A long time ago, many of us (including your’s truly) donated to Koo’s Kickstarter project for his basketball film “MANCHILD” — well, Koo decided to release the ‘prequel’ and we thought you would be interested to see it.

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AMATEUR: The Prequel to MANCHILD

AMATEUR is a short prequel demonstrating my vision for MANCHILD, the feature film we’re making next. I’ve never been so excited to release something, so I hope you like it! If you like the short and want to see the feature, please head over to our just-launched website for MANCHILD and share it. I’m releasing this directly online, and that’s how this short will spread — every tweet, facebook like, and share makes a BIG difference. Thank you!

This was the first time my name has ever been on a slate — that’s how DIY my film career has been. However, despite this being more of a “real” production than I’m used to, there was no shortage of work, and I’ve basically done nothing but work on this (and run this website) for the last few months. I believe as AMATEUR gets out there that it will all have been worth it, but please — if you appreciate the hard work and the resulting film, take a minute to tweet and/or facebook manchildfilm.com. I’ve talked in the past about the strategy of making a short, and now that you’ve seen it I hope the approach is much clearer as the story ties in directly to the feature. This short focuses on an encounter between a street agent and a high school basketball player — played by Lionel Pina and Curtiss Cook Jr., respectively — but as a result of what you see here, the recruiter goes on to pursue younger, more naïve players — including TJ, the 13 year-old protagonist of MANCHILD.

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The other thing I should note: we did not spend a dime of the Kickstarter funds on this short, but the short is very much inspired by the outpouring of support that happened during the Kickstarter campaign. So many of the Kickstarter backers came from this website that I’d like to thank you again here (in addition to the Kickstarter update) for your support.

I called in a LOT of favors, as did my producer and DP, to get this made on a tight budget. And that was one of the other rewarding aspects of this production: finding and working with talented people who read the feature script and wanted to be involved.

(cover photo credit: snap from the video)

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You just finished reading The Prequel to MANCHILD is Here: Watch AMATEUR! Consider leaving a comment!

Thanks for reading planet5D! Have you seen planetMitch being goofy in the daily planet5D episodes?

By site editor Dan Chung: Genesis from James Miller on Vimeo. Okay – so I am officially impressed. A week after the Magic Lantern team unveiled their Canon DSLR RAW hack to the world there have already been substantial improvements to its reliability and usability. There is no doubt that the image quality is substantially [...]

Ethics statement: I have no affiliation or financial arrangement with either Metabones or Conorus. I was loaned these adaptors to test in fact it cost me a few hundred pounds as I had to buy two lenses to actually test them as I own no Leica R or Contax C/Y glass (tip jar donations on the Vimeo page are always appreciated! )

I have site sponsors/ affiliates and they are detailed in my main ethics statement which is linked at the top of the menu. These correspond with the banners within this post which are there to help keep this one man band site running which is quite a task so any click through a are enormously appreciated.  I am trying to have a more attractive Zen outlook on life. So I am selling a load of my gear. Nowhere near most of it. Just a tiny fraction, but it’s time to do it and de-clutter my life, and that means regaining my house and avoiding being on hoarders.

There is nothing wrong with gear. Far from it. It’s all superb. I just never use a lot of it. So why take up space in a cupboard when I can give it to a good home and at same time help in my quest for a better life/ work balance? (You can read my incredibly important post about that )

 If there are any bits of gear you need…whether it’s cameras, lenses, monitors (tripods coming soon) and so much more to come, do check out my ebay store. Everything is an auction with no reserve. There are going to be some awesome bargains there!

Check it out here: http://stores.ebay.co.uk/PBs-Blooming-Bargains

One of my biggest issues with the Blackmagic Cinema camera is it’s bloody awkward “in-between” sensor size. It’s not micro four thirds…it’s not super 16…just somewhere in between. This is a pain as no glass is specifically made for this size. Super 16 glass vignettes, micro four thirds glass (both only possible on the MFT version) you waste some of it and with the lack of active MFT mount on this version of the camera you MFT glass choice is damn limited anyway. The EF version gives you little options when it comes to glass choice. With a fixed EF mount you are limited to Canon glass, Nikon glass, Contax M43 and a few othes…basically anything that has a flange distance the same or greater than the EF flange distance. 

That is why I mostly prefer the MFT version. We lose that flange issue but also also lose the ability to use Canon glass or any powered glass due to the passive mount. We can still use Canon glass but we need a self powered adopter like the (non Is using) redrockmicro one which is quite old now and the expensive but IS supporting MTF services ones. My two reviews of the cameras are the bottom of this post.

Metabones, who in association with Conorus have brought us an excellent EF lens adaptor for Sony E-mount cameras like the FS100, 700 and many stills cameras under the NEX umbrella. It’s powered by the camera, supports IS and lets us change th iris. Then they brought us the “Speed Booster” for these cameras. An astonishing piece of kit that I cover fully here….in essence it focuses the light from the lens projecting a larger image that is almost a stop brighter and somewhat sharper. Yes voodoo or almost Blackmagic (come on…I had to!)

I bought the Speedbooster for my FS700 after testing the preproduction one. Like many I have eagerly been awaiting the one for the MFT mount. They are apparently still working on it but in the meantime they have sent me the CONTAX C/Y M43 and Leica R version to test out. Unfortunately as the flange distance on both of these is greater than a Canon and Nikon lens there is no adaptor to use my existing glass on these pre-production ones. I don’t own any Contax M43 or Leica R mount glass (I do have a few Leica M ones but they are even worse!) so I bought a lens for each on eBay purely to test these mounts out. 

I have only had a brief chance to test out the adaptor as I am actually on holiday right now (I really shouldn’t be writing this to be honest so I had better make it quick!) as its almost yet another birthday (Monday) and a step closer to a half a century.   Grim! So do take this on board when checking out the video. I need to do way more tests in different lighting situations, F-stops and lenses. For now all I have done is use the second hand Carl Zeiss Planar C/Y F1.7 T lens at F1.7. Not the sharpest aperture by far but as I said this was done quickly before we left for the airport and I didn’t want to bring it all with me on holiday! The lens is fine, just not exactly super sharp wide open or sharp edge to edge so do remember that and do check back in a week and a half once I have updated this with a couple more examples.

So does it work? Absolutely. You can see clearly from the image below. Is the same shot. Same camera, same light, same position just one is a passive flange distance adaptor the other the speedbooster. The full image is the speedbooster one which is clearly brighter, guesstimating it as about a stop brighter. I shrank non speedbooster shot to 71% to perfectly line up with the speed booster shot. That means, unscientifically the adaptor is giving almost a 1/3rd increase in the field of view. I couldn’t work out the exact fraction so to be more precise it’s 29%  

We are getting damn close to a field of view of a super 35mm sensor with this increase! Is the aesthetic similar? Possibly. I didn’t do anywhere near enough comparisons to see this but as the NEX speed booster gives us a very similar aesthetic on a S35 sensor of a full frame camera so it’s entirely possible. I did a simple comparison with my 1dc in super 35mm HD mode to show how damn close it is. The shot isn’t exactly matched position wise as the 1DC is taller than the Blackmagic. Remember this is a simple field of view test only. No colour matching was done and any S35mm camera could have been used! This was just easiest as was ready to go with me to Crete!

