Messages

https://www.youtube.com/watch?v=SIsJc6qW0LE

This kind of footage can be shot by 5D3 ML easily.

https://www.youtube.com/watch?v=A3oSmiuluug

https://www.youtube.com/watch?v=-N9dnWXYCFw
4:47
https://vimeo.com/444943732?embedded=true&source=vimeo_logo&owner=28284687
by IDA ML

I actually like the EOS M footage. It is stunning to my eyes, even in 27 inch computer screen full mode.
This is not scientific. Because Youtube may have more severe compression. But you get a feeling, since Alexa is more about hdr and color science but not on resolution.

ML project does not support SD-to-CF adapters. If you have troubles (and there will be!) you are on your own.

If you go for cheaper CF: Komputerbay 1066x. 128 GB variety is somehow reasonable priced. 256 not. At least around here.

Thanks for the quick reply, Walter. Seems not able to save money here.

Right now Sandisk Extreme Pro 170 MB/s 256GB CF card is about 250 dollars, SD card is about 60 dollars, micro SD card is about 30 dollars.
Anyone here used microsd card to sd, microsd to sd to cf on 5D3? SD overclocking still performs normally?

Hm. Ok. So 650D or possibly 5D3.
Hopefully some test footage will be posted soon.
Fascinating developments. Exciting.

Better buy 700D over 650D, because Bil only has 700D. This means that 700D always has the latest dev. LOL.

no, had 2 hours of great dual [email protected] 14 bit lossless 2:20
beside first frame pink
had nothing but continues stunning raw video.


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Great news!
Now 5D3 in 3.5K super 35mm mode is no less than Arri Alex 35mm series.
Any one here knows if dual ISO on 5D3 in 5.7K 1x3 mode has flickering in bright area?

Why Most Movies Are Shot On Arri Cameras
https://www.youtube.com/watch?v=m0sWnfzUYmg
Reading the follow up comments is very interesting. Many experienced DP there.

"I have an Alex Mini LF and a red V raptor, Helium, C70, Blackmagic,Panny EVA1. The Alexa  might have been way above over the competition 5-8 years ago, today? Not  so much. The Alexa Look , besides the out of the box colors is this. Alexa digs deeper into the shadows. Whatever you shoot with Alexa tends to look HDR'ish. because the log curve digs into the shadows. As soon as you shoot something with any other camera and lift the shadows in post.  Boom! Looks almost identical to the Alexa. Red V raptor is Cleaner also. Faster, cheaper, more compact, lighter. The only difference is the out of the box colors.  Once you color correct every camera side by side? Alexa is nothing special."

"Alexa mini LF owner here, fortunately have been able to use just every digital cine camera from bmpcc6k (which I still own and use), and at least 8 different types of red cameras(komodo is valid) up to the Mini LF. Arri is truely the best camera company in the world.  If you don't believe me, shoot a project on Arri with cooke 1.8 anamorphic or any high end glass and watch your mind be blown. Here's a music video I shot with that setup https://www.youtube.com/watch?v=6PePIoe9eYI . It  can make our jobs seem too easy at times but allows room for extreme creativity and style."

"Sony Venice has wider gamut, dynamic range and noise that is far more like film (variations in size over luminance). But the Arri is far harder to mess up the settings, and the Sony menu is a mess. I.e. the transition to digital from film was easier with the Arri. It's easier to use, and harder to fruk up. I've posted over 100 features, and the Arri gets consistent results (I examine the metadata so I know what's been done in the settings by the dop). imo the Sony creates better image both in it's character and technical range, but is harder to learn how to use."

"The Sony Venice and especially the Venice 2 is absolutely beating out Arri even the Arri LF systems. Arri will always be considered an amazing camera system but they aren't adapting nearly as quickly as their competitors. We can't keep the Sony Venice on the shelf and have had DP's opt for the Venice 2 on major feature productions over Arri. Movies are no longer mostly shot on Arri cameras. Was this relevant 2 years ago, absolutely, but now the competition is getting too tight. Not to mention Panavision is still very popular and always was neck and neck with Arri."

Take home message: High end cameras are getting better and closer to each other now. Alexa still has an edge but not significant. 5D3 ML is getting there too. Once the realtime preview and the hdmi output is ported from 700D/650D by Bil the Great.

2h means 1TG footage? How long was the shooting session for this 2h footage? Did you experience the overheating due to sd card overclocking? What was the camera temperature? Did you buy all of the 2tg cf cards and sf cards? Will this take one to two weeks non-stopping pp computing time? Thanks.

