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You're welcome. But keep in mind that a 128GB card is only ~119GB free spaces. And with losless compression, It could be more depending of the scene. But I'm sure 20 minutes will be OK.

Duly noted. I feel really good about this decision.

Amazing what kind of footage you can achieve with these cameras. By the way has anybody heard anything of Zeek?

Not anything lately. But I do love his amazing work with the EOS M.

5.7k 14bits lossless is around 5.5GB per minute.
12 bits lossless is around 5.2GB per minute.
It should be more than 20 minutes by 128GB card.

I will shoot a film only in 3.5K mode and i have calculed that is around 6.2GB in 12 bits.
I have
- 2 CF 128GB
- 2 CF 64GB
- 2 CF 32GB
- 1 SD 256GB
- 2 SD 128GB

That should be enough

Should be enough for a day work

Thank you so much, @Grognard, I really appreciate this super useful information! I will purchase two 128GB CF cards instead of two 256GB cards, knowing it's enough space. This will save me a lot of money 

Have you got two cameras?

@Bruno Italiano, I have a 6D with a VAF-6D installed that will serve as my B cam. From what I've seen of the 5.7k footage, it appears to squeeze down to a 2:39 aspect ratio, so I will just simply shoot in regular MLV in a 2:39 aspect ratio setting on my 6D.

Anamorphic RAW needs a lot of space. I would get two 128 instead of one 256. You can use one card while the second one is uploading footage to your computer.

That is a fair point to consider, @Dmytro_ua!

Do you happen to know how many approx. minutes of 5.7k anamorphic RAW would fit on a 128GB card? I'm aiming to capture at minimum ~20 mins of footage on one card, and if that means getting 256GB, I will. But if 20 minutes can fit on 128GB, I would definitely have no problem spending less for a 128GB card, haha.

Understood. Thank you so much for the resource, @Walter Schulz!

Thanks, @Walter Schulz!

I understand those are the advertised speeds. However, my question stems more from the various threads throughout the years speculating (be it from benchmarks or through real world use) that the higher capacity CF cards such as the 256GB might actually perform poorer than the lower capacity ones (64GB, 128GB), and I just wanted to be certain whether or not that was the case (at least in a significant enough way that would warrant getting one size over the other).

Hello everyone,

I am in the process of acquiring a 5D3 for the purposes of a project that I will attempt to shoot almost entirely with the 5.7k anamorphic preset.

I have decided on purchasing the Lexar 1066x CF cards as storage. however, I am now stuck in analysis paralysis in regards to what size to get them in.

After some extensive combing on the forum and finding nothing definitive, I thought I would ask here for my own peace of mind: Is there any notable speed differences between the different size cards? The project largely consists of talking head shots that are roughly 20-30 minute sessions that I intend to shoot continuously, with some landscape shots mixed in. I would ideally like to purchase a 256GB card or two to capture as much in one go as possible, provided there is no noticeable drop in performance compared to its 128GB or 64GB counterparts?

Thank you guys so much in advance, and apologies if this information is located in plain sight elsewhere on the forum.

Beautiful image! Did you process/edit these shots in MLV App?

A relaxed, chill cabin wedding of two good friends that I got the pleasure of shooting in Falcon Lake, Manitoba.

All shots were on a 6D in 12-bit lossless, 60fps slow motion in the max resolution of 1824x616, and then stretched by 1.67 in Resolve.
I used a Canon 24-105 with a Black Pro Mist 1/4 for the entire day.

Aerial shots were filmed on a Phantom 4 Pro V2.0 in D-Log.

I used a combination of @Andy600 's Cinelog-C shaper LUTS along with Dehancer, using "Cineon Film Log" as the Input Source in order to best integrate with Cinelog-C's colorspace. I am very pleased with its close-to-authentic film emulation.

Sidenote: For shits and giggles, I thought I'd try processing the MLV files in both MLVFS and MLV App to see if there was any significant difference, and wow, does MLV App handle highlights and highly saturated areas remarkably better to the point that it almost looks like it adds an extra stop of dynamic range in the highlights.

MLVFS use to be my go-to from when I had a computer that didn't have the space nor processing power to playback in any practical way, but now that I have an M1 Max MacBook Pro which plays back DNG files like butter, I will strictly be using MLV App from now on.

What a game changer

Agreed - thank you so much, @DeafEyeJedi! I really appreciate it.

Thanks, @ngemu, appreciate it. I used my Canon 24-105 f4/L lens with a Black Pro Mist 1/4 filter.

Thank you, ZEEK! Means a lot coming from you - I love your work with the EOS M!