Also if we out this adaptor on a camera with an MFT sensor like a GH3 or GH2 or AF100 (I am selling both a GH2 and AF100 in my above mentioned eBay sale!) then we are getting a larger image than Super 35mm! Crazy stuff.

Now remember this adaptor will not work on a canon mount Blackmagic camera, whether the cinema camera or 4k Production camera. The flange distance precludes this. If you don’t get it then please read up on flange distances and understand all lenses are designed to focus at a specific distance from a sensor. An EF mount naturally means Canon glass hits the sensor exactly the right point giving us perfect back focus and infinity. Nikon glass can go on an EF mount as it is designed to the sensor at a slightest bigger distance than a Canon lens, that’s why the adaptor for Nikon to EF is a simple bit of metal that does two things, change the mechanical fitting of glass and put the lens the right distance to the sensor. You can’t get an adaptor to make a lens sit closer to the sensor than the camera mount on it. The fitted mount gets in the way!

Anyway enough technobabble. Check out simple test. Remember what i said about things to take into consideration. Enjoy one of the greatest English composers ever (alongside Gustavison Holst) Edward Elgar and his beautiful Cello Concerto. Appropriate music? I don’t care. It’s a lovely piece of music that far too many people will never have heard and yes I cut out just as it gets to best bit!

 

Metabones Micro Four Thirds Speed Booster test with Blackmagic camera from Philip Bloom Reviews & Tutorials on Vimeo.

 

Ethics statement: I have no affiliation or financial arrangement with either Metabones or Conorus. I was loaned these adaptors to test in fact it cost me a few hundred pounds as I had to buy two lenses to actually test them as I own no Leica R or Contax C/Y glass (tip jar donations on the Vimeo page are always appreciated! )

I have site sponsors/ affiliates and they are detailed in my main ethics statement which is linked at the top of the menu. These correspond with the banners within this post which are there to help keep this one man band site running which is quite a task so any click through a are enormously appreciated.  I am trying to have a more attractive Zen outlook on life. So I am selling a load of my gear. Nowhere near most of it. Just a tiny fraction, but it’s time to do it and de-clutter my life, and that means regaining my house and avoiding being on hoarders.

There is nothing wrong with gear. Far from it. It’s all superb. I just never use a lot of it. So why take up space in a cupboard when I can give it to a good home and at same time help in my quest for a better life/ work balance? (You can read my incredibly important post about that )

 If there are any bits of gear you need…whether it’s cameras, lenses, monitors (tripods coming soon) and so much more to come, do check out my ebay store. Everything is an auction with no reserve. There are going to be some awesome bargains there!

Check it out here: http://stores.ebay.co.uk/PBs-Blooming-Bargains

One of my biggest issues with the Blackmagic Cinema camera is it’s bloody awkward “in-between” sensor size. It’s not micro four thirds…it’s not super 16…just somewhere in between. This is a pain as no glass is specifically made for this size. Super 16 glass vignettes, micro four thirds glass (both only possible on the MFT version) you waste some of it and with the lack of active MFT mount on this version of the camera you MFT glass choice is damn limited anyway. The EF version gives you little options when it comes to glass choice. With a fixed EF mount you are limited to Canon glass, Nikon glass, Contax M43 and a few othes…basically anything that has a flange distance the same or greater than the EF flange distance.

That is why I mostly prefer the MFT version. We lose that flange issue but also also lose the ability to use Canon glass or any powered glass due to the passive mount. We can still use Canon glass but we need a self powered adopter like the (non Is using) redrockmicro one which is quite old now and the expensive but IS supporting MTF services ones. My two reviews of the cameras are the bottom of this post.

Metabones, who in association with Conorus have brought us an excellent EF lens adaptor for Sony E-mount cameras like the FS100, 700 and many stills cameras under the NEX umbrella. It’s powered by the camera, supports IS and lets us change th iris. Then they brought us the “Speed Booster” for these cameras. An astonishing piece of kit that I cover fully here….in essence it focuses the light from the lens projecting a larger image that is almost a stop brighter and somewhat sharper. Yes voodoo or almost Blackmagic (come on…I had to!)

I bought the Speedbooster for my FS700 after testing the preproduction one. Like many I have eagerly been awaiting the one for the MFT mount. They are apparently still working on it but in the meantime they have sent me the CONTAX C/Y M43 and Leica R version to test out. Unfortunately as the flange distance on both of these is greater than a Canon and Nikon lens there is no adaptor to use my existing glass on these pre-production ones. I don’t own any Contax M43 or Leica R mount glass (I do have a few Leica M ones but they are even worse!) so I bought a lens for each on eBay purely to test these mounts out.

 

 

I have only had a brief chance to test out the adaptor as I am actually on holiday right now (I really shouldn’t be writing this to be honest so I had better make it quick!) as its almost yet another birthday (Monday) and a step closer to a half a century.   Grim! So do take this on board when checking out the video. I need to do way more tests in different lighting situations, F-stops and lenses. For now all I have done is use the second hand Carl Zeiss Planar C/Y F1.7 T lens at F1.7. Not the sharpest aperture by far but as I said this was done quickly before we left for the airport and I didn’t want to bring it all with me on holiday! The lens is fine, just not exactly super sharp wide open or sharp edge to edge so do remember that and do check back in a week and a half once I have updated this with a couple more examples.

So does it work? Absolutely. You can see clearly from the image below. Is the same shot. Same camera, same light, same position just one is a passive flange distance adaptor the other the speedbooster. The full image is the speedbooster one which is clearly brighter, guesstimating it as about a stop brighter. I shrank non speedbooster shot to 71% to perfectly line up with the speed booster shot. That means, unscientifically the adaptor is giving almost a 1/3rd increase in the field of view. I couldn’t work out the exact fraction so to be more precise it’s 29%

We are getting damn close to a field of view of a super 35mm sensor with this increase! Is the aesthetic similar? Possibly. I didn’t do anywhere near enough comparisons to see this but as the NEX speed booster gives us a very similar aesthetic on a S35 sensor of a full frame camera so it’s entirely possible. I did a simple comparison with my 1dc in super 35mm HD mode to show how damn close it is. The shot isn’t exactly matched position wise as the 1DC is taller than the Blackmagic. Remember this is a simple field of view test only. No colour matching was done and any S35mm camera could have been used! This was just easiest as was ready to go with me to Crete!

Also if we out this adaptor on a camera with an MFT sensor like a GH3 or GH2 or AF100 (I am selling both a GH2 and AF100 in my above mentioned eBay sale!) then we are getting a larger image than Super 35mm! Crazy stuff.

Now remember this adaptor will not work on a canon mount Blackmagic camera, whether the cinema camera or 4k Production camera. The flange distance precludes this. If you don’t get it then please read up on flange distances and understand all lenses are designed to focus at a specific distance from a sensor. An EF mount naturally means Canon glass hits the sensor exactly the right point giving us perfect back focus and infinity. Nikon glass can go on an EF mount as it is designed to the sensor at a slightest bigger distance than a Canon lens, that’s why the adaptor for Nikon to EF is a simple bit of metal that does two things, change the mechanical fitting of glass and put the lens the right distance to the sensor. You can’t get an adaptor to make a lens sit closer to the sensor than the camera mount on it. The fitted mount gets in the way!

