netto Posted July 7, 2013 Report Share Posted July 7, 2013 Kevin Minato recently got a Canon 5D Mk3 fo work, so we decided to take it out and test the RAW shooting capabilities. Magic Lantern team allows 5Dmk3 to shoot 30 raw 1920x1080 DNG files per second, similar to a fast burst mode. This cures the lack of detail that plagues Canon DSLR footage, and achieves unbelievable dynamic range. https://vimeo.com/69804510 1 Quote Link to comment Share on other sites More sharing options...
MiuSliS Posted July 7, 2013 Report Share Posted July 7, 2013 Soo... V-brakes huh? Quote Link to comment Share on other sites More sharing options...
FamilyBiker Posted July 7, 2013 Report Share Posted July 7, 2013 the details are great,but theres still a lack of sharp motion. is it vimeo,me or the fps? 1 Quote Link to comment Share on other sites More sharing options...
netto Posted July 7, 2013 Author Report Share Posted July 7, 2013 it's 24fps, so that might be why Quote Link to comment Share on other sites More sharing options...
max-t Posted July 7, 2013 Report Share Posted July 7, 2013 Lovely footage. Quote Link to comment Share on other sites More sharing options...
Chaotic3vil Posted July 7, 2013 Report Share Posted July 7, 2013 (edited) Good footage. Good riding! Workflow must have been painfull though. I have a 50D laying around. Be playing with some 14bit raw footage and 3gb a min is crazy but its totally worth it if you're into color grading or video in general. Raw footage is just awesome. ML wins once again. Edited July 7, 2013 by Chaotic3vil Quote Link to comment Share on other sites More sharing options...
netto Posted July 8, 2013 Author Report Share Posted July 8, 2013 yea it was a bit of a pain Quote Link to comment Share on other sites More sharing options...
Rob. Posted July 8, 2013 Report Share Posted July 8, 2013 Nice, what stem is he using? Quote Link to comment Share on other sites More sharing options...
manuel Posted July 8, 2013 Report Share Posted July 8, 2013 Good footage. Good riding! Workflow must have been painfull though. I have a 50D laying around. Be playing with some 14bit raw footage and 3gb a min is crazy but its totally worth it if you're into color grading or video in general. Raw footage is just awesome. ML wins once again. Hmm - not reaally if your final edit is going on Vimeo/YouTube... Quote Link to comment Share on other sites More sharing options...
Chaotic3vil Posted July 8, 2013 Report Share Posted July 8, 2013 (edited) Yeah it will never be full quality but you'll still get better quality filming RAW and export it to h.264. Filming straight out h.264 will give you way less detail, dynamic range etc. With 14bit RAW its so much information in each frame that you can fiddle way more in post to get exactly what you want. Try it out, import dngs sequence to AE and fiddle with the ACR or any color grading tool, its amazing how much detail you can get. The workflow is painful though but it always depends on the propose and your editing rig. I guess for low light, details and scenic shoots its pretty good having that option and its definitely different to look at than native h.264. Edit: Check it at 0:45, I bet that sky would be way overexposed and unrecoverable in h.264 for good exposure on the shadow where Kevin and the wall are at. Edited July 8, 2013 by Chaotic3vil Quote Link to comment Share on other sites More sharing options...
netto Posted July 9, 2013 Author Report Share Posted July 9, 2013 yea the dynamic range is definitely noticeable no matter where the video is viewed. Quote Link to comment Share on other sites More sharing options...
manuel Posted July 9, 2013 Report Share Posted July 9, 2013 Yes true, but honestly unless I was shooting cinema I wouldn't bother - and even then probably not - yeah it gives good post options but if you shoot it right in the first place you don't need them? If you want raw shooting there are better options. It's cool though, and to have the option for shooting a scene when you know dark/light areas are going to be a problem, but the cons seem to outweigh the pros. Quote Link to comment Share on other sites More sharing options...
Chaotic3vil Posted July 9, 2013 Report Share Posted July 9, 2013 Yes true, but honestly unless I was shooting cinema I wouldn't bother - and even then probably not - yeah it gives good post options but if you shoot it right in the first place you don't need them? If you want raw shooting there are better options. It's cool though, and to have the option for shooting a scene when you know dark/light areas are going to be a problem, but the cons seem to outweigh the pros. RAW will not let you be more sloppy. On that sky shot for example, on h.264 he would have to choose either to expose to highs or lows, he would lose somewhere for sure. Even with RAW you can't miss a correct exposure when shooting, its not that forgiving, it just gives you more points of dynamic range to choose from going from a 8 bit compressed codec to a 14 bit uncompressed. Its definitely a different workflow and yeah maybe its overkill for a bike video, but like I said any person that is into video will appreciate to fiddle with it. Its funny how workflow changed during the years, from film where you can't preview shots on the spot, time consuming developing film, to magnetic tape where was a "big" hassle rewinding to preview, 2 hours importing a cassette to current times with SD and CF cards where everything is "light speed". In the end everybody managed to get what they wanted and worked around those problems a still produce quality stuff. For example the skate/bmx VX100 hype. Its an obsolete camera but for some people the looks overthrow the workflow. My point is, having the possibility to have RAW recording camera for 350€ is just simply awesome, specially when you'd only get that quality with 20k cameras. Maybe there are better cameras for this purpose but you have to splash some serious cash on it. And the one's that are cheaper have micro 4/3 sensors. Right now with a 50D (aps-c) or a 5D (full frame) you can shoot your regular h.264 and in seconds switch it to RAW for a particular shot, an advert work, film etc. I think that having that option is on of the biggest pros for independent film makers. I can't see any cons when youre taking 14bit RAW full HD from a 350€ camera that was obsolete till ML cracked it open like the non video dslr 50D. And its still on development, 2K raw and HDMI out is getting there. 2K raw to a SSD Hard drive will make the workflow easier and good recording times. Quote Link to comment Share on other sites More sharing options...
