Magic Lantern enables 14-bit RAW CinemaDNG on 5D

squig said:
I've never had a dropped frame filling the whole card. There's been the occasional hiccup right at the start of the first recording with a few of the builds.

Internal sound sync is still not happening, external is all good.

The Lexar 1000x, Toshiba 1066x, and Hoodman 1000x are all good for sustained 1080p 24/25p. It's a lottery for write speed with the Kompbay and I've heard of a number of failures.

A few guys (Samuel is one of them) are working on an SSD recording option which will be substantially cheaper and possibly faster. If you've got a data wrangler you can offload a 64Gb card to a macbook with an expresscard CF reader in about 6min so you could get by with 2 cards. I've got 3 64Gb cards and if the SSD option doesn't happen I'll get another 3 cards so I don't have to offload footage until the end of the day.
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Personally, I think that waiting until the end of the day is an error on an important production. If you wait until the end of the day to offload and there is an issue, you are basically screwed. I am not talking about Komputerbay cards. Any card can become an issue. You don't want to be in that position. Data wrangler or not. Addtionally, every time you change scenes, you should be changing cards. That way no issue is going to mean losing more than one scene.
So unless you have the cash to match the number of scenes you are a shooting on a daily basis, offloading before the end of the day is a must, even if it means losing your AC for a half an hour as he/she reviews the rushes.

Looking forward to an SSD solution. I think that would make a big difference for pro prods. Especially for multicam projects.
 
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Thanks for all the great info Squig! SSD would be great if that happens!

dustylense said:
Uhhh, the sensor and the lens drive the resolution. I can post sharpen the MK3 to match my settings of detail in the C100 or vice-versa and lower the sharpen settings in the C100. But hey, I see what I see.
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It could be that the AVCHD implementation is vastly better in the C100 than the 5Dmk3. Did Canon do this on purpose? Hard to know though the greatest Eff You that ML could do would be to reprogram the AVCHD implementation to C100 levels.

If not the dual recording for h.264 proxies would be amazing too.

I am just so blown away by all of this and what ML have done so well and so quickly!
 
yoclay said:
Personally, I think that waiting until the end of the day is an error on an important production. If you wait until the end of the day to offload and there is an issue, you are basically screwed. I am not talking about Komputerbay cards. Any card can become an issue. You don't want to be in that position. Data wrangler or not. Addtionally, every time you change shots, you should be changing cards. That way no issue is going to mean losing more than one scene.
So unless you have the cash to match the number of scenes you are a shooting on a daily basis, offloading before the end of the day is a must, even if it means losing your AC for a half an hour as he/she reviews the rushes.
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I like to keep the amount of recording on each card short (15min on a 64Gb card) that way if a card craps out I don't lose too much. There is a primitive playback mode so you can check that the recording is intact. I've never had a CF card fail on me in 5 years so hearing all the failures of the Kompbay cards is not good. On a single day shoot like last week I do check the files on the first card. There's always the risk that the wrangler doesn't backup a file and erases the card. Human error is just as much an issue as card failure.
 
The AVCHD in the C100 is quite good (why do so many people using external recorders say they don't see a difference??). But its more about the sensor. Keep in mind the RGGB on the C class sensors. Keep in mind it's a 4K sensor made for motion. I would love to have the XF codec in the C300 as I have it in my XF100. Super efficient and robust. But I'm always amazed at the images off the C100. For AVCHD, it's very forgiving. Not gonna argue that 14bits is not better. ANd the ML hack has come a LONG way in a very short time. But yet, it can't do "all" the things my C100 can do built into the camera. I'm lucky that I have access to 4 MK3's. But the hack has to come even further for it to be a viable production camera. Get the sound going at least for scratch audio. Eliminate the banding. Work on higher frame rates. Hopefully they will iron out. So far so good and if I see the need for a raw capture, the MK3 is right next to my C100 in the very same bag. If BMD solves the moire issue, I would jump right back on that camera. They still have issues to iron out. The C100 is already ironed out as long as you accept that it's avchd. If I really need more, I'll rent the C300. Let's just say I feel that aside from VFX work that if you can't film with a C300 or C100 and you depend on RAW then one might consider a different hobby or profession. I don't have two vans and a 16 ft trailer full of lights and grip for nothing. The art starts with you and not the camera. Good lighting, then onto good camera management, then into the software to make it pop. I'm one that thinks in technical terms, the lens is more important than the camera. THen on the business side, the workflow comes into consideration. Timur posted that he lost an hour of footage today. On a paid shoot, that HAS to be considered with the ML hack. If somebody else is signing the check, I'd be just a bit cautious of using the ML hack. But like we all know, the ML team has made great strides thus far. I'm confident they will succeed in making a viable and useful tool in the MK3 shooting RAW. But in the end, it's still just a camera. It takes pictures, not makes pictures....
 