Anyway enough technobabble. Check out simple test. Remember what i said about things to take into consideration. Enjoy one of the greatest English composers ever (alongside Gustavison Holst) Edward Elgar and his beautiful Cello Concerto. Appropriate music? I don’t care. It’s a lovely piece of music that far too many people will never have heard and yes I cut out just as it gets to best bit!

Metabones Micro Four Thirds Speed Booster test with Blackmagic camera from Philip Bloom Reviews & Tutorials on Vimeo.

Review of the Blackmagic Cinema Camera Micro Four Thirds from Philip Bloom Reviews & Tutorials on Vimeo.

Review of Blackmagic Cinema Camera from Philip Bloom Reviews & Tutorials on Vimeo.

 

You certainly remember 1999′s iconic feature film “The Matrix” which has certainly had a profound impact on a lot of science fiction films in the decade that followed and on me personally. Apart from its content it established a number of styles that were unknown in filmmaking before, among them what became known as the “Bullet Time effect”.

Bullet Time describes something that is seemingly frozen in time, like a still frame, but the camera is dollying/flying around it at the same time. Basically an impossible shot to shoot with one camera, that’s why they used MANY cameras and triggered them at the same time. A computer interpolated the in-between-frames. In 1999, that was a big deal, in 2013, you can do it yourself with countless of VFX tutorials for it online, here’s one.

The downside: you STILL need many cameras. That’s where it becomes tricky for most people.

Not so for NASA engineer Mark Rober - he built a DIY bullet time rig with ONE GoPro camera. Of course it’s not as perfect as the big Hollywood solutions, nor as versatile, but it is indeed big fun: he uses a ceiling fan motor to rotate the camera extremely fast around a static platform, with a neutrally lit background. The effect: it looks like the object (and whatever you do with it) is spinning super fast. Add the GoPro Hero 3‘s slow motion ability of up to 120fps in 720p, and I am sure you can get even more impressive results.

Check it out:

Now, why has nobody built this with a DSLR yet??

 

via Mike John / LOOP & laughingsquid.com

Magic Lantern RAW HDSLR video has really rocked a lot of people this week and we wanted to do a little bit of a summary – and what better way to do that than to collect all of the videos we could find in one spot?

This collection includes many videos I’ve not seen before (and you probably haven’t either) as well as footage from the Canon EOS 5D Mark II, the Canon EOS 5D Mark III, the Canon EOS 6D and the Canon Rebel T3i – which I didn’t even know people were testing with!

Other posts on the new RAW Video feature of Magic Lantern:

Recent coverage

• Magic Lantern Canon EOS 5D Mark III RAW video vs Blackmagic Cinema Camera!
• First Magic Lantern RAW video short shot on Canon EOS 5D Mark III released
• Updates on the RAW video progress from Magic Lantern for the Canon EOS 5D Mark III
• RAW 24fps DNG video hits the Canon EOS 5D Mark III via Magic Lantern!
• Magic Lantern RAW video for the Canon EOS 5D Mark III comes to the mac & OSX
• Magic Lantern Raw Video Test – H.264 vs. Hacked GH2 vs. 5D3 Raw Video

Note: A couple of the videos aren’t set to allow planet5D to show them, but we thought you’d want to go look at them, so we’ve left them in the list — just click the ‘vimeo’ icon on the video and you’ll go there to see it.

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Canon EOS 5D Mark III

Raw Video on the Canon 5D Mark III (Magic Lantern) – “Smith Rock”

Download raw DNG files on our site: neumannfilms.net/ Download Magic Lantern here: magiclantern.fm Filmed by Neumann Films and Zeke Kamm from Aviator Camera Gear. Check out his Rocket Slider

Canon 5D Mark III with Lexar 1000x CF card Canon 70-200mm f 2.8 L II Nikkor Ai-s 28mm f 2.8 Nikkor Ai-s 50mm f 1.2 Tokina 11-16 f 2.8 Music by Luke Neumann from “The Beacon” Check out our website or like and follow on Facebook and Twitter: neumannfilms.net/ facebook.com/NeumannFilms twitter.com/Neumannfilms

Canon 5D mark III RAW vs. Blackmagic Cinema Camera RAW

See the related article on cinema5D: cinema5d.com/news/?p=17976 This is how we hacked the 5D: c5d.at/1o4 Today we already published a test video of the impressive Canon 5D mark III RAW module enabled by the Magic Lantern hack and a guide to get it working yourself. Here’s a side by side comparison of the 5D mark III with 14bit RAW 1080p together with the Blackmagic Cinema Camera with 2.5K RAW so you can see how the two cameras differ. What we did: We went out with a Canon 5D mark III that had the Magic Lantern RAW module hack on it and shot with the Blackmagic Cinema Camera in RAW mode alongside. We used the Canon 24-105mm lens on the 5D while we used the Tokina 16-50mm on the Blackmagic. Native ISO on the Blackmagic is 800 so we used that. We tried to get similar shots. It’s not so easy, in fact it was easier to get the shots on the 5D as the Blackmagic is just not a very easy to use camera in many regards. Wrongly interpreted zebra indicators had me fooled several times and the internal battery almost died. Post processing After a lengthy process of getting the RAW files converted into something usable we graded both to match more or less. We didn’t do a very sophisticated grade, working with RAW files like that is time consuming. What became clear is that both cameras provide very similarly capable RAW files. You can adjust everything and everything is possible. You can get similar details out of the sky and set all you like in post. Color temperature, tint, dynamic range, no problem. The 5D is just as strong as the BMCC, providing maybe a bit more dynamic range. Where the cameras differ in terms of RAW is one big thing: Noise. The 5D mark III can shoot indoors at ISO 1600 and there’s almost no noise while the Blackmagic starts to get ugly at this point. The noise from the BMCC is also apparent when raising the blacks in a shot. Moire and aliasing is another big big issue on Blackmagic and there is very litte of that on the 5D RAW. The cleanness of the shots of the 5D RAW in general is extremely pleasing and jumps at you when you sit in front of the RAW images. Check some of the dng’s yourself in our other post. Conclusion The 5D RAW has the clear advantage of a large sensor and never before seen ISO performance on a RAW camera. It’s intriguing and soon a stable version will probably be ready for real usage. On the downside the 5D RAW has a little less detail than the Blackmagic or an Alexa, but a lot more detail than the 5D had without the RAW hack. We’ll keep you posted on the progress of the Magic Lantern solution. If you buy a Canon 5D mark III, please get it HERE: goo.gl/CvPsN to reward our efforts and PLEASE ALSO MAKE SURE YOU DONATE TO MAGIC LANTERN FOR MAKING THIS AWESOME DEVELOPMENT POSSIBLE: goo.gl/k9VdI Music provided by The Music Bed: themusicbed.com/ Blake Ewing – Revolution

5DM3 RAW

My first test with the Magic Lantern 5D Mark III Raw Hack. Shot with the Canon 24-105mm F4L

The dusk to raw [5D3 raw]

This is a short video shot with Canons 5D mk3 and 24-70/2.8 lens using Magic Laterns raw recording. Format was set to 1920×720 25fps to enbable the use of my Sandisk 60MB/s card. Music: Jefferson Airplane – White Rabbit A raw workflow takes more time than let’s say prores workflow. In the DNG files from the 5D3 there is a very visible noise pattern and you have to make the decision if you want it highly resolved or more free of noise. I used Lightroom to grade and exportet a JPEG sequence and then edited this video in Premier Pro.

