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I'll probably get some hate for posting this, but here it is anyway. A comparison between the 50D and the Blackmagic Pocket Cinema Camera RAW.



50D is still the incredible useful for it's price, but if you like the flexibility of the 5D Mark III RAW video but don't want to pay $3,000+, consider the Pocket Cam. Especially since it's now in stock.

Thanks for posting this DL. I'm quite surprised by the lack of shadow detail on the 50D. The BMPCC dynamic range definitely impressive, unfortunately you still can't buy it in the UK!

If you have time, could you do a moire test between both cameras on those car grilles?

Looks like a lot of moire in the grills of at least two cars! Wow! Am I wrong?

Yeah I was surprised to see that much, I thought the bmpcc was supposed to be moiré free as there's no down sampling.

It seems that each camera has its downsides.

I see Blackmagic released Raw on the BMPCC. Former 50D alumni DL Watson posted this Prores/Raw comparison on Vimeo.

He said he'll do a moire comparison between the BMPCC and 50D. I'd be interested in seeing how they compare as the BMPCC is showing a bit of moire in Raw mode.

Nice image though.

I'm surprised people aren't seeing the Metabones Speed Booster with the BMCC as a great alternative, making the BMCC nearly Super 35 and gaining 1 full stop brighter footage. After all, whether you like it or not, you are simply not getting 1080p out of the 50D.

If money wasn't an object then yes a BMCC and speed booster is a great option. However, that setup would require me shelling out £1500 for the BMCC £400 for the speedbooster + a set of Nikon lenses to use it.

The 50D provides a low cost option to get into raw shooting. No it's not 1080P but once it's upscaled and sharpened it's fine. In an ideal world of course I'd like to have more resolution but I will make do with what I have for a bargain price.

While I would buy a Canon over the BMPCC anytime, you are quite wrong about it's capabilities. It's made for micro 4/3 glass, the crop factor is zero and it can get quite the film look, the sensor has a dynamic range comparable with cameras worth 10x the price, so I have no idea which "users" you refer to.
That being said, a 50D setup would cost you less and as we all see, one can get stunning images from it.

The mount on the BMPCC maybe be made for micro 4/3 glass, but the sensor is sized for Super16mm glass. There will be a crop factor of around 3 when comparing to full frame. The 50D has a 1.6 crop factor.

Therefore the BMPCC will require an investment in lenses to cover the wide end and also if you are wanting shallow DOF that has a similar look to the 50D then you will need fast lenses.

They are different cameras, personally I see the 50D as a cinema type camera and the BMPCC as more of a documentary camera. That extra DR will come in useful when you are in a situation that you can't light properly.

Has anyone here tried out the After Effects CC detail preserving upscale on 50D footage? I'm only on CS6 so I can't try it.

Is the shutter speed issue just on the latest build? I'm using one a couple of weeks old and the motion seems ok.

I was definitely interested in buying one but I've just worked out how much it will cost me.

By the time I've paid import tax and VAT to the UK it would cost nearly £300 which is about $480. It's a shame that Mosaic don't have a UK/Europe distributor. Unfortunately I live in Ripoff Britain!

Therefore I'm in two minds now and I'd need to see some more convincing tests before I spent the money.

Good news for those who are waiting the 50D VAF from Mosaic Engineering. They answered my email, and I ordered a final version ! They plan to go into production as soon as they can (I assume that the 70D version was their priority). I will do a video review and share before/after DNGs when I get it.

That's good news, I've just emailed them to find out when they are available to buy from the website.

I think all they plan to do for CS6 is bug fixes but no new features. They want people to upgrade to CC!

Thanks for input, starting to manage the workflow a bit better now.

But for quick turnaround shoots, im starting to favor putting the dngs out through Resolve, making them log and applying suitable LUTs. Then export (very quickly) to punchy and saturated prores 422 almost ready for edit/ delivery. Got to underexpose a bit in cam, and not right for all shoots.  The deliver stage in resolve is so much less click and time-consuming than afx. Or am I missing something?

