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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

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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

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

The EOSHD Blackmagic Cinema Camera Shootout

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In a joint shootout with Slashcam in Berlin, EOSHD put the Blackmagic Cinema Camera into a bear pit against all rivalling cameras between $500 and $4000.

It was a clear day and the results are just as stark. Download the full 2.5K shootout video. Here’s my verdict on which camera you should buy – based purely on image quality.

The following cameras are in this test:

  • Blackmagic Cinema Camera (retail)
  • Panasonic GH3 (pre-production v0.5)
  • Panasonic GH2 (hacked)
  • Sony FS100
  • Canon 5D Mark III
  • Sony NEX VG-900 (full frame E-mount camcorder)

Read moreThe EOSHD Blackmagic Cinema Camera Shootout

Lossless Blackmagic Cinema DNG 2.5k workflow for Adobe Premiere CS5.5 / CS6 with smooth playback and editing

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DOWNLOAD 2.5K BLACKMAGIC H.264 FOOTAGE HERE

(Important: on the Vimeo page for this clip, click download to get the 2.5K 80Mbit clip. Don’t bother watching it full screen from the stream as it is a pale imitation of the full 2.5k file)

I’ve been experimenting today with Blackmagic Cinema Camera workflows.

I use Adobe Premiere as my main NLE. I am not an FX guy so rarely use After Effects. But it comes in very handy here.

Premiere cannot yet edit the CinemaDNG files natively, performance is very limited, it interprets the footage at 1fps, requiring you to fix this for every clip and image quality suffers greatly, possibly because it doesn’t allow you to edit in glorious 12bit.

Here’s the solution that’s working best for me…

Read moreLossless Blackmagic Cinema DNG 2.5k workflow for Adobe Premiere CS5.5 / CS6 with smooth playback and editing

EOSHD grades the Blackmagic camera raw CinemaDNG files

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Above: my first go at grading the Blackmagic Cinema Camera raw output

The above frame is scaled to 660 pixels wide for the blog. Click here to view the full 2400 x 1350 frame in your browser and another full frame here

John Brawley and Blackmagic Design today released the first raw DNG files from the camera.

Here’s my take on how the raw camera stands up.

Read moreEOSHD grades the Blackmagic camera raw CinemaDNG files