Magic lantern 1920 x 1080 2.35:1 aspect ratio raw test Canon 5D Mark III edit 2

Magic lantern 1920 x 1080 2.35:1 aspect ratio raw test. 24 fps. Canon 5D Mark III. Lexar CF 1000x. Video of my Chihuahua looking outside.

Fixed clarity and rechecked settings.

Magic Lantern for 5D Mark III

5d mark 3 test RAW DNG video with magic lantern firmware

Shaky test of 5d mark 3 RAW DNG recording on Lexar x1000 32G card

Shot in the bank. Developed in Lightroom. Pushed shadows and recovered highlights.

Sigma 35/1.4@1.4

Amazing details and dynamic range compared to crappy compressed h.264 format.

Another sample with fine details in background: www.youtube.com/watch?v=5DxCzTurZnU

—- can’t show!

5dmk3 Raw test2

Canon EOS 5D Mark III RAW video, shot mostly with canon 24-70 f/2.8, and tokina 11-16 shot at 1920×890 (i think…?)

5D Mark III – RAW Video Test in 720p

Nearly every DSLR Filmmaker might have read the news by now – thanks to the great effort of the ML Team we’re now able to shoot RAW video in different resolutions and framerates (25p is also possible now). Due to the fact that my CF Card is to slow to shoot full hd raw (i have to get one of these 1000x!) i played around with on of the newest compiles and took some 720p shots. This 10 second clip shows nothing special but the great quality of the footage – even at 720p. I decided to add the DNGs to PS and exported them as a TIFF sequence to place this one into After Effects. Thanks to everyone in the ML team for making this possible – just one word: AWESOME

EOS5DMarkIII Magiclantern RAW Test

Hello! This is just a short (and shaky) test of the new RAW feature Magiclantern offers: Used gear: Magiclantern in combination with EOS 5D MarkIII + EF 24-70L, shot in 1440×960, no colorgrading, no sharpening, just adjusted the whitebalance. Used CF: Sandisk Extreme 60mb/s UDMA Card 16GB. Resolutions above 1440x960px will generate frameskipping on this type of card Sequence is 1280x720p only h264 because of some adobe premiere problems on my computer…. More will follow.

Canon 5D Mark III RAW Test [Magic Lantern ML v2.3.NEXT.2013 - May 14] – Eastern Bluebird

Tired of that old, mushy look to your 5D Mark III videos? Here’s a test using the Canon 5D Mark III and Magic Lantern’s RAW [beta, bleeding edge] firmware. This video of a pair of Eastern Bluebirds was taken using the Canon 600mm f/4 IS II lens with a 1.4x TC. A bit of sharpening and color correction was applied to this video. The second half of the video is using ML’s 5x zoom feature. I have yet to master this… Sorry about chopping off their bodies…this is only a test to determine resolution in 5x mode.

5D MK III – Magic Lantern RAW Test – Low Light

Testing the new Magic Lantern RAW Module. Shot this in Barbados with 5D MK III – 50mm Lens

Canon 5D Mark III 14 bit RAW Lightroom 5 beta test

Lightroom to AE 32bit – Prores 422 (trillion colors) in 24fps to Vimeo RAW footage provided by Neumann Films for test purposes

Canon 5D Mark III // ML-RAW Hack // Faux HDR Test

Slight red tint, too lazy to re-render agiain. Other than that, quite fascinating. Footage provided by: neumannfilms.net (10-bit 4:2:2 DNxHD 185 MOV-File in ‘Download’)

5DMK3 720p RAW (Magic Lantern) vs. 1080p ALL-i Tests

I made a quick test of 5DMK3 RAW video capabilities from the new alpha version of Magic Lantern firmware, putting the camera sensor through different extremes, like shooting against the overblown window with a tungsten light on inside the room. I don’t have a 1000x CF Card so I was able to shoot 720p only (with my Transcend 400x 32GB CF Card), it has a crop (x1.5 I presume) this way, but still demonstrative. Info on how to test this yourself can be found in this post cinema5d.com/news/?p=17898 Other great examples of shooting 5DMK3 RAW can be found here vimeo.com/66296381 and here vimeo.com/66153520 Overall great sharpness (even in 720p), great dynamic range (compared to ALL-i) and the same low light capabilities. RAW DNG still shots from all four tests for you to play with mediafire.com/?7mxcgrux1dmgryg Be careful with your camera.

Timple – 5Dmk3 RAW video test -

quick test shot with a cheap plastic tourist tripod. It’s so widescreen because this was shot on 1920x720px RAW – the fastest a Sandisk 60MB/sec CF card would let me shoot without dropping frames. Processed with Adobe camera raw in AE

DOWNLOAD Original file

Canon 5D MK III + Magic Lantern Raw 1920 x 720 very short test

EDIT: NOW THE VIDEO IS WITHOUT SHARPENING. ONLY GRADED WITH CAMERA RAW IN AE. Great news!!! I filmed this very short test on my 5D3 + ML Raw. I don’t like ALL-I images from this camera. Uncompressed HDMI output is better, but far from what I’d like to see. ML is terrific, it turns the MK III in a very new fantastic camera. A new game changer? I hope so. Thanks ML guys. Please support Magic Lantern magiclantern.fm/ Camera: Canon EOS 5D Mark III Lenses: Canon CN-E 24 mm T/1.5 and 85 mm T/1.3 VF: Alphatron Matte Box and variable ND: Letus Grading: Camera RAW in AE

Canon 5D Mark III ML RAW

RAW Canon 5DMKIII (MAGIC LANTERN HACK)

RAW VIdeo Magic lantern hack (14bit Uncompressed)

The data comes out as 14bit uncompressed • Raw data can be converted in various ways in camera or on your PC or Mac to DNG or ProRes 4444 • A new raw video menu lets users select a resolutions from 1920 x 1080 to 1280 x 1280 at full frame • 1:1 Crop mode resolutions from 3592 x 1320 to 1280 x 720. (reports of dropped frames at the highest res) • Custom resolutions can be created as well

Canon 5D Mark III Raw vs H.264 – Low Light

Important please read - My aim was to match the raw as closely in post to the H.264. The raw could have looked even better had I graded it more artistically (see DNGs on the blog) but the purpose of this test was simply to see how each perform in low light. In the ISO 800 shot I could get approx. ISO 3200 exposure out of the shadows in the raw clip, which is why they are slightly noisier than in the ISO 800 H.264 shot. Huge dynamic range in raw. The areas to watch out for are - - Highlight roll off and latitude around lamp and candle - Shadows and noise - Crushed blacks As you can see Magic Lantern’s raw is not just cleaner than the already fantastic performing 5D Mark III was in low light, it is several fathoms above in terms of tonality, colour, highlight roll off, latitude and shadow detail. There’s massively more data in the image. This is a performance worth raving about. The ISO 6400 is easily as clean as the Canon C300, the current $15,000 low light king and ISO 12,800 exposures are perfectly doable! Yet with the power of raw you have full control over noise reduction in post, dynamic range, white balance and highlight / shadow retention unlike on the C300. Music by – Purcell – Funeral Sentences For The Death of Queen Mary – The Queen’s Funeral March (procession)