No you're right, the Resolve workflow is much quick but the debayer quality is much better with ACR.

Working fine for me too. Doesn't seem any slower in Mavericks than it was in Mountain Lion.

i am really interested in the following:

what if i want to grade in resolve 10 lite and i want to denoise with neat video in after effects..? cause the resolve lite version has no denoiser..

should i denoise before color grading?
and if yes, how should i render in after effects to keep all my options in grading with the best possible file..?

i see the problem that when denoising in after effets i also have to wb the material and loose my raw advantages in resolve, so how should i do it best?

can anybody explain.

I do it like this:

Import DNG sequences into After effects and make LOG files in ACR. Then denoise and export to Prores 444 or whatever you have access to. Do your edit and then XML to resolve and grade the prores files.

Yes you will be losing the ability to grade to DNG's directly but the ACR debayer is better than resolve's and LOG files will still give you loads of room for grading.

Apply a LOG profile in ACR and then export from AE as a Prores 444 file. Do your edit and then send for grading to Resolve or grade in Premiere.

> On the 50D VAF filter.

I was going to send an EOS-M to Mosaic, to see if they could do a filter, but then I did the math.  $300 body plus $300 filter and you might as well get a BMPCC.  Yes, they're backordered, but eventually that will end and then where would Mosaic be?  I think this the same problem with the 50d.  I know they made a one-off for someone, and it worked well.  So my guess is Mosaic just doesn't feel the economics justify it going into production for an old camera.  That would be my business advice to them, as much as I love ML.

It would be a shame not to have a VAF for the 50D but you're probably right in what you're saying. It would be interesting to see how many people on this forum would actually buy one if it was available for the 50D. Maybe we should do a poll?

I don't see the BMPCC as an alternative for me as it would require an investment in lenses to make best use of the Super16 sized sensor.  I've already got all the lenses I need to shoot on APS-C, so it makes sense to stick with that sensor size. I did think about maybe going for an EF BMCC but even that would require another lens to cover the wide end.

I shall just work around the moire/aliasing as best I can.

The test

:

Canon 50d, Helios 44, Son of a batch; edited proxies in Premiere, sequence imported in AE for color correction

Did you used warp stabiliser? On some of those shots the lower part of the frame is wobbling.

Any chance to have this without passing through ACR? There's no way to have it directly in Resolve? Noob question probably

Read my post a couple of pages back.

Hey guys,

here´s a test of my new Slider with 50D Raw.

Infos: http://550draw.blogspot.com/

Some nice shots in there and a great location too.

Yes I am... Should I use another ?

That's the one I'm using and it's working ok for me.

Are you using the latest version of RAWMagic from the app store?

Thanks for your advices !

So I guess I'll use Resolve. But just to be sure, there's right now no simple and direct way to batch convert from the original RAW and R00 files straight to prores ?

RAWMagic will convert your spanned .RAW files to DNG sequences.

so it doesn't work with Rawmagic?  how do you update raw2dng settings to recognize your camera?

It works fine with Rawmagic.

I did a few small tests and i don't receive the dead pixels every time i shoot. Sometimes they are their and sometimes they aren't at all.
I did a test last week ranging from iso 100 - 1250, and the dead pixels where in every iso. I did the same test today ranging from iso 100 -1250 and they weren't in ANY shots.
could it still be my camera or CF card?

If you could post some photo examples, then it would be easier to help you.

Yes, it s pretty easy. Check the tutorial from Andrew Kramer about proxys, it s well explained.

But does this method allow you to automate the whole camera raw process? Open dng sequence in camera raw, apply a LOG camera profile and then render out to prores?

I'll have a look on Kramer's site.

I agree. Acr debayers way better. Can you batch export from AE? Is it any faster then exporting to tiffs straight from acr?

I'm not sure about that, it would be quite handy. I wonder if there is a way to apply an action in AE like you can in Photoshop.