A music video I shot, directed, and edited for a local music artist.

All shots were in 14-bit lossless using the crop_rec 3x3 build and in 1824x1026, except for 60fps slow motion shots which were in 1824x616, and stretched by 1.66x.

I would have loved to take advantage of the 3x3 binning crop, however it does not give me enough of a vertical resolution for practical use, even for the 2:39 aspect ratio that my project was. I guess I can zoom the image in post, however I did not want to sacrifice any more of the limited resolution with the 6D as it is.

Overall I am generally pleased with the final result.
Graded in DaVinci Resolve using Cinelog-C, Vision Color's M31 LUT, and Filmconvert for grain and additional adjustments.

That was incredible! Your work is always by far among the best cinematic stuff I have seen using Magic Lantern! What was your recording resolution? Did you use the crop_rec module at all?

I don't have a 24-105 but i have the canon 28-135 and I can test it out for you on that lens. The only thing that sucks is that you lose two stops of light using it so I rarely use it on anything that's not a prime and it vignettes so heavily at anything below 55mm. I also have the one that's for Sigma lenses and goes on the back which reduces the vignette. I'll throw together a test video for you this weekend.

Wow, I appreciate that a lot! That would help me greatly, as I have Canon EF 50 1.8 and 40mm 2.8 primes as well, so it would be interesting to see how it would perform at that range of focal lengths.

There is this one guy named Tito Ferradans on youtube that explains everything budget anamorphic ever. My favorite mod of his is the Helios 44-2 mod.

Yes, I am a definite subscriber to Tito Ferradans! I will have to check out the video for his Helios 44-2 mod. That is a lens that I have been eyeing for quite a while.

Thanks so much again, yourboylloyd!

The fine guys at Vidatlantic: http://www.vid-atlantic.com/anamorphic/ have some interesting filters that mimic few of the great characteristics that we would like to have on our short.
Thanks to a scalpel, black cardstock, an adapter ring and fishing line we already manufactured basically the cinemorph filter, and it works a treat for bokeh and flares. thing is, we would like to have the same effect on wide lenses as well.

In this days we will be creating using the same materials a copt of this other cinemorph filter:

http://www.vid-atlantic.com/products/cinemorph-mod

basically being the same thing, only placed on the rear element.

Will post the result as soon as it's ready.

@extremelypoorfilmaker

Just curious if you managed to make your version of the cinemorph filter for the rear element? If so, do you have any test footage? I am also looking to find an anamorphic filter solution for my Canon EF 24-105 lens, and an option for wider focal lengths would be awesome!

@yourboylloyd

I didn't even know that the crane 2 could power the camera!!! This is mindblowing to me. At first I would spend about 15 mins taking off the camera, swapping batteries, rebalancing then shooting (which was annoying). If I would've nkown about this I just would have bought hundreds of those little crane batteries!

Glad I could share that tip with you! Now you can make your setup even more lightweight!

Does the Crane 2 work with the BM4K? I remember a lot of people saying they were having record trigger/autofocus/control issues when using it with it. And of course you have to buy that offsetting plate thing because the bm4k doesn't fit most ggimbals.

I heard about the offset plate thing too, and all I would need is the servo motor for focusing, and all other functions like recording I would do using the touch screen on the BMPCC 4K itself!

That video is pretty nice. Be mindful that there is more than RAW video going on here. This guy shot on the vidatlantic anamorphic filters, which change the look of video entirely and only work on a select few lenses properly.

For sure, and the Vid-Atlantic anamorphic filter is actually going to be my next gear purchase. I've heard varying degrees of success from various people using varying focal lengths, contrary to Vid-Atlantic's website, so I'm going to grab one to test myself. I have yet to see any Vid-Atlantic anamorphic filter tests using Magic Lantern, so I am excited to see the results!

Keep me updated on what you decide to do! I'm extremely curious.

Will do! Looking forward to seeing more of your work too!

@yourboylloyd

That's a clever rig! I use a dummy battery that connects to the DC 8.0 V power outlet on the side of the Crane 2. I find in most cases that the Crane 2 carries enough juice to power my 6D and the Crane 2 itself for an entire shoot day. Then I just use all of my LP-E6 batteries to power my monitor. It's particularly nice during wedding shoots not to have to unmount the camera from the Crane 2 every single time just to change batteries.

I was one of the unfortunate ones to have purchased the Crane 2 BEFORE they included the servo follow focus in the box, but the camera control cable does an adequate enough job of pulling focus for me. I'm still considering getting it separately though, as it would be nice to control the zoom using it.