Canon 5d mark III Raw vs H.264 (comparison)

CANON RAW TEST – 5/13/13

The announcement about RAW recording on the 5dMK3 intrigued me so much that I finally picked one up. I’ve been on the fence about the camera as I’m NOT a fan of the DSLR video look and frankly it’s a tool I usually avoid. However the idea of such improved image quality made it interesting once again. After today’s experience the RAW functionality will be useful for specific shots while the remainder of a project could be captured using the standard video function. Here’s the video with the side by side comparison’s that are imho more than convincing, even with limitations this makes DSLR film making and footage gathering more interesting than ever. IMAGES PROCESSED on a PC using raw2dng.exe then IMPORTED on A MAC to CS6 After Effects Edited in Premiere on a MAC – it’s time consuming but the results are beautiful CAMERA SETTINGS: Technicolor CineStyle was enabled for all shooting, everything else was default. POST: the h.264′s are untouched, the RAW files were processed minimally to ensure the highlights/shadows weren’t clipping for maximum dynamic range

5D Mark III 2.5k raw (2560 x 720)

*For best results please don’t stream it, download the original ProRes file.* Experimental video. One sequence has some tearing. This was the maximum resolution I was able to get reliably with a KomputerBay 1000x CF card on the 5D Mark III with the still early stages raw recording dev code from Magic Lantern. It is a 1:1 crop of the sensor – a much expanded view of what the LCD sees during 5x mag focus assist.

14-bit RAW on Canon 5D Mark III vs. factory default – Night Image Quality & Dynamic Range

This is a quick night and dynamic range test of the new compiled Magic Lantern for the 5D Mk III vs factory default. Camera: Canon 5D Mark III with SanDisk Extreme Pro 90 MB/s CF card Lens: Sigma 24mm f1.8 Color profile: Standard Shutter: 1/47 ISO: 1,250 Note: This is still an alpha software. Hiccups and errors are expected. Try with caution. Magic Lantern: magiclantern.fm Music: My Advice, Pt. 1 – Daniel Pemberton (From the soundtrack of Little Big Planet – The Game)

14-bit RAW on Canon 5D Mark III vs. factory default vs. GH3 – Image Detail test

This is a quick test of the new compiled ML for the 5D Mk III vs factory default and the GH3. Notice that the red lines on each window of the construction building are actually red fences that only appear in the ML setup. I’m amazed that Magic Lantern actually increased the sharpness and details of the video. Based on my observation the ML comes first followed by GH3 then default Mk III setting at last place.

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Canon EOS 5D Mark II

5d mkII RAW video (early stage)

1880×540 on 600x Transcend 16GB CF card

Magic Lantern RAW In 5D Mark II Test

ISO 2500 and 3200. Strong noise reduction and basic grading applied in Camera Raw.

Canon 5D Mark II RAW video tests (early days)

Magic Lantern RAW test video from my Canon 5D Mark II, 1880×540 @ 25 fps, output to DNG sequence, graded in Camera RAW. No further processing. A photographers wet dream. At this point, I have many corrupted files and such to deal with, but progress in the ML team is lightning fast, and I’ll be experimenting further.

Canon 5D MARK II RAW DNG VIDEO TEST | DNG vs. H264

UPDATE: CONTINUOUS RECORDING IS AVAILABLE, I’ll upload videos soon. For information about my settings and workflow please see my post here: walkhumblyfilms.com/?p=1246 This is an amazing breakthrough. Here’s a quick test of the NEW Magic Lantern raw DNG recording in silent shooting mode. Please contact me if you would like more information or if you have suggestions on how to make this test a better one. HUGE THANKS TO THE MAGIC LANTERN DEV TEAM, a1ex, 1%, g3gg0 and the other testers out there. For more info please go to the thread here: magiclantern.fm/forum/index.php?topic=5247.0 NOTE: THIS IS AN ALPHA BUILD (NOT STABLE BUILD), TRY AT YOUR OWN RISK. Please continue supporting the developers at Magic Lantern. magiclantern.fm/

5D mkII raw / dng color correction test

Shot with a 5DmkII and magic lantern. There is some dropped frame because of the slow card (UDMA 6). This is just a color correction test. The first sequences are DNG with small adjustment (camera RAW settings in AFX), and I’ve made some fast color correction after to test how the footage react with basic film look, 3 way color correction, etc. The noise is very acceptable, but you have to add lots of noise correction in the camera RAW window. Shot @ 1880×720-25p and 1880×540, upscaled to 1920 in AFX.

A Sunset in Eugene – View from Golden Gardens City Park

I shot this lovely sunset in Eugene to test the raw video capability the 5d mark III now has thanks the to magic lantern team. Be sure to download the original to see a better representation of the quality RAW affords. Song: “Vivaldi – Credo: Et Carnatus Est” by the Advent Chamber Orchestra from the FMA goo.gl/S4aZY Shot on a 5d Mark III 5-16-13 Magic Lantern Nightly Build Shot at 24fps 1920 x 840 on a Lexar 400x 64GB CF 24mm 1.4L II & 70-200mm 2.8L IS II/2x Extender III ISO: 100-3200 Workflow: Used raw2dng Imported and color graded in lightroom. In lightroom, I used a fair amount of color noise reduction since I was using the full dynamic range of the sensor but no luminance noise reduction. Exported to premiere CS6 via 100% jpgs. Premiere was only used to cut the video.

ML Canon 5DmkII RAW Footage Vs Stock H264 – Canon 5D RAW FunTime

A quick test to compare the Magic Lantern 1880×840 24fps RAW footage on the Canon 5DmkII to it’s stock h.264 1080p 24fps footage. Canon EOS 5D Mark II 55mm f1.2 Nikkor 640 ISO Since it was a quick test I didn’t really set up a tripod or try to keep the camera steady… My Bad. Workflow: -Imported RAW files into Raw2DNG -Selected all those warm gooey DNG files and opened it up int Photoshop… Had Funtime color correcting it. Then saved selected all and synchronized so they all had the same color grade. And saved them as a tiff. I did this all in Photoshop. -Imported them as an image sequence in Premiere. … That’s it. Results: 1880×840 RAW, 720p RAW, and even 944×524 RAW looked better than h.264 1080p Stock Canon footage. Note* I had a 600x Compact Flash Card so the footage was choppy. Magic Lantern recommends 1000x CF Cards to shoot. Thank You. Magic Lantern. THANK YOU. (This is non-stock software so there is no guarantee that Magic Lantern is 100% safe. Use at your own risk and discretion)

Magic Lantern RAW test – 5D Mark II

Tested from 16/5/2013 build, with Canon 50/1.2L shot with standard picture style, and temperature/tint correction only. @AnswerMark, Kwun Tong, Hong Kong

Canon EOS 5D Mark II – RAW Video

Secondo test della nuova e strabiliante funzionalità di Magic Lantern! DNG elaborati in Lightroom, esportati in JPG e montati in After Effects! Youtube youtu.be/_tycEjH4Jwg Ringraziamenti: magiclantern.fm

RAW video on 5DMK2!

