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Hey guys,

Here's a micro short I shot entirely with Raw on the 50D for the Vimeo weekend challenge. I felt a bit creative over the weekend and thought it would be nice to do something other than a test. Very tricky lighting for the camera here but it held out well I think. Overall budget was £2.50 for some candles I bought from ASDA!

Actually it's not doing it anymore and the af is switched off under c.fn... Any ideas?

On a different note, loving the old pc flash cable on the 50d. My 550d is unreliable firing slave cells because of the preflash.

Is that you again Monti? 

You do realize Mods can check your IP right?

Apologies if you're someone else but posting pointless images like this and sarky comments like your first post will likely get you kicked

You have to admit, the toilet paper is a big improvement on the green cat. Just waiting for the red grid lines to explain the rule of thirds again!

No worries, I've found it under c.fn menu.

Hello guys,

I managed to disable preflash and have my 550d firing an old Bowens studio flash via photocell. Only thing is I'm not sure how I did it and I can't get it to do it again. I've checked all the settings both on both camera and magic lantern. Anybody have any ideas?

Totally wrong again. If you frame the same size object, the dof is the same at all focal lengths. http://www.cambridgeincolour.com/tutorials/depth-of-field.htm

Way off topic at the mo, but this explains it quite well,

"Cropping an image and enlarging to the same size final image as an uncropped image taken under the same conditions is equivalent to using a smaller format under the same conditions, so the cropped image has less DOF. (Stroebel 1976, 134, 136–37)".

http://en.wikipedia.org/wiki/Depth_of_field#Factors_affecting_depth_of_field

@Monti - It's a tricky concept to get your head around but DOF does not change when you punch between crop and non-crop because there is no optical difference between the two modes other than framing. It is still seeing the same pixels but in normal mode 2/3rds are thrown away through line-skipping with the remaining pixels brought back together. Of course, if you reposition and refocus you will have affected DOF because you moved further away from the subject. At least, that's how I understand things but it fries my brain to think about it.

I'm with the green cat on this one. You can't compare a crop image to the original non crop for dof because it will be the same. You need to compare the crop to a reframed full sensor image which matches the crop. To get the full sensor to match the crop you would need to get closer, use a longer lens or a combination. Both of these factors reduce dof quite a bit.

Sure she is...

about color grading

look what i did with your video

and tell me which one is better?

yeah i mean i can understand when someone want to keep certain colors
but look i didnt change that colors
but they just look better at my edition IMHO

Personally, I like the look of Andy's original picture. Looks more filmic. A bit like Velvia with the magenta and stuff but obviously flattened as Velvia is much more punchy and contrasty (Always thought Velvia was a bit Garish outside of landscape and fashion anyway).

As for Monti's looks, I think the first one might be more of a music video look, second is a bit "walking dead" although might work for a commercial centered around domestic abuse. The third option looks like you've gone mental with Nik colour effects. Definitely Final Fantasy and I'd like to see the video out of curiosity.

Guess the key thing with grading (as with every other creative decision) is to have a direction and a point to doing it, not just because you can. My favorite shot is probably the air ducts, very filmic looking, although the shoes look great too. Hmmm, I'm in the mood for shooting now... Where's my camera.

[50D image (upscaled to 1080p) and RedEpic 2K image (100% crops with my CC - black+white + some sharpening but not too aggressive)]

Hey dear Raw'ers ))

Recently I was shooting some footage with Red Epic at 100-200FPS with the resolution 2K.
I thought it would be a good test against our prominent RAW monster )

So please find attached some sample shots from 50D and Red Epic at 2K in comparison.
All shot at 320 ISO

Basically, I congratulate you all with our choice 

50D image (upscaled to 1080p) and RedEpic 2K image (100% crops with my CC - black+white + some sharpening but not too aggressive)

Here are fullsize 100% crops (jpg'ed for web):
http://i40.tinypic.com/258cz0g.jpg
http://i40.tinypic.com/295rd6f.jpg


The original .DNG and .R3D files are here to play with:
https://copy.com/LlBywFCF7b29

Nice one Rommex, it's a good comparison 50d holds up really well. The Red would trash the 50d in low light though I bet.

here i show how to reduce moire in Adobe after effects, hope this is helpful

Thanks mate, I'll definitely give that a try.

Tragic Lantern - good to know; I've been using the July 27th build, but I'll take a look around. It's the Bolex Moller Anamorphot 19/8/1.5 which has a 24mm rear thread. This is mine - http://i.imgur.com/RBPNjRr.jpg - I've been using it with the Zeiss 50.. 1.4 which has a 58mm filter thread. BUT, the Zeiss does create a lot of chromatic abberation which I'm a little disappointed with (especially for a $700 lens) so I may experiment with an older Nikon or Canon FD.

24mm thread, thats amazing that there's no vignetting. Are you shooting 1584 x 1058?

Ok fair enough, do you reckon my Moller Anamorphot 32/2x is too chunky to hang off a redstan clamp? I was concerned that the weight might stress the taking lens or the lens mount.

