I feel the same way, but there has to be more to it than that, or else, because the pocket cam's undoubtedly been in development for months, BMD would've done that a while ago.
Magic Lantern enables 14-bit RAW CinemaDNG on 5D
- Thread starter refocusedmedia
- Start date
Whether they do or do not decide to release BV1-MFT as an active mount, they've already said that it requires a redesign of the camera internals to make it active. It isn't just a matter of "make it active".
pulpfiction007
Veteran
lol "Number 1, make it so....active mount, engage." 
Wow. A lot of people said this wasn't possible, but I guess it is. Kudos to Magic Lantern. Looks like we are on the road to an affordable raw camera from somewhere.
I really like Canon gear and the Canon look of the 5d so I'd rather get a Canon than a BMC if price was similar. maybe this will eventually push Canon to release something themselves that doesn't need a hack.
I really like Canon gear and the Canon look of the 5d so I'd rather get a Canon than a BMC if price was similar. maybe this will eventually push Canon to release something themselves that doesn't need a hack.
pulpfiction007
Veteran
Something to think about though...not exactly "affordable" in this case.
14.8 minutes of footage on a super expensive 64GB card. Over or around $1200 bucks for an hour of footage. Also, so far the clips just look strange..we'll see how they pan out, and see if heat is an issue.
14.8 minutes of footage on a super expensive 64GB card. Over or around $1200 bucks for an hour of footage. Also, so far the clips just look strange..we'll see how they pan out, and see if heat is an issue.
Welcome to the world of raw motion shooting. Lots of data. $1200/hr is still a lot less expensive than shooting and transferring the same amount of 16mm or 35mm film, and the cards are reusable.
Not practical for many, and so far may not really be practical except for specialty shots with the Canon. Say when you really need the extra DR.
snowblindfilm
Carbonite Member
It's not only the cost, but also reliability issue. I would not risk shooting with ML on critical shots. Documentaries is not the only area of critical shots. A lot of action and war movies, that include car crashes, explosions or dangerous stunt scenes are all part of it.
squig
Veteran
It's the screen on the door mixed with the judder plus the youtube compression and who knows what the guy did to it in post. I'm only just starting to get my head around AE and the code was only written a few hours ago so expect a few bugs.
squig
Veteran
I've been using ML for years and it's been a lot more stable than the RED 1 and it's not like the BMCC hasn't had issues. It's very early days yet, why is everyone trying so hard to find a reason for this not to work? I think it's because the camera manufacturers have been holding out making everyone believe they had to spend $20,000+ on hardware to shoot RAW but some Australians already proved that was bulls*%t. We're talking the first digital VistaVision camera here, that's bloody fantastic!
pulpfiction007
Veteran
I don't think anybody's trying hard for it not to work Squig, I hope it does...esp for you and other 5D owners. It would be awesome if ML could give people a raw full frame cinema camera for that price. I think we're all just waiting to see something looking like what one would expect of raw video...which hasn't been shown, just footage with strange issues/noise/artifacts that have improved dr. Also speculating that there might be issues with such a demanding data rate and questioning why the videos/silent stills that have been shown are still low on detail. Since most of us can't speak in code like at the magic lantern forums...all we can discuss is hypothetical things and what has been released. Same as any other camera footage. So far I've been more impressed with your Nikon stuff than anything I've seen from others on the ML raw 5D yet, can't wait til you get your card.
I will say those guys are geniuses and it's pretty amazing what they have done in the first place.
They haven't proved anything. If the camera starts to overheat, breaks down, the image issues are a part of what you're going to get from shooting in this way, ect. ect. ect., then maybe the camera manufacturers weren't being completely full of it. Frankly, all backyard shots in the world are not going to impress me until you demonstrate it can be used in an actual production setting with paying clients.
squig
Veteran
Maybe when I shoot a feature with it in 3 months you will be convinced, I'm not saying I will for sure yet, that would be idiotic given I haven't even tried continuous recording myself and there's bound to be some bugs, but if it's stable I'll do it.
I asked about overheating and I'm told so far it's not an issue.
I'll post up a 2 second 24p burst I shot with the MK2, it's just a snapshot of the kids and I didn't light it but you can see the detail (and the aliasing) The MK3 looks just as good just without the aliasing.
Ted Ramasola
Veteran
--deleted..
squig
Veteran
Guys there's no mac/pc app yet that can translate the RAW files, only a command line utility so far and there's no public binary available yet. You have to understand that the code hasn't even been tested yet and ML don't want to put it out there and potentially brick everybody's cameras. I don't even have the continuous recording build yet. Just be patient, we waited this long, a few more days/weeks isn't gonna hurt (much). You're gonna need a 1000x card to get the most out of it.
bitcrusher
Well-known member
Well they have proved that it's possible. I do agree that its still too early to say and there will be a bit of a insane workflow for months. Its only been a little over 24hrs since they cracked it and now they are cleaning up the code.
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pulpfiction007
Veteran
This is by far the best thing I've seen done with the silent burst mode for sure, I'm wondering if the new "build" for continuous frames is doing something different.
squig
Veteran
Hehe, I didn't post it sooner because the lighting was so bad, ugly halogen downlights. I totally blew the highlights on the lid when I shot it but got them back in Adobe RAW. After I shot this I knew I could never go back to H.264, the difference is night and day. That Pentax SMC had the highest MTF of any F/1.2 lens back in its day. It's not graded, just a bit of black crushing and white balancing in Adobe raw.
Wesley Byram
Well-known member
Ah, ok. I didn't notice that there was a screen door there. I only saw the glass. The fine mesh of the screen + minor aliasing + codec issues might explain it then.