First test with raw video on 5dmk2 (with 14 Mai nightly Magic Lantern) Shot in 1880×720@25p 14bit with 35mm Zeiss ZF f5.6 and VariND and 90mbit/sec SanDisk Extreme Pro. Converted with RAW2DNG and then with AFX to DPX Full-range Log, graded with resolve and exported to ProRes 422HQ. Please download the file to really judge the image quality (vimeo compression sucks).

Canon 5D mkII RAW video Magic Lantern

Shot handheld so please excuse shakiness. Used a 50mm f/1.8. Entire video is shot at 1.8 and 100 ISO. Shot at 1880×720 cause i was getting frame drops when trying 840 vertical. Used a 32GB SanDisk Extreme Pro CF card. Used Raw2DNG to create DNGs, imported DNG sequences in After Effects, created movie proxies and exported as a lossless Quicktime. Imported into Premiere Pro for editing, exported with H.264 using media encoder No color correcting at all except adjusting white balance on a few shots when importing into After Effects. Huge props to Magic Lantern.

Test RAW recording 5D Mark II ML

A gazillion dropped frames, i need a faster card ASAP. Maybe is my sensor, but over 320 ISO i start to notice way too much noise, and DNG’s are not so pushable as you may think.

5D mkII + Magic Lantern Raw DNG Alpha version test video

Using a slow cf card at only 133X to record raw dng video from the Canon 5D mkII, I was able to test the workflow involved, the new grading capability and check the resolution of the raw files. I was able to capture longer files mostly at 1280×720 and 1880×720, also short clip at 1880×1080 the Highest resolution the Magic Lantern can extract from the sensor of the 5DmkII. Still Alpha stage, this wonderful firmware hack is still evolving, as of this posting, as the Magic Lantern team continues to tweak the code they have custom compiled. A faster 1000x CF card is required for longer sustained recording and higher resolutions. This video shows a lot of shiny items to test for highlight recovery, a few detailed stuff and resolution charts at the end testing different resolution and also showing the importance of the mosaic VAF filter on the 5D mkII even when shooting raw.

Canon 5D2 RAW Test Footage

This footage was shot with the Canon 5D Mark II (NOT Mark III), running the Magic Lantern RAW patch. CF card was a SanDisk Extreme 16 GB, recording at 60 MB/s. Given all the dropped frames – especially obvious in the moving shots – I will do another test with a faster card, and slower camera motion.

5D mark ii Magic Lantern RAW test (low light, high ISO)

Canon 5D mark II with Magic Lantern nighty from 14. may and raw video module. Focal 50mm Shutter: 1/48th Iris: F1.8 ISO: 1600 H.264 footage shoot with Cinestyle picture format. RAW Workflow: extracted DNG sequence from the RAW file using ML’s RAW2DNG.exe. Opened all dng’s using in Camera RAW using Adobe Bridge. Graded image as flat as posible using contrast and exposure. Changed white balance slightly. Batch exported as 14bit PSD files. Imported PSD’s in Premiere Pro CS 5.5 as image sequence. -I’m new at working with RAW, so any tips or improvements to my workflow is welcome. It usually starts to drop frames somewhere between 150 to 250 and only gets worse from there. (You can see it starts to drop frames at the end of this footage.) Still impressed by what they’ve been able to do with this so far. I’m hoping they’ll have a usable build in the somewhat near future. I’d love to be able to use this for a project Will this damage your sensor? Short answer: NO. nofilmschool.com/2013/05/magic-lantern-canon-dslr-raw-video-sensor/?utm_campaign=twitter&utm_medium=twitter&utm_source=twitter More info at Magic Lanterns forum: magiclantern.fm/forum/

Magic Lantern RAW In 5D Mark II

All was show in RAW, 1080×512, ISO 1250 and 2500. 5DM2 is not as good with noise as 5DM3. I applied noise reduction (25) in Camera RAW in most cases. I used a 400X Sandisk CF card 8Gb (60 Mb/sec). I was only available to record 1080×540 and sometimes 1080×720. The image is very nice and gradable. I tried to expose to the right at all times. Lens used: Samyang 35mm f/1.4 (Magic Lantern’s RAW recorder crops the image though if you don’t shoot 1080p) I just ordered a Komputerbay 1000x 128Gb card!!!! I also used a Kamerar Cinema Skater Dolly System. What the guys at ML did is just amazing!! The workflow is painful, as any other RAW workflow!!!!

Canon 5D MARK II RAW DNG VIDEO TEST | 720p to 1080P

This is to test how the 720p raw DNGs scale up to 1080p and a comparison with the internal 1080p H264. 720p was scaled up to 150% in Premiere Pro. Please visit my blog post for more info about settings: walkhumblyfilms.com/?p=1257

5D Mark II Raw DNG | CONTINUOUS RECORDING at 720P | Dynamic Range

This is a quick test of the continuous DNG recording in the 5D Mark II. Please visit my blog post for more info about settings: walkhumblyfilms.com/?p=1257

Canon EOS 6D!

Test Canon 6D raw video

Short test raw mode Magic Lantern SanDisk Extreme Pro SDHC 95MB/s Edit Lihtroom

Canon 6D with Magic Lantern RAW module short test graded 14 bit RAW DNG Video

Unlisted Camera

h264 – RAW

Canon Rebel T3i / Canon 600D

RAW – Canon 600D

RAW vs H.264 with Magic Lantern on Canon 600D. This is a “first-fast-test” with slow card (8,8Mbps). Download to see the big difference. This is really amazing. Thanks all developers! Please, if you like it, help with a donation: supporters.eff.org/donate Thanks, too, to Tito Ferradans for compiling the source and the support. See more on his blog: tferradans.com/blog

By technical editor Matt Allard: RODE SMARTLAV REVIEW from Matthew Allard on Vimeo. Poor interview audio is really inexcusable these days – even for shooters on limited budgets. If you can’t afford a high quality wireless mic or need to mic up multiple people on set then here is an elegant and inexpensive solution from [...]

Everyone and their mum knows about Freefly’s MoVi now, the gimbal-stabilized handheld camera rig made famous by Vincent Laforet with his demo film right before NAB in April, where it was introduced.

At $15,000, the MoVi M10 isn’t exactly affordable for indie filmmakers.

Its maximum payload is 10 pounds, but they will also introduce an M5 for a maximum of 5 pounds and half the price a bit later.

At NAB, I also wrote about a possible, purely mechanical “MoVi for the rest of us”, which I also saw at NAB 2013, the Bowens Limelite OmniRig (click here).

But while the OmniRig looks similar to the MoVi, it is not stabilized with gyros, it makes use of good old inertia. That makes it less stable, and you need more training (like with a Steadicam).

