sensor originals are worthless doorstops. I would rather have even the hacked GH2 and much rather have the hacked 5D3.

 

The main problems with the 4K offering are the ergonomics still are ridiculous (how many cameras other than the iPhone don't have replaceable batteries ffs?) and I understand the dynamic range of that sensor is disappointing in practice. 12 stops may be a stretch to claim (we need independent tests). But the resolution should be good (if not true 4K...it should have more distinguishable pixels than 1080p at least...again we need tests) and it's better to be able to record ProRes onto commodity SSD than RAW onto CF. And maybe they will finally have more EF lenses working properly and firmware that lets you do absolute basics like review and erase and reformat the drives. And not suffer dropped frames, moire, etc. etc. that their earlier crude attempts at making a camera suffered from.

 

But Super35 global shutter 4K direct to ProRes on commodity media is a nice set of checkmarks for $4000, with a full version of Resolve in the tin. It's a competitor to the 5D3 RAW if it works well in practice and actually ships in quantity sometime this decade. The lack of jello and onboard ProRes makes it a worthy competitor to the KineRAW for those on the bleeding edge. But for those who can only afford one body the hacked 5D3 offers terrific stills, timelapse, SLR ergonomics, Canon professional build and service, mature ecosystem, etc. And it's here now.

 

A lot of bullshit spoken about Blackmagic there.

Internal battery was an extra feature. It works as a UPS / backup power. BMCC uses an external battery as the main power source, like the Epic. Nobody complains the Epic has no internal battery like an iPhone. This is a consumer mindset. Try a filmmaking one.

 

If you think the dynamic range is 'disappointing in practice' on the BMCC, I can only assume you've never used one, and have picked up some quote from somewhere about usable DR being less than 13 stops. The BMCC excels at dynamic range. Vincent Laforet compared it to a 1D X raw still.

 

So their earlier attempts were crude? Dropped frames and moire all they had to offer? Really?

 

You are annoying.

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A lot of bullshit spoken about Blackmagic there.

Internal battery was an extra feature. It works as a UPS / backup power. BMCC uses an external battery as the main power source, like the Epic. Nobody complains the Epic has no internal battery like an iPhone. This is a consumer mindset. Try a filmmaking one.

 

If you think the dynamic range is 'disappointing in practice' on the BMCC, I can only assume you've never used one, and have picked up some quote from somewhere about usable DR being less than 13 stops. The BMCC excels at dynamic range. Vincent Laforet compared it to a 1D X raw still.

 

So their earlier attempts were crude? Dropped frames and moire all they had to offer? Really?

 

You are annoying.

 

...And if that's not pot-meet-kettle what would be?  :wub:

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The lack of jello and onboard ProRes makes it a worthy competitor to the KineRAW 

 

I really wanted the Kineraw to succeed. But between BMPC and 5D3 they have rather little room to maneuver now, unless they can drop their price down to $2K.

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Vincent Laforet compared it to a 1D X raw still.

 

Since when did you care for the DR of a camera that DXOMark only ranks at 11.8 stops? So the Blackmagic is about the same? Whoopty doo.

 

That was *sarcasm* by the way, I really dislike the way DXOMark results are always paraded around like truth in photography forums. 11.8 stops? Really?

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