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This one and this one

Great, thanks!

Sorry for my ignorance, I have been plowing through all the RAW posts lately and kinda missed on this amazing feature, could you provide a link to a thread with more info on how to use it, I have been searching the forum but have been unable to find something more specific. Tomorrow I have a still photo assignment and would love to take it for a spin!

Horray! A video that is of something other than moss This is stunning dude well done. As is the rest of your work! What res did you  shoot this with by the way? Nice to see you don't have such a massive deal with moire and aliasing with this. Yeah it's there in places but the water and sand for example I would expect to be horrific!

Ps. You ever need a hand shooting dream villas - you got my number right?

Thanks a lot, feels really good to hear that! I mostly shot it in 1720 at 2.35:1 aspect ratio, some shorter scenes at 1880x800 (my card doesn't hold up for long at this res., probably no more then 400 frames, for now it is just more 'comfortable' to shoot at 1720...) The moire is there, in some scenes I used the moire filter in ACR, applied it to the entire image and imported two layers, one with moire and one without and then masked only the affected parts, key-framing the mask later in order to animate it... not ideal but it is a workaround. The weird thing is that the moire didn't appear as much in the areas I actually expected it to be, but rather in some irregular patterns like the foliage of trees, etc...
Unexpectedly I found the aliasing a more sever issue to deal with, I had to discard a scene that had a power line running through the sky, it really looked like coming out of a video game from the 80s... completely unfix-able!
Ps.: if you ever happen to hang around East Africa, give me a shout and consider it a deal!

Well done! Just to know, how have you expose for the sun and sky? Have you over- or underexpose to get it right?

Thanks! Not in this case; that shot was simply shot right at the sun, what you see is the full dynamic Range the DNG's provide, we only used the ISO shifting over / under exposure (HDR video) function for the bath tub scene.

Here it is, the first completed project in Magic Lantern RAW on our trusty 5D2. While everyone is saying the alpha of the hack should be used with precaution and not for serious work, it was just too hard to resist.
The workflow is labor intensive but has it's very own charm, as the only CF card capable of at least some RAW recording we currently own is a SanDisk 16GB 60/mbs we basically had to be dumping the footage after every 4.3 minutes we recorded onto a Laptop (+- 15 minutes to download the files, changing film reels must have been faster...). We shot everything in 1880 or 1720 horizontal resolution and the 2.35:1 aspect ratio, graded in ACR, upscaled to 1920 in AE and rendered into cineform with a subtle layer of fine 35mm film grain for a more organic look (gorilla grain if anyone cares), it took forever to get it all down to a managable size in the cineform codec but it made the editing experience so much better then with traditional h.264.
The bathroom scene required even more dynamic range then the 14 bit DNG's could provide and gave us the chance to test the Magic Lantern HDR video function in RAW mode, surprisingly the SNS HDR workflow introduced quite a bit of flicker (some of it even completely withstanding the Sapphire flicker remove filter) while it normally renders almost flicker free results of whatever you throw at it (even Day to night timelapses shot in AV mode...)
Big thanks to all ML developers

I finally managed to get my first real world project done in RAW (just in time cause my dogs were getting really tired of me following them around with the camera ever since the silent pics RAW burst mode came out) thanks to all the Developers, donation is on the way as soon as we get the paycheck!

Thanks for laying this out, there are some really nice tips there and although I was generally familiar with most of it I actually learned quite a bit from your explanation.
I am just finishing a (my first) RAW project and decided to turn my usual h.264 workflow upside down by grading first in ACR, then up scaling and adding grain in AE and render it into cineform clips.
I shot the stuff for a day on Tuesday and today is Saturday and I am just finishing rendering the cineform clips... so not the ideal way of doing things if you are in a hurry, I look forward to editing the cineform clips though, they edit really fast and nicely in Premiere and since essentially all the grading is done I won't have to apply tons of effects making this part a bit easier at least.
Thanks again for all the work you guys are doing! 

i have check in to that,there is  Camera Profiles under the Camera Calibration Tab
whether they are Canon profiles i'm not sure, but it dose list the Profiles you would see
on the 5D2.
As listed: Embedded ? this could be third Party
               Adobe Standard
               Camera Faithful
               Camera Landscape
               Camera Neutral
               Camera Portrait
               Camera Standard
               (But no third party profile, Technicolor CineStyle)

i did switch between the profiles and it dose change the image
i will have to Work with this and see if the embedded is the third party
Picture profiles, i'm very use to using  Technicolor CineStyle Profile for H264
but in Raw its total different image , and that what i having problems with
it very robust, Not flat and desaturated like CineStyle.

