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Happy to finally share this.

Shot just before the 4k updates came out. I used 50p 3x3 binning to produce a 1920x672 image that does not require stretching. I then scaled this up slightly to fit a 2.35:1 frame.

12-bit RAW. 1.1.3. Got around 21 seconds. Mostly Canon lenses. Graded in Resolve using FilmConvert.

Any questions drop a comment.

Pretty straightforward setup here, just a 5D3 on 123 recording standard 1080p 14-bit (nonlossless) RAW at 25p. 100m macro (the cheap one - not the L), and a Rhino Slider. One light and some black material.

Nationwide UK brand commercial web project for social media.

http://vimeo.com/200548253

Hello, has anyone got any tips for converting 12bit MLV (as well as 50/60p 3x3) to DNG?

Canon 5D3 1.1.3

Anyone researched and found an optimal method? Preferably mac friendly.

So I have a Canon RC-6 and been experimenting using it as a record trigger on my rig.

I can get it to start / stop H264 no problem by mapping the record button to the shutter button.

With raw, I can get it to start no problem. But I cannot get it to stop recording. Not even pressing the button on the back of the camera will stop, the camera just keeps rolling.

Any ideas?

Anyone have any suggestions for a compact on-camera microphone setup?

Currently I use a Rode NTG-2, Sound Devices Mix Pre-D, but all this is a bit much for a handheld setup.

Any really good compact shotgun style mics that play well with the (mediocre) preamp in the 5d3?

Has anyone else noticed a slight shift on different 5dm3 sensors?

I recently shot a project with 3 different 5d3's. One is noticeably more magenta than the others.

WB and tints were all identical.

Is there a device out there which will remotely start / stop RAW recording? Like a cabled remote shutter?

Just putting together my doc-style rig and would love to mount a start / stop button on a handle.

Some more tests using this lens (nothing too exciting but a great location)

According to Canon rumours, this camera is out there in the wild being beta tested already.

As soon as it hits the stores, what needs to happen in order for it to be in the hands of ML Devs?

Do we need to set up a fund in order to buy a unit? I would gladly donate to support.

Canon 5d3, adapted Leica Summilux E55 50mm f1.4
Magic Lantern RAW @ 37fps.

Canon Menu 30p
FPS override 37fps
Conformed to 23.976
Gets you about 9 seconds of Raw without any stretching.

Until now I've been shooting on Canon L glass (24-70, 24-105, 16-35, 70-200 etc).

Just wondered if anyone has been experimenting with Leica-R, Contax or Zeiss primes?

I've just bought a Summilux-R 50mm 1.4, but I'm waiting on an adapter.

Would be interested to see this combo in action. Show me your work!

Thanks

Shot this on my tod using a 5d3 and a 24-105 (mostly). Any questions, let me know
EDIT: Apologies, I put this in the wrong section of the forum, if someone could move it to the "share your work" bit that would be cool.

Guessing this is some kind of april fools?

Hope you enjoy! 

5d3, 24-105 f4 IS, 70-200 f2.8 II IS
Used crop mode a fair bit.
Sound was a Senny G3 into a Sound Devices MixPre-D, Zoom H4n
Graded in FilmConvert

I mean without luscious golden hours, the South African Cape, etc.. Just two cheap PixaPro Litebank 455's and Magic Lantern Raw.

Real easy colour method - DNG's into Resolve, set to normal BMD film, timeline Node is Film Covert 5207 Vis 3 - Film Convert camera profile is Resolve ML RAW BMD Film M1.

Then 90% of my grading is literally done with the Resolve Camera Raw controls (sharpening at 25-30%, shadows lifted 30%, highlights down). Be meticulous with your white balance and voila.

Sent the sound over to my mixer guy, put that straight into resolve, exported straight from there. Re-encoded to H264 using Adobe Media Encoder.

Mostly 5d3 Raw - there's a cheeky bit of 7D raw thrown in on the male third angle.

Anyone else come across the issue if you record a clip and within the same minute you switch card and record another clip you get duplicate file names?

Is there another option for naming convention other than DD-HHMM ?

You can vote for mine here:
http://filmconvert.com/Competition_2015/Video.aspx?id=1077&order_by=votes&filter

I shot this as a wedding gift. I was also a groomsman on the day, so running double duties. I wanted to see what I could do with just a 5d3, a 70-200 and ML Raw.

