Used This build!
This is the build with Tragic-Lanterns more res option Raw Rec module:
http://www.mediafire.com/download/96zgrdjaubamjuh/ML_Fileman_Raw_Tragic.zip
CANON 550D, Kit 18-55 (at 18mm and high F-stop to keep slow shutter) - Lens may cause an extra artifacts ( on 720p h.264 i'ts usually has more moire then 50mm f1.8
ISO - 100, shutter 1/30 for H.264 AND 1/20 with fps override for RAW
Card: ADATA 32gb Class 10 (ML shows 15-17 MB/S when records this resolutions of RAW - 1216x416 20fps and 1088x384 24fps)
Shots made with KONOVA K2 80cm slider.
KIT lens on cropped camera is from 18mm to 28.8 mm + crop on RAW mode makes it around 50 (but not the way 50mm lens looks)
Used Little grading to H.264 - SHADOWS AND HIGHLIGHTS, BRIGHTNESS AND CONTRAST
RAW - corrected white balance, recovered highlights, noise reduction, added vibrance, reduced sharpness, recovered shadoows
Honestly, the H.264 looks better, and it could have been even better.
Yes , I agree in this case , this was quick comparison, usually when I work with H.264 I have always acceptable results , with little bit more thinking process in it ! and Scale of RAW is too small to beat H.264 at this moment on 550D
Quote from: Critical Point on June 06, 2013, 11:28:56 PM
Honestly, the H.264 looks better, and it could have been even better.
Obviously H.264 looked better, he was shooting at 20 FPS and the grade on the RAW footage wasn't good. But look at how much more range you get out of the raw footage. It clips so much later than the H.264 and its much sharper.
The H.264 footage wasn't shoot properly, if it was shoot with CineStyle with the flattest settings possible (sharpness, contrast, saturation all the way down), and also with a proper exposure, and with Tragic Lantern with ~160 mbs All-I, then the dynamic range would have been even better than what you see in this RAW example.