             

If you like playing with picture styles, you may like this: http://cinescopophilia.com/download-the-vw-158-canon-dslr-picture-styles-picture-profiles/
Some of the film emulations are pretty cool, that said, I have hardly ever used any of them for serious work, the fun is in creating your own look matching each image, especially now with the RAW capabilities!

For some reason I can't get the black overlays to work, what could I be doing wrong?

For those curious to know about the rolling shutter "bendy thingy" in raw dng mode, I made this test with 2 cameras camparing raw video vs h264.

Since I only have one 5D2 and a 7D, I shot them first both at H264 to create a baseline behavior.
If both have similar behavior in h264, then I can use the 7D to do a side by side with the 5D recording raw while the 7D at h264.

You can draw your own conclusions.

Thanks for posting this Ted,
IMO rolling shutter is so bad in all of them; it probably will not even make a difference if RAW or not... or I'd have to compare it looking at freeze frames, but heck; if its that bad on h.264 anyway why not just stick to RAW and enjoy all the other benefits!

Strange... what built are you using? I used a.d.'s 20.05 built yesterday to shoot a time lapse and all images are 1880x1250...

Is the 1880 limitation placed in ML simply because going higher drops too many frames?
If yes, shouldn't it be easy to put a version out that allows us to select all the resolutions, even if it's too slow, just so we can experiment?

I'm still not understanding this anamorphic crop thing - with a true 2.35:1 anamorphic lens, can we record the full pic in 1080 x X?

I keep hearing about cropping. 16:9 cropped to 2.35:1 is NOT anamorphic, it's just less of a 16:9 image.
A true anamorphic picture should take up the entire frame and be vertically stretched, to later be squeezed into the common
letterbox when displayed on 4:3 or with lesser bars when displayed 16:9. Either way, the aspect ratio of true anamorphic
shows way more horizontally than a cropped 16:9 image. I understand I'm stating the obvious, just want clarification.
It seems people are saying you can shoot 1920x(insert various vertical resolutions here which are less than 1080) with anamorph.
I am wondering if this results in true anamorphic shot or a cropped 16:9?

Plan on posting some tests as soon as I order my 1000x, am still unable to do anything without a proper card.

Thanks!

I guess a lot of people mean the cinemascope aspect ration when they say anamorphic, the custom resolution function however enables you to shoot at a 4:3 aspect ratio (or whatever fits your lens) meaning that you can use anamorphic lenses in order to achieve 2.35, here is a good hands on post on the subject by Andrew Reid: http://www.eoshd.com/content/10450/2-5k-cinemascope-anamorphic-raw-on-the-5d-mark-iii
I personally love this aspect ratio because of the way the image is composed within the wide rectangle, I'd of course love to use true anamorphic lenses to achieve it, for now I do not own any though and I happily accept cropping away some resolution as a trade off to not achieving enough speed with the cards I currently own... 

Is there anyway for Magic Lantern to 'crop' the sensor when capturing raw? This would eliminate the line skipping ergo moire (I think, I'm not an expert on this) ... Yes, you would lose the 5D's full frame aesthetic and would have to use wider lenses for the same FOV, but it'd be a very interesting experiment.

This is already working, just use the zoom button in live view and you can record a 1920 x whatever you choose 1:1 crop

Thanks a lot for posting this! It must have been tough to convince everyone to do it all twice 
The h.264 looks very saturated right out of the box, are you using the standard picture profile? Also the sky is blown out even on the RAW version, thus the only advantage I see is the increased detail at the cost of moire and aliasing, I didn't watch it in HD (probably should have) but I know most people (consumers) won't do it either, thus for a project like this I see no advantage in RAW, if you wouldn't have labelled it I would have had a hard time telling what is what...
thanks again for sharing!

