Messages

if you really need professional dslr for 4k video shooting, canon is totally out of the field. it's 4k video looks like 1080p quality. and it's follow the route as predecessor 5d3 when it shot 1080p, the quality looks like 720p in sony.

rather than waiting for ML to support 5d4, it is better to get the sony one as it has already got overexposure zebra, focus peaking, sharper nicer video and much more.

I mean no disrespect but anyone considering a 5D4 over a Sony should disregard Clement2's comment as his/her statement is in many ways misleading and incorrect. For some reason Sony shooters have an insecurity that pushes them to lurk and pop into Canon discussions so they can boast about how they jumped ship and why we should too -but truth be told there is no one camera that is better than the other, they all have flaws and it really comes down to preference. A camera is only a tool and those who understand the limitations of their tools will know how to work with them to get the most out of it.

I have been shooting on both the A7sii and FS5 for just over a year now. I also picked up the 5D4 to replace my 5D3 when it came out, so speaking from personal experience I can confidently say the 5D4 is a huge improvement on its predecessor and it has many advantages over the Sony cameras many people love. The 4k mjpeg codec is heavy but I have been very pleased with the range it gives in post both for colour and for cropping/resizing as the image is consistently clean and beautiful. It goes without saying, it does not have the perks of raw recording and I definitely miss the other ML functions. Despite that, the 5D4 is tack sharp in 1080p 24/30/60 and 4K modes, and yes the 720 is slightly softer (as I expected). The camera also records 120fps in 720p with a surprisingly high bit rate (150mbps if memory serves me right) that hardly shows any artefacts (if any) and prevents the image from from falling apart in post. Looking at images from the two cameras side by side leads me to believe that the Sony is also recording 120fps at 720p but upscaling it internally to give the impression that it's reaching higher specs than it's competitors. It's also worth noting that the Sony's mentioned here both shoot UHD 4k and not true 4k, which means they're shooting 3840x2160 instead of 496x2160 like the Canon. Now, the biggest downfall to Canon's flagship DSLR is that the 4k recording suffers heavily from rolling shutter (as does the A7sii) and the 5D switches to a 1.74x crop mode to do it, which for many shooters is a disappointment because we've been spoiled by the shallow dof of full frame video for the last few years. However, that being said 1.74x crop is very close to Super 35 and I personally haven't found this to be a negative but a positive because a good dp/videographer will know which lenses to use to achieve the desired results and I actually appreciate gaining that extra reach out of all of my lenses. The only other downfall of the 5D4 is that the only way to achieve an s-log look is with Eoshd's reverse engineered c-log picture profile which I haven't really put through all it's paces but on first glance looks very promising. Apart from those few minor weaknesses, the 5D4 doesn't look like it at first but it is a hell of a camera and a welcomed upgrade to anyone who didn't jump on the Sony bandwagon.

A side note is that for those who prefer an easier workflow, the 5D4 blows the Sony's out of the water from the on set accessories right through post production. To elaborate on that, most Sony lens options are disappointing and have electronic zooms or focus rings which make follow focus rings unusable as the rings change their marks depending on how fast or slowly you move them. So most people will pick up a Metabones or Fotodiox adapter to fit EF or other third party lenses which means you lose AF functionality and depending on the lens, 1 out of 20 times the body doesn't read the lens properly so you need to power down, remove the lens, power back up and this becomes very annoying when you're on a high stress shoot (not to mention the tiny A7sii batteries which barely last around 30-40mins at a time so you need to bring a bunch or have a charging station handy). Also for those of you who haven't yet had the opportunity to shoot on a Sony, every time you format a the card, the file system re-starts the next shot at 0001.mp4, 0002.mp4 all over again, which means you need to batch rename your clips before editing or you'll have a hell of a time reconnecting a project in post if you move it from drive to drive because you run the risk of having duplicate file names in the same bin. The only way the Sony sensors retain their highlights (which I have to say, they do very, very, very well!) is by shooting in s-log 3 which means the base iso jumps up to 1600 and 3200 on the A7sii and the fs5 respectively. This higher iso necessitates the use of ND filters both indoors and outdoors depending on your lighting scenario and ND filters from brand to brand have different hues than the internal variable ND in the FS5 so when you get to the colouring stage of post production, not only is there already a big learning curve for slog3 colouring but if you mix cameras or use ND filters on your lenses, the blacks can vary in hue making colouring even more difficult. Meanwhile the Canon sensor retains all iso options and is clean for video well up until 6400 which I don't think I've ever really shot past on a Sony and been happy with the results, so for low light performance the Canon's are on par (for my needs, at least). The 5D4 also outputs natural colours and skin tones which many users will find familiar and easy to correction/grade, keeping the post prod workflow simple.