Here is my setup:




If I were to purchase the BMPCC 4K, I would of course purchase the Metabones SpeedBooster 0.64 XL alongside with it to get close enough to full-frame, and to use my preexisting EF lenses. The fact that it can also shoot in 12-bit RAW (BRAW) would be good enough for me. The 4K would also be nice for re-framing and keyframing in post, a handy tool especially for music videos.
Playback of RAW files would help out big time too, as I work mostly with clients who usually and understandably want to view the shots after each take.
Honestly, checking out this particular BMPCC 4K user's work was enough to convince me. This is exactly the kind of cinematic look I want to achieve:
LINK:https://www.youtube.com/watch?v=4TNsICAFPvg

@ngemu
Thank you! I used a Canon L 24-105 f4 lens for all of the shots, mounted on my Zhiyun Crane 2. I took advantage of the newly added vertigo mode through the latest firmware update. The Crane 2 is my favorite gimbal to pair with Magic Lantern, as you can fully use the follow focus wheel by just connecting the mini-USB from the the gimbal to the camera, no servo motor required.

@yourboylloyd
Thanks so much! I was impressed by the dynamic range as well! I had a Black Pro Mist 1/4 filter mounted too, just to soften the highlight rolloff, especially for the window shots.. I was also considering using the Dual ISO feature to pull even more dynamic range, but ultimately didn't want to sacrifice any more resolution than my already limited 1824x1026.

The image I can pull off with Magic Lantern, along with the ability to follow focus using just a mini USB cable for the Zhiyun Crane 2, are the main reasons I'm considering upgrading to 5D3 as opposed to a BMPCC 4K. Although i'm still teetering on the fence...

A music video I shot, directed, and edited for a local music artist. Wanted to experiment with double exposure techniques. Looking forward to using this technique in more advanced/tricker ways, now that I have a bit of rudimentary experience with it.

All shots were in 14-bit lossless using the crop_rec 3x3 build and in 1824x1026, except for 60fps slow motion shots which were in 1824x616.
Graded in DaVinci Resolve using Vision Color's DELTA LUT, and Filmconvert for grain and additional adjustments.

I recently DOP'd a short film using all MLV on Magic Lantern.
All shots were in 14-bit lossless using the crop_rec 3x3 build and in 1824x1026, except for 60fps slow motion shots which were in 1824x616.

Let me know what you guys think! I always value all fellow Magic Lantern users' opinions and want to get better at using it!

Hello everyone!

I shoot MLV with a 6D and edit using MLVFS and DaVinci Resolve, and have been experiencing an ongoing issue in some of my footage with white pixels around where I am guessing specular highlights would be present:


When I bring the same clip into MLVApp and turn bad pixel fix on, it solves the problem immediately, which is wonderful!
But when I am editing through DaVinci Resolve using MLVFS, even with Bad Pixel Fix set to Aggressive, the issue is still present.

I am just curious as to what causes this to happen in the first place? Is it just an inherent limitation of some sort on the 6D's part? Is this prone to happen on 5D3s as well? I have performed manual sensor cleaning but the problem still persists.

I would like to continue using MLVFS in conjunction with DaVinci Resolve, as it is really convenient for quick edits, but am unsure of the solution to this.

Did you have any artifacting, skipped frames, Magic Lantern freezing on you, or tons of moire with it?

What's your max iso shot at?

How's the noise and grain?

Shooting at 14-bit lossless, I did not experience any artifacting or skipped frames, nor did it freeze on me. And this is with using the pretty much automatic modified module by Danne: (Link: https://drive.google.com/file/d/1SJHrA75UXobTzBcsEY3lqbHxhNdoksPb/view?usp=sharing)

Moire was pretty minimal/non-existant, as I have the VAF-6D Optical Anti-Aliasing Filter installed over my sensor.

I shot at 6400 ISO at the highest, but I believe I stuck with 800-1600 ISO for most of the shots. Definitely got noisy once you shoot at 6400, but I removed most of it using the Neat Video plugin, and then added intentional film grain using FilmConvert.

Amazing stuff! I absolutely love the look 18 seconds in. Did you use a particular LUT for that?

Yes ! I will make a post with a bit of BTS about the workflow and I will answer you that during the week-end.

Amazing video! I too would like to know more about your workflow - I love the filmic aesthetic.

That guy is really lyrical!

Those shots were pretty good. Were you on a stabilizer? Handheld? Gimbal?

Did you use Adobe After Effects or Resolve to edit the shots?

Thanks, @yourboylloyd! All shots were on a Zhiyun Crane 2. All editing and effects were done in DaVinci Resolve.