JD™ Posted July 9, 2013 Report Share Posted July 9, 2013 André, I see that ML is compatible with the 550D, but I can't see anywhere on their site that gives a rundown of what features are available on what camera. Any idea? Quote Link to comment Share on other sites More sharing options...
Chaotic3vil Posted July 9, 2013 Report Share Posted July 9, 2013 André, I see that ML is compatible with the 550D, but I can't see anywhere on their site that gives a rundown of what features are available on what camera. Any idea? I only found out this. The unified version is the stable one for almost all canon's. Best thing of ML is that it gives you tools to have more control over you're image. Focus picking to not miss focus seeing on the live view, zebras to see which part of your image is overexposed etc. If you into photography/videography its an awesome tool. If you cant be bothered and if you have a point and shoot kind of relation then the ML will get you a bit confused because it have a lot of features that need some fiddling and understanding. Your 550D can film RAW with some ML builds (not unified) but the recording time is limited, mainly because rebels where build after canon factory cut backs. Speeds and limited to 20mb/s or something along those numbers. 5D and 50D where designed before the cut backs which gives them 90mb/s in theory. Quote Link to comment Share on other sites More sharing options...
JD™ Posted July 9, 2013 Report Share Posted July 9, 2013 Ah cheers man, the only thing I'd be bothered with it for was just to play with the RAW filming. Being limited that hard isn't going to let that happen it seems... Quote Link to comment Share on other sites More sharing options...
manuel Posted July 9, 2013 Report Share Posted July 9, 2013 Isn't the only one that is really working the 5d3 ? That would make it a shade more than 350 Eurodollar ?! Hey it's definitely cool - I'd love to try it out but I doubt the real world difference for anything other than bluray/cinema is enough to make the hassle worthwhile. I think my point was - I want a 5d3 But if I was shooting video professionally - then either it would not worth the extra level in editing (time or for final edit target), or if I was shooting something on a high enough scale that I needed uncompressed raw 2k/4k/whatever I would be using a better suited camera. It would be nice if this sort of development drives people like canon to really think about the products they put out, and the features they have available. Quote Link to comment Share on other sites More sharing options...
Chaotic3vil Posted July 9, 2013 Report Share Posted July 9, 2013 The 50D is recording 1080p RAW ( ). It as the internals of the 5D (less the full-frame sensor) but was limited in some areas like not having video option, smaller sensor etc. You could get the body for 350€ weeks ago. Now I think prices are going up. As for canon thinking about their products.. not so sure.. They like to keep milking the cow as long as they can. It's a bit strange to see that a 4 year old camera is totally capable of Full HD Raw recording isnt it? There's not that much extra editing really, the workflow is a bit painfull because we are use to drag clips into the program and start right away. With organization and a good computer its not that much of an hassle and it's evolving. Soon enough it will be possible to read raw. files in Ae or Pr. I read somewhere that GingerHDR plug-in already reads RAW. in AE. Didn't test it though. I get what your saying. I just think this "hack" gives people a pretty good bang for the buck. I dunno how things work there in the UK but here big companies are starting to get their image work done on small/medium sized companies due to the economical instability. And one of these rigs could give a good second angle or a backup camera to a RED cam, or even be a main camera if properly tunned up. You don't need a RED cam for webvideos or TV ads regarding resolution, but I guess they still get used because of dynamic range. Never fiddled with REDcode but I guess it still need some kind of conversion to Prores442. I could be wrong though. Quote Link to comment Share on other sites More sharing options...
manuel Posted July 9, 2013 Report Share Posted July 9, 2013 I thought max res for continuous 24p was less than 1080 and pretty limited recording time for full 1080/24p on all but the 5d3 ? Quote Link to comment Share on other sites More sharing options...
Chaotic3vil Posted July 9, 2013 Report Share Posted July 9, 2013 (edited) Yeah and its true. But a month ago the 50D was uncovered as a "raw monster" mainly because theoretically could have more resolution then the 5D. They have the same internal speed with a CF cards but a full frame is bigger with more info. per frame than a APS-C sensor. But as far as development got the 50D speeds are around 70's mbs but it could be capable of 90mbs by the hardware. The 50D hack is in its early stages though. In one month they achieved alot already. Check it out. Edited July 9, 2013 by Chaotic3vil Quote Link to comment Share on other sites More sharing options...
netto Posted July 10, 2013 Author Report Share Posted July 10, 2013 http://www.eoshd.com/content/10741/raw-5d-mark-iii-vs-red-scarlet-for-1080p-delivery worth a read Quote Link to comment Share on other sites More sharing options...
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