However, we seem to have overlooked a ‘real’ alternative for the MoVi, which was also shown at NAB 2013: the “Relentless” seems to work exactly like the MoVi, but is made only for very small cameras like the $995 Blackmagic Pocket Cinema Camera, and costs only $1,800. It can be used handheld or put on a copter (there’s a separate special copter version of the MoVi, the MR)

Check out the video:

Strangely, I wasn’t able to find a website for the product yet (let me know if you do!), but it seems to be produced by the production company Relentless, Inc., and according to the Vimeo page you should email Drew to learn more.

So where does that leave us? The MoVi seems to have put the spotlight on gyro-stabilized handheld systems, and it certainly looks like we will see a lot of new products and innovation in that field in the near future – which will also result in more and more affordable options.

It’s a great time to be a filmmaker indeed!

planetLuke has been at it again – this time testing the new Magic Lantern RAW video on the Canon EOS 5D Mark III vs the Hacked Panasonic GH2.

What an incredible week it has been for the Canon EOS 5D Mark III and Magic Lantern! Thanks so much to the team over there!

Other posts on the new RAW Video feature of Magic Lantern:

Recent coverage

• Magic Lantern Canon EOS 5D Mark III RAW video vs Blackmagic Cinema Camera!
• First Magic Lantern RAW video short shot on Canon EOS 5D Mark III released
• Updates on the RAW video progress from Magic Lantern for the Canon EOS 5D Mark III
• RAW 24fps DNG video hits the Canon EOS 5D Mark III via Magic Lantern!
• Magic Lantern RAW video for the Canon EOS 5D Mark III comes to the mac & OSX
• Magic Lantern Raw Video Test – H.264 vs. Hacked GH2 vs. 5D3 Raw Video

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H.264 vs. Hacked GH2 vs. 5D3 Raw Video

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Discussion from planetLuke

A personal test of mine that I decided might as well be public! Still torn on the results to be honest. The GH2 is using a 146Mbps Driftwood hack and was set to Smooth (Contrast -2).

Lens used – Nikkor Ai-s 80-200mm f 4 (set to f 8 for each camera)

The fact that the Mark III now looks about as sharp as a hacked GH2 is mind blowing. A week ago this comparison would have been a landslide in favor of the GH2. Look at the H.264 vs. the hacked GH2!

Again, Magic Lantern deserves a ton of credit. The Mark III is a beast.

Filmed by Luke and Marika Neumann Music by Luke Neumann

Check out our website or like and follow on Facebook and Twitter:

www.neumannfilms.net/

www.facebook.com/NeumannFilms

twitter.com/Neumannfilms

(cover photo credit: snap from the video)

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In another blaze of talented programming, the Magic Lantern team has made a .raw video conversion utility for the mac — until yesterday, you had to use windows to process the video files.

Find out more on this thread on the Magic Lantern forums – or watch the video below supplied by cinema5D

Other posts on the new RAW Video feature of Magic Lantern:

Recent coverage

• Magic Lantern Canon EOS 5D Mark III RAW video vs Blackmagic Cinema Camera!
• First Magic Lantern RAW video short shot on Canon EOS 5D Mark III released
• Updates on the RAW video progress from Magic Lantern for the Canon EOS 5D Mark III
• RAW 24fps DNG video hits the Canon EOS 5D Mark III via Magic Lantern!
• Magic Lantern adds 3x multiplier (zoom) to RAW video for the Canon EOS 5D Mark III

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Simple post processing of 5D mark III RAW footage in OSX

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To get your 5D to do RAW please follow our steb-by-step guide: c5d.at/1o4 You need: Raw2dng, Quicktime 7 and Photoshop. Here’s the related post on cinema5D: cinema5d.com/?p=18065

(cover photo credit: snap from the video)

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We saw this on the Magic Lantern pages:

This is now possible and it equivalent to putting a 3X multiplier on your lens without changing the f stop.

Note that this is currently very very very alpha and if you read the post, you’ll see the process is difficult to even set up and execute – but that will possibly change as the Magic Lantern team has time to code improvements if this process is deemed something to add to the setup.

Also note:

Technical Issues: So far I am unable to control shutter speed and aperture in RAW video mode. I think shutter speed is 1/24 for 24 fps and the aperture is always WIDE OPEN!

So for now, this is very early in development and may not end up being a feature of Magic Lantern but it is astounding to see what is going on with these cameras with the Magic Lantern software!

Other posts on the new RAW Video feature of Magic Lantern:

Recent coverage

• Magic Lantern Canon EOS 5D Mark III RAW video vs Blackmagic Cinema Camera!
• First Magic Lantern RAW video short shot on Canon EOS 5D Mark III released
• Updates on the RAW video progress from Magic Lantern for the Canon EOS 5D Mark III
• RAW 24fps DNG video hits the Canon EOS 5D Mark III via Magic Lantern!

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The beauty of this video is that there is ZERO loss of detail when compared to a photo taken a full resolution. Of course the photo covers the entire size of the sensor 5760×3840 pix while the video is just a small portion of the sensor in my case I am generating a video of 1920×1080 pix. There is no down-sampling of the sensor so the image is a 1:1 crop.

Since we are using 1920 pix out of the 5760 pix (width) the zoom factor is 5760/1920 = 3X.

The process to record this is a bit arduous, but again, hopefully this will be improved in future versions.

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Samples and description

Ok, so now that you’re possibly totally confused, I asked @RenatoPhoto who posted the thread on the Magic Lantern forums if it would be possible to share some photos showing the setup so it would be a bit more clear and he sent these to us.

First, a normal view:

Now, ‘zoomed’

So you can see the detail that is there in the zoomed video!

And just to go back and compare H.264 video to the new DNG RAW, @RenatoPhoto provided this image:

(cover photo credit: snap from the Magic Lantern site)

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DO appears to still be aliveMore patents for large Canon DO lenses. The one of note is the 500 f/5.6, a lens that would be a very solid follow-up to the EF 400 f/4 DO IS.

We’ve seen a lot of these patents in the past, and none of them have ever come to market. It is good to see R&D is still going into DO technology, as I really enjoy the 400 DO.

Source: [EG] via [NL]

cr

Humour, warmth and charm abound in the ever brilliant and well beloved character animation of Aardman‘s Wallace and Gromit. Here the the affable pair are promoting domestic vacation travel in Britain with “Wallace and Gromit’s Great UK Adventure.” The ongoing campaign is sponsored both privately and nationally. Get great insight into the production with the Behind the Scenes:

National ambassadors and champions for the young and young at heart, Wallace and Gromit are also actively raising funds to expand the Bristol Children’s Hospital and provide treatment for children who would otherwise have nowhere to turn.

The heart igniting campaign is called Wallace and Gromit’s Grand Appeal:

Cinematic smorgasbord! Multi talented artist Josh Funk spent a year putting together this almost painfully fun and quite beautiful film. It is a very impressive first-time run at animation. If Tim Burton, Mr. Bill, David Lynch, Freddy Mercury and the Phantom of the Opera all got together…. this would be their love child. Read on to hear from Josh about the production.

-Josh Funk

Thanks, Josh. Way to pull it, with spirit and flair.

You can check out behind the scenes shots here.

You have probably seen our extensive written guide on how to get Magic Lantern’s 24p working on the 5D Mark III, which also includes a step-by-step instruction on how to end up with usable ProRes 4444 files.