My friends wedding (I was a groomsman) -  shot handheld with just ML RAW on the 5d3 and (mostly) the 70-200 II 2.8 IS

A bit of a mix of 5d3 RAW (80%), 5D3 ProRes (15%) and 7d H264 (5%), but all shot with the help of ML

I used to go by the full histogram, I would quite often underexpose, but more recently I've been setting my Zebras to 'Raw Zebras' and exposing so that I hit just under these (I still let specular highlights blow out).

This method looks over exposed on the monitor, but I can get a lovely clean image by reducing exposure in Resolve by around -1.5. Highlights are still preserved and noise in the shadows is reduced.

I'm open to ideas though - how do you expose for RAW?

5Dm3, MLV @ 2:1 ratio (stretched becomes 1920x960) @ 50fps
Canon 70-200 2.8 IS L II

Coloured in Davinci Resolve using Film Convert (not a lot of tweaking here, just some basic profiles and primaries). De-noised using Neat Video.

Nothing too out of the ordinary here. 5d3 shooting mlv mostly at 24fps, think there's one 60fps shot in there, Came high CRI lighting, 70-200 2.8 ii, 100mm macro, coloured using resolve and film convert.

Info in the Vimeo description. Any questions, please fire away.

I recently bought a 64gb 1066x Lexar CF for raw video and I've noticed a few corrupted frames which I have never seen on my two 32gb Lexar 1000x cards.

Is there a way to test the card? Similar to a sector test on a HDD? If it's a bad card I'd like to know so I can RMA it..

Many thanks!

Wasn't as bad as I had anticipated. Got the whole thing turned around in 48 hours.

Had a NextoDI in my pocket the whole time, shooting on two cards.
5D III shooting MLV
Some 50p, some 23.976
Didn't really work on any grade, just used my Cinelog -> Koji Log method and adjusted exp and WB. Nothing more to speak of.
Oh yeah and I even pushed the camera to ISO 6400 in some shots - cleaned up great in Neat Video. I applied Neat Video right after the Cinelog (before Koji) so the noise was really apparent to NV.

I know, not the most thrilling content in the world! But shot entirely with two 5D3's shooting entirely in raw at 23.976

Lenses: Canon 17 and 24mm TSE, Canon 70-200 2.8, Canon 24-70 2.8, Canon 100mm Macro

Post:
RawMagic
Edited in PP CC 2014 (directly with the DNGs, no round tripping or proxies)
Davinci Resolve 11 for the grade
Cinelog to get the DNGS into an Alexa-like flat space
Koji Film Emulation
Grade was a little hasty

I've just posted some of my initial findings to my blog. The long and short is - it works better if you combine it with Cinelog!
http://www.paulbeauchamp.co.uk/blog/2014/10/15/pairing-magic-lantern-raw-with-koji-color

Did a few tests using Neat Video (Resolve OFX version) on some RAW footage (see this thread to see the full feature videohttp://www.magiclantern.fm/forum/index.php?topic=13571.0)

As with all grading processes, something we want to boost gamma or not crush the shadows - but there's noise there. Neat video does an incredible job of letting me grade exactly how I want, without having to worry about the resulting noise. It does a fantastic job for ML raw video.

For me and my workflow, its an essential plugin.

Ever gone on a trip and only had room for one lens? Well I was torn between a 24-70 2.8 and the Sigma 35mm 1.4 Art.. No IS on either, but I knew shooting 50p and having a steady hand should help that (I wasn't taking a tripod either).

Shot entirely in RAW on the 5D III in 50p (1920x508 stretched to 1920x818 in DR)
Kit: 5D III, Sigma 35mm 1.4 Art, 2x 32gb Lexar 1000x, NEXTO DI
Post: RAWMagic, Davinci Resolve 11, PPCC2014, Osiris, Impulz, Neat Video, Film Convert

Music: Under Streetlights - Brooke Annibale

So recently I've been shooting with an FS700 on a friends Odyssey 7Q. It's made me realise the importance of monitoring in rec709 (as well as looking at waveforms) to really nail exposure when shooting in a log format.

So it got me thinking about shooting raw on the 5D and the importance of the picture profile settings and the role they play in referencing what the camera is seeing.