All this to say, I'm excited and eager to see if ML ever comes to the 5D4, the team here has done a wonderful job and the feature I miss the most is the magic zoom! Please guys, give us some updates on a nightly!

Thanks, A1ex! I'll test it out asap.

How did you set resolution in mlv_rec properties ? It was 1920x ??

I didn't use mlv, I used the regular ML raw. You can set aspect ratio and sizes in the raw settings tab.

Skate videos aren't really my thing but the slow mo and the eye for a good frame really made this great. Awesome job.

I love this, man! Great work 

Thanks for the kind words, guys! It's funny because I've had some mixed reactions from some people who critiqued it as a "skateboard video" and that's okay because what started out as another ML raw test video, turned into an exercise in filming and ultimately a summer long personal project. I was merely fortunate enough to have a couple friends who could land some decent tricks and through them I was able to cut together a bit of a story. For future and fellow ML users, I hope people consider this video to be another example of what can be done with ML, despite how finicky the workflow can be, it certainly renders some beautiful results. After having worked with it for so long now, I'm finally at the point where I would put my full faith in it as a stable medium for day-to-day professional use.

One of my favourite shots and examples of how awesome ML is, is the shot at 1:43, it's a fisheye shot where to properly expose for Baylan I had to blow out the sky but in Resolve I was able to save the highlights bringing back the blue sky and clouds. I remember, it was at that moment that I said to myself "whoa, this is as good as a .CR2!" and fully appreciated the dynamic range of the 5D's raw video (thank you A1ex & company!!!! Keep up the great work!!!).

Just thought I'd drop a line here, I've finally got Full Res Silent pics working, it's a great way to maintain the use of my 5Dmkiii (which has a broken shutter) for more than just video.

I'm going to try spend some time playing around with it over the next few weeks and see how stable/useable it is. 

Thanks!

Hey guys,

I spent part of the summer playing around with the slowmo raw at 48fps on the 5Dmkiii, here's are the results if anyone wanted to see how it cuts with the Red One (spoiler, the 5Dmkiii raw shots are noticeably cleaner and sharper!). There's only a couple shots that are 24fps.

Tech specs: Shot at 2:35 aspect ratio, so the footage needed to be stretched in post, despite which, they're still incredibly sharper and more usable than the native 720 60p. In many shots the bottom row or two of pixels would do weird things (like not line up properly with the row of pixels above it or compress poorly, so some shots are also zoomed in 1.010x to crop that garbage out.

Workflow was Raw files to DNG with RawMagicLite, imported directly to Resolve 11, where it was cut, color graded and exported direct to H.264 for upload to Vimeo.

Does anyone still have a build with full-res silent picture mode? Or can anyone clarify as to which build still has it?

I know Audionut was removing them as it's possibly too unstable or dangerous but I have a 5Dmk3 with a broken shutter, so I'm really hoping to get my hands on the Full res mode and help test it as much as I can, if the community would benefit from it.

Hey guys, I just tested the Aug 2nd release and for some reason none of my .RAW files would convert. I tried with both Raw2Dng and with RawMagic. Raw2Dng gave me an error saying something about no such directory and RawMagic simply crashed repeatedly. I thought maybe I had messed up the naming of the root folders when dumping the card onto my hard drive and that perhaps that could've been the reason the .RAW files weren't converting, so I tried dumping them a couple of times and I even tried to convert directly via my USB 2.0 card reader and it didn't make a difference. So I went back and did a quick test with an older build (june 2nd I believe) and it worked perfectly fine. So yeah.. something is up with this latest one.

Just wanted to say thanks, I'm testing out the alpha 3 on my 5dmk3 right now and it seems to be working great! I think later this week I'll head out and do some more strenuous tests!