Well, as it turns out, Sebastian here has found a much more straightforward way to post process the raw files from the 5D Mark III which allows us to skip the relatively cumbersome After Effects conversion process. This new process only utilizes Adobe Photoshop’s raw import module, which allows batch processing of files (which is necessary to apply the same settings onto an entire clip consisting of individual DNG files).

Watch our video with a step-by-step instruction on how to end up with editable post-processed files!

Since the RAW hack for the 5D Mark III came out, there’s been a lot of speculation as to how Magic Lantern did manage to do it. Understandably, many people are hesitant to hack their 5D Mark III’s and use it with an alternative firmware that is not thoroughly tested yet. And Magic Lantern also recommends to be hesitant:

Again. This is EXPERIMENTAL, so:  - bloody beginners and non-geeks should not touch the whole thing. wait until it is “beginner-proof”. we will tell you on the website.  - you know that you are a bloody beginner, when you read the whole thread and you still cannot get it to work.  - DON’T be disappointed if it doesn’t work or we figure out the whole thing is unstable and/or unusable  - NO, there is no manual yet  - NO, there is no all-in-one tool that fits every use case  - NO, we don’t have tutorials how to use it  - NO, not all models are supported yet   - we are just at the moment testing how good it works and what we have missed and what to improve  - you are welcome to post comparisons, experiences (both good and bad), or even deep analysis or just cool videos  - if you are a programmer and you see potential for improvements, grab the source and support 

Having said that, the guys from Magic Lantern have also brought some clarity to how they actually managed to make RAW work on the 5D Mark III. I’ll skip all the details which you can read here, but that’s the essence:

The 5D Mark III generates RAW video stream by itself already, it’s used for the live view mode and being converted into H.264 and then written to the card.

Secondly and as a consequence, it means that it’s NOT putting more strain on the sensor or camera as a whole as many suspected. In other words, it won’t melt away, because it’s not doing anything that it wouldn’t do anyway when shooting.

Actually, it might even mean that it needs LESS power and therefore it heats up less than usually:

About sensor heating rumors: The only thing that could get warmer is DIGiC and the CF circuitry, but i am sure that the power dissipation that reaches the sensor through all that plastic housing will not have any noticeable temperature raise.

detailed: when doing that much DMA transfers and CF writing, we may cause a bit more current drain (which causes squared power dissipation) but we do not encode any H.264 while recording, so we use less power there. its *possible* that the CF writing will consume less energy than the encoding with H.264, which will result in *less* power consumption. raw is being produced by the DIGiC for every single frame anyway. we “just” save it away.

still this is a *theory*, but i expect the consumption and the temperatures not to raise at all.

Only CF cards need to be faster because of the increased data rate of the raw files (~83 MB/s vs. the usual 10-12 MB/s). However, there’s a great and comparatively affordable option for large and fast CompactFlash cards, and that’s a company called “Komputerbay”.

Magic Lantern has also provided more details about the nature of the hack and you can read it all in the forums by clicking here.

So in conclusion, that means that you still have to be careful and be aware of the fact that it might be dangerous for your camera and that you are modifying it at your own risk. Having said that, the hack seems to make use of processes that are ALREADY happening inside of this camera and only utilizing/hijacking some of them for all our benefit.

We have already posted an extensive workflow post on how to unlock 24p raw on your 5D Mark III. My partner in crime Sebastian Wöber is currently working on a tutorial video that shows a much simplified process compared to what we posted before – be sure to check back shortly!

This is just cool – I love seeing the ‘tiny’ worlds when people do this well and this short on Melbourne is very well done.

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Nathan Kaso took to the streets and rooftops for this perspective on Melbourne

Hoping to explore–and expose–a new side of his native Australia through a camera lens, photographer Nathan Kaso set out with his Canon 5D Mark II to make Miniature Melbourne; the result combines the twee appeal of tilt-shift with the ants-marching effect of time-lapse.

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The whole project was a season-spanning 10 months in the making, during which Kaso decided to document various festivals and public events to provide the most vibrant possible take on how Melbournians live. He cased Google Maps in satellite mode to scout suitable rooftop locations with prime, unobstructed views, and took to the streets on foot to find parking lots and public spaces that offered clear vantage points. All the images were shot as stills for the best quality and resolution, with the tilt-shift effect applied later in Photoshop; after that, the entire thing was converted to video in After Effects, and edited in Premiere Pro.

(cover photo credit: snap from the video)

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We’ve been amazed at the progress the Magic Lantern team has made on the Canon EOS 5D Mark III RAW DNG video feature they’ve added to the tool – and we’ve posted a couple of items in the last couple of days about it, but one thing that is confusing is how to process the output (and again, this is still an ALPHA version so hopefully, the process will become easier in the near future).

planetLuke has created a short tutorial on how to get the files processed which we share below.

Recent coverage

• Magic Lantern Canon EOS 5D Mark III RAW video vs Blackmagic Cinema Camera!
• First Magic Lantern RAW video short shot on Canon EOS 5D Mark III released
• Updates on the RAW video progress from Magic Lantern for the Canon EOS 5D Mark III
• RAW 24fps DNG video hits the Canon EOS 5D Mark III via Magic Lantern!

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Magic Lantern – Raw Video Workflow Tutorial

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Description and links

Download raw file, H.264 comparison shot, and the raw2dng.exe file here:

www.neumannfilms.net/

Tutorial on how to make SD/CF card bootable/install Magic Lantern:

www.youtube.com/watch?v=mMpJdM

Follow Magic Lantern on Facebook or Twitter for updates:

www.facebook.com/magiclantern

Check out our website or like and follow on Facebook and Twitter:

www.neumannfilms.net/

www.facebook.com/NeumannFilms

twitter.com/Neumannfilms

(cover photo credit: snap from the video)

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The Procam TV management team (L-R) Don Grant, Head of Systems Development; Helen Cardrick, Finance Director; Nick Badham, Director of Project Management; John Brennan, Managing Director; Paul Sargeant, Director of OperationsOne of the UK’s largest broadcast hire company, Procam TV (Procam) (www.procam.tv), has announced it has completed a management buy-out of the business, led by its existing management team.

It’s a revolutionary time for indie filmmakers: A RAW module for Magic Lantern was enabled last Sunday that hacks your Canon EOS 5D mark III to shoot 14bit RAW video in 24p and we just found out it also works in 25p.

The Magic Lantern people told us how the hack works and that the process is probably non destructive.

We tried it ourselves and have shot numerous stuff with the RAW functionality. It’s really not that difficult to achieve (see our step-by-step guide HERE)

And even though RAW post-processing is time consuming, we’re seeing improvements in the workflow and have a quite simple tutorial for OSX HERE.

The good news for the Europeans among us is that yesterday a compile for a version that does 25p was posted in the Magic Lantern forum.

We tried it and it works well. We get no frame drops in 1080p on our 128GB Komputerbay CF cards. Should you want to try it too follow our guide (updated May 20th).

Note that there’ve been numerous people who didn’t achieve the same resolution with their 128GB Komputerbay CF cards. Maybe there are inconsistencies in different Komputerbay batches. Apparently the Komputerbay 64GB are consistently faster to achieve the 1080p at 25fps. Europeans can get the cards here: LINK

Cheers!