What picture profile do you monitor in when shooting raw? Is there a picture profile that's as close to a rec709 as can be?

Just a bit of a test while me and my girlfriend were on a bit of a road trip. Grading is pretty rough.

5D III
RAW 50p 1920 x 508 stretched to 1920 x 818
Davinci Resolve 11
Cinelog 2.0
FilmConvert

Password is 'icecream'


- 5D III, 1.2.3fw, ML, Nightly from 22nd April 2014
- Glass: 70-200 f2.8 Canon, 17-40 f4 Canon, 34mm f1.4 Sigma
- Canon Menu: PAL, 24fps, ALL-I
- ML Menu: FPS Override 38fps
- Lexar 1000x
- Pic profile: Flaat_10
- Grade: Film convert standalone
- Edit: Premiere Pro CC
- Music: LJones

I had a few frame skips here and there. It's not 100% perfect. It did give me plenty to edit with though.

I do apologise if a thread on this already exists, I did do some searching, but couldn't really find what I was looking for..

I have seen some users getting incredible data rates on their MKIII's using spanning. For example I came across this video yesterday. The user claims to get almost 30 seconds at 2560 x 1090

https://www.youtube.com/watch?v=-OCfxhykqNc

I'd like to experiment with 2.5k RAW at this resolution - currently I have a couple of 32gb Lexar 1000x compact flash cards, I'm looking for a SD card to complement for spanning. I did see this Komputerbay one today for a good price - http://www.hotukdeals.com/deals/komputerbay-128gb-sdxc-secure-digital-extended-capacity-speed-class-10-600x-uhs-1924572

So, some questions..

1. What is the max write speed on the SD card controller on the 5D III? Is a 90mb write (same at the Komputerbay card above) already over the limit? Or can I look for something even higher?

2. How are these spanned files correctly joined together to create a DNG sequence after recording?

3. Have you been using spanning to get high data rates? What have you found compared to recording normal MLV to a single CF card?

Many thanks to everyone!

-5D II
-MLV RAW
-Davinci Resolve
-Cinelog Luts
-Premiere Pro CC
-Filmconvert

Any questions feel free to ask. Was a bit of a rushed shoot with minimal lighting, locations weren't great either but hey!

Any feedback greatly appreciated.

I know theres a bit of aliasing here and there - I need to get my hands on a 5d III !!

So I ate up 5 32gb Lexar 1000x cards on this particular shoot.

I only had two cards, so when one was full I simply copied the RAW files to a HDD while I kept shooting on the other card.

All of the files from one of the dumps seem to report as 0 Size, 0 Frames in RAWMagic. However the RAW files are a healthy size and there's a full 31.96gb of data there.

raw2dng just spits out empty dng folders.

Any tips from you ML gurus?

Low Light test:

Another test: (more trying to figure out my Kamerar slider!)

I can see the limits of the 5D II now. The aliasing is a bit too much in some of these shots. Will have to save to get a 5D III!

I've been benchmarking quite a lot to compare cards / settings etc.

At the moment my Lexar 32gb 1000x can quite happily record at 74mb/s in my 5D II, however the benchmarks are only hitting around 62-64mb/s

I usually put the camera into video liveview (1920x1080 24fps), don't hit record or anything and then run the benchmark.

I don't think my results are accurate - what settings / how are you guys benchmarking?

So I've been having a few issues getting raw recording on my 5D II working.

I had a Komputerbay 1000x card, I'm now using a Transcend 1000x card.

Basic menu settings:
- Camera menus set to S JPEG
- Small hacks on
- Card warm up 64mb
- 960 x 436 (yep! even on these low resolutions, less than 20mbs, read on..)

Basically I can record for about three seconds before live view locks up. Sometimes the camera will stop recording, sometimes it will literally freeze up completely until I pull the battery (camera flashes 'busy' when I hold down the shutter button).

Sometimes I get this white bar on the right of the screen (I'm guessing that indicates the buffer usage?) which starts on one block and immediately fills up (which in turn stops the recording).

At the moment I'm on the latest *stable* build with the latest 14bit RAW module from this forum. Earlier I was on the latest nightly build, same problem.

If anyone can point me in the right direction or help me trouble shoot this, I'd be really grateful. I'm starting to fear my 5D MII which I bought second hand recently is a lemon..

Thanks in advance.