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I don't really consider the lack of mirror drop a problem. I only use the 600D for video, so I never need the mirror, the box can stay jammed up for all I care, it functions perfectly as the tool i need it to be.

I did use the TXi filter with a 550D too, and oddly enough it used to error all the time with filter in, getting annoyed and ERRor locking up with the TXi filter in place

The 600D doesn't care about it and has been rock solid.

I can't see how the mirror physically could drop down with it in place though, as the top of the filter rests against the  bottom of the mirror, how can the mirror drop down in either model unless it isn't fitted correctly?

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Back on subject, all i meant is since the filter is designed to cut the 18MP full sensor to 1080p precisely, any other type of cropping or scaling of the sensor won't benefit from the TXi filter. Only cropping from that 1080p feed with those same lines skipped.

For example, 720p scaled from the full sensor is aliased. So if raw mode is cutting a crop from the 1080p image, scaled from the sensor then it'll work, otherwise it'll look different, but not anti aliased. At least that's what I gather. But I can just test it soon.

If properly fitted in 1080p mode though, it's quite brilliant.

Heh, the old builds I think had sraw + slice.. in theory the most free memory should be in sraw.. so does recording time go up @ slice 87?

New builds still need this, will have to see.. also have to put combine dialog timer hack + slice + sraw memory.. I'm assuming this combination might be good.

I've missed a bit of development recently so I'll need to look up what sRaw is... I'll trawl some threads...

[It is awesome.]

Just to let you know I actually have the Mosaic Engineering filter mentioned earlier permanently installed in the 600D

It is awesome.

It only works for 1080p mode, or anything cropped out of 1080p view, as it were, so I'm not sure how it'd work with RAW.

If the RAW streams are taken from the camera set to 1080p mode it should work. I can test with the latest build if you can point me there.

It's brilliant with the boosted bitrate and I-frame from the other thread though. at 150mbps with the filter there's amazing detail, and ISO 6400 cleans up like you wouldn't believe!

The removal of false detail and aliasing makes the whole encoding process more efficient. It's still not razor sharp, but it's like 16mm film with the right picture profile (VisionColor or similar).

Do these RAW hack builds have the GOP/bitrate adjustments from the other thread in them too? That's about to be daily use for me so I don't want to lose it...

I did try the raw mode, and it is wonderful for dynamic range and colour, but obviously at such reduced resolution and sensor crop it's quite a compromise. Damn that little buffer.

I'll definitely keep a close eye on it and keep testing it though, and have a trawl back through this thread to find some more H264 settings...

I found that GOP1 and all the way down on the Q-scale gives good high bitrate.

Noise can be removed easily and motion is nice. I didn't touch any of the other settings.

I'm curious as to how a consistently higher rate can be squeezed out though, but obviously beyond a point the detail isn't there, so for now this seems reliable, good and has sound.

Any other tips out there for solid I-frame?

Ah yes I found Tragic Lantern.

I'm mainly interested in getting an I-frame (GOP1) with sound, so I'll fiddle about

As far as I can see GOP1 with CBR 2.3 or so should be good results? Do I need to change slice in order to get sound too though?

On the 550D I could do about 2.8 with no sound, but I'd like I-frame and sound if possible...

I shall experiment.

raw would be wonderful but current limitation make it impracticable i think.

If the data to the buffer could be cute (maybe 10-bit raw?) it'd become more practical, but for now it's H264 and the mosaic engineering anti-aliasing filter...

That filter makes the bitrate increases a lot more meaningful as far as I've been able to determine... the data isn't soaked up by false detail from aliasing.

I know most of the dev time seems to now be on raw modes, but did the 600D I frame mode ever reach a stable build that one can use to shoot with?

I'm keen to try it, but is it available in friendly form for shooting?

550D. I'll trade up for a 600D if the Magic Lantern I-frame hacks are reliable.

Something I've not quite grasped: what stage are picture profiles applied at? I'm looking for a way to get optimum bitrate for 4:0:0, that is to say, black and white. Would an All-|I hack and monochrome picture profile be the best way?

Hmm that's maths o'clock. I'd say 1056mm (relative to 135 full frame), as it's 200mm * (1.6*3.3)... give it a test!

It's a huge crop, good for super tele! I'd have thought the noise grains will be much larger. Given the deeper DOF aesthetic it could be useful for certain shots with that Tokina.

If you're used to thinking in Super 35 or APS-C anyway (as I am), its 660mm.

Everyone talks in terms of the 1.6 crop for APS-C, but that's only relevant if you think in terms of photographic full frame. Standard movie film has always been a different world (in general), it's only recently that Super 35 has been talked of as cropped! I think of 135 frame (5D etc.) as oversized... 

Ah well, I wanted to get a 600D for the flip out screen anyway

It Will probably work on any camera but you will probably be stuck with a low video duration

So will this be permanent, or do other bodies like 550D just need some specific code?

Dunno if this article on deblocking is useful to any of the smart lads here, but I found it interesting: http://x264dev.multimedia.cx/archives/443

Also, noise that is harder edged is easier to remove in the denoising part of post-production. If you smear codec and ISO noise noise into the image at encoding, the result is actually a less-pleasing image once the production is complete, since denoising is a mandatory part of most post -production workflows, whether it be Neat Video, DaVinci Resolve, Denoiser II etc...

In other words, if all-I has slightly sharper noise, it will have two benefits for film workflow: the film-like motion cadence, and sharp noise that can more easily be detected and removed than noise which is blurred into an image at the encoder stage.

Thanks for the GOP3 and I-frame example. IMHO I-frame always has a more film-like cadence to movement, it just feels nicer. It should do though, since frames of celluloid don't predict one another Even if it's a little blockier, I feel it's better to have no prediction smear between frames.

Is there anything I can test with 550D? I'd like to push it with some low light and human subjects... i mean victims! 

mwooohahahaha!

Perhaps it takes some processor grunt to thread the two together in the MOV, so disabling it altogether frees up a lot of cycles for video encoding. just a guess though

Also, I'm interested to see if other Profile levels can be used. I see that Canons are using the Baseline profile in H264, I wonder if the two levels above this, Main and High, are available to the EOS hardware encoder?

If so, the video quality for a given bit rate should increase remarkably, as should the power required to decode the video in real time. While the latter is negligible in production terms, the former could be quite wonderful, if indeed alternative profiles are both accessible and effective.

A bit of film maker feedback here

I've been using CBR2.8 mode for promo shoots, it's great, at high ISO settings in real-world situation I can remove much more noise in post, as said noise not so compressed mushed into the image. Thanks, it's amazing to use so far.

With regard to GOP, I and most of those I know would always choose an I-frame option if available. There does seem to be a subtle aesthetic difference between long GOP codecs and those that compress individual frames. Also from the point of view of buffer over-runs, it sounds quite practical to simply set GOP to one (I-frame) a d then pump the bitrate to around the peak speed of the camera writer. Card space is no longer the issue really, it's just getting the best quality we can, and it seems that's on the way now!

If you can make a unified for this I'll poke around a bit, though I'm no coder I have quite an intuition for such things