You're welcome,

for your added info on the importance of adding a VAF filter to the 5d2 for serious work here are two tests I did:

2nd test, charts are at the near end:

I can only second that, I was out yesterday doing some tests and while the color and dynamic range is amazing the aliasing and moire is beyond anything acceptable, also I blew my load in no time as I only had a 16gb card with acceptable speed, therefore to me it looks like if I want to use this on the job I'll need at least 4x 1000x64gb cards and the VAF filter, meaning it is a 1000$+ investment to turn the 5D2 into a RAW camera that won't do full HD at least for now; the BMCPC juts started looking attractive again! But it has always been my intention to hold on to my 5D2 in any case, there is some sort of sentimental relationship... 

How can I specify my own RAW resolution other than the prefixed ones?

I would like to try out some for my Iscorama 1.5x Anamorphic´s.

Why don't you try something like 1280x1080? Should give you 1920x1080... or 1440x1080 for a 2:1 ratio at 2160x1080 unsqueezed?

I think I really like 1720x720, it just gave me over a minute and a half of almost perfect cinemascope aspect ratio footage, and I think this is easily upscaled to 1920x840 and will probably still look pretty good, I guess it is time to go out and finally shoot something with this!

I have just played with a.d.'s May 17th build and was very impressed, the features are showing up at an incredible speed!
The additional resolutions are a killer! 1600x840 seemed to work continuously without filling the buffer of a SanDisk 16gb 60mb/s card, strangely in the beginning 1880x720 would only give me 61 frames, after doing some other tests and running benchmarks it gave me 349 frames, it almost seemed as if the card first needed to warm up...other then that I can't understand the differnece in performance

First of all thank you ML!
This is really beautiful!
Is it true that 5dmk3 doesn't have that moire/aliasing issues 5dmk2 has?

Anyone thinking of selling 5dmk2 to buy 5dmk3???

I am still hoping that buying a Mosaic Engineering filter will do the job...

Depending on the 5D2's hardware limits, full frame recording may not be feasible no matter how fast the CF card is. I've only seen a couple benchmarks of a 1000x card on a 5D2, but they've only reached about 65 MB/s which can get us up to 1880x840.

I'd be absolutely fine with that in terms of aspect ratio and resolution, I see the Moire as a far bigger problem compared to the 5DMIII

So we have to hope for a stable 1880x1250 or 1:1 RAW recording?

That or ultra shallow depth of field and staying away from the Zebras when out in the wild

Is anybody noticing artifacts such as moire or aliasing with the 5Dmk2?
I have the VAF-5D2 filter, and I tried a couple of shots without it, but it was a mess. All the test I did were made with the filter ON. But even with the filter there are some artifacts with hair and horizontal lines. Is it happening because of the 1280x720 crop?

I unfortunately do not own the VAF-5D2 and can only confirm that the moire gets so bad that at times it is beyond repair, it also appears in areas the h.264 would never show... I personally would not consider this for clients work without the filter because there may be surprises at the editing bay that could spoil the entire effort...

Want to trade with my problem? 



Started last night with my 5D Mark II, so shutter probably worn out. I was shooting 1/2000th pictures last weekend of Icelandic horses doing tölt, so that probably explains it ...

Ooops, I think you have just put an end to all my experiments, am going to wait for something more or less stable before moving on, I have already been having a clumsy feeling the last couple of days... what is your shutter count, mine is at 66k and I still need this thing to last!

Amazing work guys! Crossing fingers and hunting bugs, hoping that could help.

My first test - used 8 fps 2048x960 which gave me the bitrate of little under 30MB/s wihch is the  maximum of my card. Need to get a faster one soon! Amazing detail - shot at 5X with 100mm. I think that the magenta at the end is from uncomplete write (frame), so the frame skipping should be checked - it happens more often when I get closer to 30MB/s and almost disapear when I get under 20MB/s.

https://vimeo.com/66377811

Those black sea seagulls look way faster then the ones I have seen in other parts of the world