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Running ML on it won't affect the camera in any way. If you want to revert to original you just swap the card out.

The quality should be a lot better in low light, however the camera is probably in auto everything in video mode. That's why Magic Lantern is so useful, you actually know what the camera is doing with ISO and exposure.

Your ML RAW images sequence must be converted to another format for use anyway. So yes the RAW video can be used in FCP 7 or FCPX or Windows Movie Maker! You just have to convert it to something that your application of choice is happy with. In the case of Final Cut Classic that will be more limited.

Lower the resolution of the RAW capture then blow it up in post. There is little moire I believe so the re-size shouldn't hurt to much.

Here's an example:
http://www.magiclantern.fm/forum/index.php?topic=6198.0

Apart from bizarre outbursts... I tested it and found that the resolution loss to great. The alternating lines were not well formed (reconstructed with aliasing?) and so created many artefacts when merged. Also there is the small issue of loosing half your vertical resolution! You can't actually reconstruct detail from these large interlacing lines.

Ooh nice result! I wonder if it's possible to stick this into the h264 encoder? a1ex is there enough processing power in a Rebel like the 550D?

I can simulate these files as combed footage, I guess the real question will be the effect of interpolation at the edges of high contrast.

For cameras with poor raw performance like my 550d  this would mean cinemascope hdr files. Eliminating temporal errors from 720 50/60p but potential vertical aliasing errors. Not sure how registration of images would fare after merging or scaling?

Would be neat to test, as I just cant get useful raw from sd card rebel.

Hmmm, aliasing isn't really affected by the compression and iirc the blurring comes from the resizing stages.

This might just be a way to get 30fps HDR from 1080 h264.

A1ex the raw embedded JPEG won't have temporal compression. I'll try shooting an interlace video at different sizes to see what is retained.

So these 'boundary skipped sensels' are being targeted in OLPFs? I guess that they get an averaged value of light at that location so that there are no transient peaks that would confuse the sensel groupings. Duplicating the previous line would result in jagged or missing edges. Can any information be reconstructed from those corrupted sensel sites?

I guess easiest solution would be interframe substitution, but that would be slow and require movement across the sensels.

Perhaps because it goes against their maintenance policy, in other words words Canon supports their own upgrade but won't endorse old software. The way I read it is that Canon cannot restore the old software for you.

If you are recording onto the camera I suggest that you may be hearing a mix of the good external mic and the poor internal mic. Can your software pan the bad mic out leaving only the good mic source. I am guessing that you are recording one mic to left and the other mic to the right channel.

I don't recall seeing this color corruption on the h264 in camera output, surely it is getting the same chroma mis-sampling before compression? I wonder what the chip is doing to alleviate the magenta/blue error? As it isn't the same as false color moire.

Well that was super cool. Great effects work, really like that head switch in the bathroom. Only drawback for me was the weird skin tone on highlights, were they blown out in frame or pushed in the grade. Looked a bit to vieoish.

1% is there any indication for bottlenecks with the jpeg encoder?

I realize that no one knows how to handle that path, but logically I guess it is demosaicing, then resizing, then compressing to save? And is all that triggered by shutter or can it be actuated shutterless like in movie mode?

That, that is stunning! Really a 7D?! Where is the moire, the aliasing? Is this with x5 zoom for 1-1 pixels? Are any of the shots actual FOV of the chip? What frame rate did you shoot to get hi res?

While I love the colour depth and lack of compression artifacts I find to many pink frames. I don't see the point in 550d RAW sadly. It's back to h264 for me.

How are there motion artefacts in dual iso? They are an interlace of the same frame instance not successive frame sono temporal errors just vertical offsets. I'm not suggesting hdr video here.

Dual iso yields 2 exposures, you can process it into an ultra wide dynamic range image or comb it into 2 concurrent frames. Then you run the 2 streams together and simply mix between them when moving between exposure extremes. Resolution does drop however.

Why not shoot dual ISO and blend between them as required?

Sorry if this has been answered many times before, but why do i get more recorded frames from standard FOV (with aliasing) but fewer frames from the 5x cropped (1:1)?

Yes roll and pitch can easily be inferred from the recorded video, of more use would have been lateral and vertical motion. As these can be quite hard to detect without many foreground objects (parallax change).

Theres this system but no removable HDD
http://www.bhphotovideo.com/c/buy/Portable-Data-Storage/ci/3369/N/4083163867

And this SD to HDD via smart phone solution
http://www.andreasbank1980.blogspot.de/2012/08/on-go-image-backup-for-10-only.html

Substitute in a CF reader and an old android phone, plus some gaffer tape. You got a all in one solution. But battery power would be a problem?

Found on this similar DPreview forum page.
http://www.dpreview.com/forums/thread/3291394

If you are dumping footage to another drive, then you should be mirroring at the same time. A simple RAID I guess. That way no-one can stuff the footage up.

I guess something like this only more simple and way cheaper! http://www.bhphotovideo.com/c/product/413447-REG/Panasonic_AJ_PCS060G_AJ_PCS060G_60_GB_P2.html

or with CF reader

http://www.bhphotovideo.com/c/product/768991-REG/Nexto_DI_NESV_NVS2501_NVS2501_Video_Storage_Pro.html

Still far to expensive. I guess a simple netbook would do all this with a dumb ext HDD.


So you get a netbook
http://www.bhphotovideo.com/c/product/914387-REG/acer_lu_sga0d_066_aspire_one_aod270_26dkk_1gb.html
add a CF reader (usb3)
http://www.bhphotovideo.com/c/product/815153-REG/Transcend_TS_RDF8K_USB_3_0_Multi_Card.html
and an ext HDD (usb3) pref 2 for redundancy
http://www.bhphotovideo.com/find/itemIncDetails.jsp/sku/841444/is/REG/type/acc/att/cat@__accessory_Essentials%5EDetail%5ELyr@__parent@__ACAOD2701375

$275 + (HDD@ $79 x 2) = $433
As Jason Wingrove of RC podcast says "If the light is green the trap is clean".

Midphase , I'm not sure how Pluraleyes would go with RAW footage that has no scratch sound to sync up The point of TC is to provide another point of reference for both audio and video sources.

I think that the bigger drawback is crop factor to get away from moire and false colors. I didn't really want a 4/3rds camera 

550d raw is great for testing but hard to shoot coverage without access to wide shots.