I'd recommend a support and a clamp, without support it will stress the taking lens, especially the focus barrel and it will make ultra difficult focus pulling almost impossible. Lenses bigger or longer than your standard 50mm and you'll definitely need support. My Schneider weighs nearly 2kg and is okay with a 50mm (Can't focus while shooting though). I can still use a longer lens but without support it picks up the slightest wobble.

I've been thinking of ways to mount my Moller anamorphic lens to my rails and have I've ordered one of these.

http://www.indanc.co.uk/imagecache/3d48c652-5620-433c-8222-9e9600c02873_400x327.jpg

I was going to bolt it to a rail block and then lock it down in front of the taking lens but now I don't think it's going to work because the end of the taking lens is going to move back and forth when focussing.

How have other people mounted their anamorphic's?

(New site looks good)

I use a redstan clamp which is custom made for each of my anamorphics and gives a nice thread at the back for me to screw directly onto the taking lens. No problems with focusing but with the chunkier anamorphics you need to bolt onto rods also.

Not sure if the forum is past posting video stills, but I had a great shoot this weekend with my RAW 50D and a Bolex anamorphic lens on a Zeiss 50mm.

http://imgur.com/a/lpE4l#3

Speaking of anamorphic  Is there any chance of an anamorphic preview for the 50D RAW? I for one, would greatly appreciate it! 

Bolex looks great, nice ratio and no sign of vignetting too. Very cinematic. Is this the one with 39mm rear thread? What's the filter thread size of the Zeiss 50mm? There's a range of Anamorphic preview's under the display menu on tragic lantern, very useful for framing.

I love my 50D Thank you Team @1% @Andy600 @a1ex for the advances.  Hey guy's just been working diligently on different looks for my upcoming music video I'm so pleased with the results that I've been getting  .  Let me know what you think... 

Shot on Canon 50D with Magic Lantern Raw Hack.
Hack: Tragic 6
Resolution: 1584x586
Global Draw on, Small Hack on, Focus Peaking on, Zebra on, Histogram on, Waveform on..
Lens: super-multi- coated takumar 50mm f1.4 M42
Workflow: RawMagic into Davinci Resolve 9 Color corrected than exported as ProRes 422HQ into Premiere Pro CS6. Filmconvert Plugin on 20% and Grain, than applied additional custom Grain.

SMC 1.4 Takumar legend lens! God that looks good, very filmic, there was a touch of moire/aliasing on the shutters at the end did you do anything specific about that, ie was it worse before. Guess grain helps, I only say because my most recent test is moire crazy and I'm not sure what to do about it. Also why 1584 x 586, were you shooting anamorphic or just cropping to get the look. Great stuff man.

Anyone have any state of the art techniques for dealing with moire and aliasing in post?

Hi supermac, 

thank's . It's not for a real alternative, just to have a RAW DSLR always with me. In fact the 50D looks very well manufactured and ergonomics like the 5D2. And I could use all my stuff with it...

I can vouch for that, very solid indeed. Makes my 550D seem like a cheap toy.

You know what would be really cool, some kind of zebra stripes or something that warn of moire patterns. Probably impossible though.

Well i'm not professional at all. I do other things (music). But i love filiming as well and everything i do, i try to do my best. It was the first experience in shooting and there is a lot of things i did wrong i know. It was posted just to show my experience with Canon 50D RAW module. If it looks stupid for someone, well ok then But at least i can be honest with myself that i completed the project and it was a lot of hard work for me (shooting, editing, color grading etc). Cheers!

Well done for putting your self out there. I enjoyed it and can't wait to see what you come up with next.

I'm thinking bying myself an old 50D as a spare for y 5D2 and I wanted to know if there is something better in super35 sensor for RAW. (I've found one 50D for 380E)  and of course if the max resolution (1584x1058) can be achieve easyly ? What I've seen on EOSHD and on VIMEO with the 50D looks really impressive.... 

Hi there,

I think the only alternative would be a 5d really. I'm shooting 1584 x 1058 Continously with no problems on 1000x CF Cards. Also can shoot 2000 x 1080 in 3x crop mode.

Here, I did a 50D ISO test. Click on the image to see in full-res.


ISO test with RAW set to normal exposure.


ISO test with RAW Exposure set to 5+

Looks like ISO 100 and 200 are very close. Hope this helps!

Awesome stuff, did you have a look at 1250?

I doubt they will do a vaf filter for the 50D, if you think of it there might be 1000people maximum using the 50d for raw video, and most of them just to try out raw for a few $. I don't think they would sell more than 100 vaf filters.

If you get some Cellophane, smear some vaseline on it and put it over the sensor it makes a great VAF filter.

Actually I have a question that I couldn't find answers to earlier in the forum, why can't we get more than 1080 vertical resolution in crop mode?

Cheers

No dual iso for video oh well, how about that anamorphic preview though, really cool. Any chance of a 1.8 option, a lot of the common 2x anamorphics squeeze at around 1.8.

Cheers