Canon 5D Mark III raw video crop mode performance

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Crop mode is covered in my 106 page EOSHD 5D Mark III Raw Shooter’s Guide on 5D Mark III raw video here

Above – EOSHD “raw rig” above is comprised of the Lanparte BMCC cage with 5D Mark III and LanParte follow focus / carbon matte box from HDVideoShop

Slashcam and I set out to test the 5D Mark III’s crop mode as precisely as possible using a chart – it is possible thanks to 100% accurate framing in crop mode with the black & white Magic Lantern live-view preview mode. Further optimisations to the buffer handling by Alex at Magic Lantern aims to make higher resolutions such as 2560 x 960 at 98MB/s sustainable for longer or even continuous.

Read moreCanon 5D Mark III raw video crop mode performance

2.5k CinemaScope anamorphic raw on the 5D Mark III

Get the EOSHD Anamorphic Shooter’s Guide for a comprehensive guide to anamorphic lenses, which ones to use, how to get them and how to shoot

Download the 2.5k 2560×1280 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

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The spec sheet is impressive. 14bit linear bayer raw is sub-sampled from a 6K sensor, giving 1280 lines of extremely clean resolution with an anamorphic compliant 4:3 aspect ratio.

This is in a similar league 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 more2.5k CinemaScope anamorphic raw on the 5D Mark III

RED Epic versus Blackmagic Cinema Camera – Part 2 – Resolution and conclusion

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Above: the Epic with anamorphic lens

In the second and final part of this mini-shootout with the Epic and Blackmagic Cinema Camera, we take a look at the resolution chart.

Read moreRED Epic versus Blackmagic Cinema Camera – Part 2 – Resolution and conclusion

Sony asks “is 4K worth it?” Their own research says…

Sony 3D at the IFA show

Sony have published a study into 4K in theaters. Called “Does 4K really make a difference?”. The advice is aimed at cinema companies upgrading to digital projection, who are faced with the choice of either 2K or 4K projection systems.

Read moreSony asks “is 4K worth it?” Their own research says…