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Got one question what was you color grading process in Davinci Resolve can you break it down for me because I love you color grading.  Did you use any LUT's?  Lastly what version of Davinci did you use?

Didn't use any LUTs, only an X-Rite Color Checker Passport color chart and Resolve 12.5's built-in color chart matching function. The resulting automatic correction was applied to the whole project via a Timeline node, plus a slight (15% or so) increase of color saturation. Then, I color-corrected every single clip (a) with basic white balance settings in the raw video panel and (b) Lift/Gamma/Gain adjustments. Applied Neat Video denoising to the low-light/indoor shots at the end.

In other words, it was just the run-of-the-mill work required for any type of raw video in Resolve. I normally shoot with Blackmagic cameras (Pocket and BMCC) and could apply my usual workflow 1:1.

The video was shot in 720p/24p/14bit which worked smoothly without any dropouts or camera hangups. I still struggle with the ergonomics of the camera though - missed focus quite often and don't find that focus loupe and peaking give me reliable enough feedback.

Here's another pseudo-8mm video that I shot with the same workflow. This version was graded as above, without any LUT:
https://vimeo.com/221185158

This version used a Kodachrome25 LUT based on DxO Filmpack (thus matching the film stock most commonly used for Super :
https://vimeo.com/221350421

Applying that LUT had the consequence, however, that I needed to redo the individual color correction of many of the clips observing the scopes (Waveform, RGB parade, Vectorscope). The main mistake people make with grading LUTs IMHO is to just throw them on their footage and think that this will automagically create good images. And even in the video above, you can see that a grading LUT always degrades color. In most cases, it's better to depart from the camera's original, best, most differentiated colors and never apply one blanket filter (IMHO).

- The audio drop-outs and asynchronicity, btw., were a result of using raw2cdng which doesn't seem to properly work with MLVs from the EOS-M (and doesn't seem to be maintained any longer anyway). In this case, I just accepted them as a glitch to creatively work with...

Shot this concert/event with an EOS-M in raw crop mode - which gives an effective sensor size equivalent to 8mm film. Used an adapted Super 8 film camera zoom lens (Schneider Optivaron 6-66mm/f1. and a chestpod originally made for a Super 8 camera to approach the look and feel of an 8mm home movie as closely as possible:

https://vimeo.com/222128427

[edited and graded in Resolve.]

Having made two videos in EOS-M 720p raw crop mode...
https://vimeo.com/222128427
https://vimeo.com/221350421
...I'm left with the following practical questions:

1) The video crop mode setting isn't remembered by the camera even after ML parameters have been saved. It needs to be manually reactivated in the ML video menu each time the camera has been turned on. Is there any way around this?

2) Sound recording with the mlv_snd module isn't 100% synchronous, because the audio track usually runs a bit longer than the video clip. (I tested this with two different copies of the EOS-M, and the behavior is consistent and reproducible.) While this shouldn't be an issue, it seems to throw off MLV-to-CinemaDNG converters. Raw2CDNG doesn't correctly decode the sound so that audio tracks end up being fragmentary and out-of-sync. This can be fixed by extracting .wav files from the MLV files via ffmpeg and manually aligning them to their corresponding video clips in the editing timeline. But is there a way to convert MLV created by the EOS-M to CinemaDNG without these issues? [I'm primarily a Windows user and couldn't get MLVFS to work.]

3) We keep reading great things about MagicLantern's new 10bit and 12bit raw recording options. Are they available (or in the pipeline) for the EOS-M at all?

Hello,

I'm running the nightly built from Oct. 7 on the 50D and encounter weirdness with setting ISO:

(a) Whatever ISO is set in the ISO menu, the live view overlay remains at showing "ISO 100".
(b) ISO can only be increased when dialing down shutter speed and going below 1/27. Then, the shutter speed will stay at 1/27 but ISO will go up in 2x increments.

Is this a bug or a feature?

Just wanting to share a video shot with the 50D & Unified ML from July 11th. Encountered some glitches shooting on a 60 MB/s Sandisk card and decided to include some of them in the edit:
https://vimeo.com/70259256

Workflow: RawMagic, Lightroom 5 -> tiff, ffmpeg -> ProRes 444, Premiere CC + FilmConvert.

No chance - c-mount lenses only have 17.5 mm flange distance to the sensor. They would need to sit in the mirror box of the 50D in order to  focus beyond macro distance.