I've seen some C100 AVCHD vs prores tests and the AVCHD holds up really well, but keeping in mind prores422HQ isn't that great compared to 4444. 99% of the time AVCHD will do the job but it won't hold up in a heavy grade as well as raw to 4444 of-course. I tend to push things to that 1% so 4444 is pretty important to me.
 
dustylense said:
The AVCHD in the C100 is quite good (why do so many people using external recorders say they don't see a difference??). But its more about the sensor. Keep in mind the RGGB on the C class sensors. Keep in mind it's a 4K sensor made for motion. I would love to have the XF codec in the C300 as I have it in my XF100. Super efficient and robust. But I'm always amazed at the images off the C100. For AVCHD, it's very forgiving. Not gonna argue that 14bits is not better. ANd the ML hack has come a LONG way in a very short time. But yet, it can't do "all" the things my C100 can do built into the camera. I'm lucky that I have access to 4 MK3's. But the hack has to come even further for it to be a viable production camera. Get the sound going at least for scratch audio. Eliminate the banding. Work on higher frame rates. Hopefully they will iron out. So far so good and if I see the need for a raw capture, the MK3 is right next to my C100 in the very same bag. If BMD solves the moire issue, I would jump right back on that camera. They still have issues to iron out. The C100 is already ironed out as long as you accept that it's avchd. If I really need more, I'll rent the C300. Let's just say I feel that aside from VFX work that if you can't film with a C300 or C100 and you depend on RAW then one might consider a different hobby or profession. I don't have two vans and a 16 ft trailer full of lights and grip for nothing. The art starts with you and not the camera. Good lighting, then onto good camera management, then into the software to make it pop. I'm one that thinks in technical terms, the lens is more important than the camera. THen on the business side, the workflow comes into consideration. Timur posted that he lost an hour of footage today. On a paid shoot, that HAS to be considered with the ML hack. If somebody else is signing the check, I'd be just a bit cautious of using the ML hack. But like we all know, the ML team has made great strides thus far. I'm confident they will succeed in making a viable and useful tool in the MK3 shooting RAW. But in the end, it's still just a camera. It takes pictures, not makes pictures....
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Yeah, I pretty much agree with this.
Let's not forget too that attaching a recorder to the C100 is going to yield a darn good image.
The IQ is above DSLR's in that the sensor has been designed from the ground up for this purpose.
My feeling is that run'n gun situations benefit from a certain forgiveness by the spectator anyway.
From a documentary point of view, it almost adds to the style if things are not too candy coated.
If a run'n gun is the context of a narrative situation on the other hand, for me personally kitting it out with a recorder is not that big a deal.
Actually, when I consider how many things might be hanging off a camera like a radio remote/motor system or fingerwheel, I'm kind of used to it.
 
One big advantage the C100 has over the MK3 is the 16ms vs 21ms rolling shutter. I've noticed some very slight skew in some of my shoulder rigged close ups from the raw narrative shoot. It was my bad,:embarasse I didn't take the time to balance my rig properly and it was a bit front heavy.
 
squig said:
One big advantage the C100 has over the MK3 is the 16ms vs 21ms rolling shutter. I've noticed some very slight skew in some of my shoulder rigged close ups from the raw narrative shoot. It was my bad,:embarasse I didn't take the time to balance my rig properly and it was a bit front heavy.
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Actually, I think if BM can get a handle on the moire thing, I like dusty, would probably go for a production camera. Really global shutter makes a big difference, and not just for verticals, but especially for hand held and eliminating jello.
 
yoclay said:
Actually, I think if BM can get a handle on the moire thing, I like dusty, would probably go for a production camera. Really global shutter makes a big difference, and not just for verticals, but especially for hand held and eliminating jello.
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When the F55 was released, there was a video that hit youtube (or vimeo, can't remember) showing its Global shutter, I believe it was just someones frontyard, but it was strange to watch. Hopefully the BM4k will look like the F55!
 
The 3x crop on the 5d is exciting to me because of it's great use in low light where shooting wide open is impossible or unwanted because the dof is too short.

So if your desired focal length lens is a 75mm but in your low light situation the dof is too shallow one could shoot with a 25mm at 3x crop and be working with the dof properties of that shorter lens.
 
Steve Kahn said:
The 3x crop on the 5d is exciting to me because of it's great use in low light where shooting wide open is impossible or unwanted because the dof is too short.

So if your desired focal length lens is a 75mm but in your low light situation the dof is too shallow one could shoot with a 25mm at 3x crop and be working with the dof properties of that shorter lens.
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Don't forget you also get the aberrations and such that comes with that wide open.
 
Steve Kahn said:
KHOOOOOLLLI! Don't confuse me with multisyllabic words!
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I did LOL.

What I mean to say's that things like CA or diffraction (purple, green, or blue fringing) will be exaggerated, along with Coma (hazy kind of images) and depending on lens performance, sharpness.

It's not a big deal, just something to keep in mind.
 
Na. I was being snarky. ;)

interesting stuff you bring up though. Isn't the center of the lens the sweet spot and doesn't CA happen on the edges? (Maybe diffraction happens everywhere though?)

Yep. I can see your point about not wanting to use a soft lens or maybe any lens completely wide open for this.
 
Steve Kahn said:
Na. I was being snarky. ;)

interesting stuff you bring up though. Isn't the center of the lens the sweet spot and doesn't CA happen on the edges? (Maybe diffraction happens everywhere though?)

Yep. I can see your point about not wanting to use a soft lens or maybe any lens completely wide open for this.
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Oh okay hahaha. I'm super half-past-dead right now, so I didn't get it.

Lens softness depends on lens and copy, in general. But, I believe when reviewers get into comparing center and corner sharpness that's in relation to that combination of sensor size and lens.

squig said:
You're zooming in on the sensors fixed pattern noise too.
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Really??? Well, I guess that makes sense. Same thing with the GH2, when you went into ETC mode the noise pattern became much more pronounced. Basically, you halved your ISOs because of the noise floor.
 
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