Interestingly, compared with 10 bit footage, 14 bit 2k 1x1 AR 3-2 24 fps, when shooting with auto/manual ettr, and elevating exposure one stop in MLV App, the output is very nice, similar to alexa/amira's high key footage, the noise in the dark area is not apparent. So, 14 bit is actually better than 10 bit, when using ettr, may gain one to 2 stops dr. For 10 bit shooting, better avoid ettr, because much of the information pushed to the dark side is lost and not saved in raw files.
In this term, 14 bit 4.5k 1x3 with ettr and dual iso may have a dr of 16 stops, 12 stops from the 650d raw file, 1-2 stops from ettr, 2-3 stops from dual iso. This dr is on par with the legendary alexa and amira's dr. 4.5k 1x3 raw also should be on par with the alexa/amira's 2.8k prores. The sensor size in 4.5k 1x3 mode is about 230 mm2, almost the same as 4-3's 224 mm2, although a little bit smaller than alexa/amira's super 35mm, this is good enough for news shooting, which requires large in focus zones. Imagine a lowly 650D/700D is Alexa/Amira or Red One in disguise, this is really something to talk about.

https://www.provideocoalition.com/alexa-dynamic-range-its-all-in-how-you-use-it/
https://www.newsshooter.com/2020/05/27/the-arri-alexa-is-10-years-old/

After so much consideration, I finally settle down on 14-bit lossless UHD 1X3 with auto/manual ETTR without dual ISO on my 650D for raw news shooting, due to its AR 16-9, relative good low light performance, good image quality, acceptable pp computing time, correct real time color high resolution preview and magic zoom 2, etc. 14-bit lossless UHD 1X3 for a complex scene has a peak writing speed of 85 MB/s, I will go to user interface 2 (almost equivalent to global draw off but with certain essential information) and underexpose the scene to maintain the continuous recording, or go 12-bit lossless. Most of the time, though, the writing speed is below 78 MB/s, allowing to use the global draw in user interface 1. 

I've been out of the ML world for a few years but this seems like a tempting development to jump back. What camera would people recommend for highest continuous resolution 16:9 to 2:20 and hdmi monitor out?

Only 650d/700d can do correct high resolution hdmi out. EOS M may do that also. Thanks to Bil's work. Hope he can figure out the 5d3's realtime preview and hdmi out.
650D/700D UHD 1X3 preset has AR 16-9, 4K 1x3 preset has AR 2. I tested that both HDMI out works fine with my Zacuto 3 inch EVF.
5D3's 5.7k 1x3 preset has incorrect framing unstretched hdmi out. I can use Zacuto EVF's anamorphic ratio of 2 to do certainly level of unstretching that is good enough for rough framing, but the hdmi out framing is not correct.

Great build
5D3  v1.1.3
3.5k 14bit lossless + dual ISO
aspect ratio 2:20
Dual card  with Sandisk x1066
SD over locked
First frame almost always half pink (personally don't care)
I can get continues rec as long there not too much over exposure.
Its a game chager.

Thank you all devs!


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For dual ISO on 5d3, did you see flickering on the bright area?

No offense, MASC. MLV App is a great software.
I am trying to configure my 650D as a practical news camera, balancing all of the major factors. I think the 12 bit 4.5k 1x3 dual ISO is probably the closest to the ARRI Amira, which is amazing, considering the price tag difference between the two. For short deadline projects, 1920x1280 14 bit 24 p is a good choice. For cinematic feelings, 5.2k 1x3 10 bit is the best, due to its super 35mm sensor size.

Interestingly, compared with 10 bit footage, 14 bit 2k 1x1 AR 3-2 24 fps, when shooting with auto/manual ettr, and elevating exposure one stop in MLV App, the output is very nice, similar to alexa/amira's high key footage, the noise in the dark area is not apparent. So, 14 bit is actually better than 10 bit, when using ettr, may gain one to 2 stops dr. For 10 bit shooting, better avoid ettr, because much of the information pushed to the dark side is lost and not saved in raw files.
In this term, 14 bit 4.5k 1x3 with ettr and dual iso may have a dr of 16 stops, 12 stops from the 650d raw file, 1-2 stops from ettr, 2-3 stops from dual iso. This dr is on par with the legendary alexa and amira's dr. 4.5k 1x3 raw also should be on par with the alexa/amira's 2.8k prores. The sensor size in 4.5k 1x3 mode is about 230 mm2, almost the same as 4-3's 224 mm2, although a little bit smaller than alexa/amira's super 35mm, this is good enough for news shooting, which requires large in focus zones. Imagine a lowly 650D/700D is Alexa/Amira or Red One in disguise, this is really something to talk about.

https://www.provideocoalition.com/alexa-dynamic-range-its-all-in-how-you-use-it/
https://www.newsshooter.com/2020/05/27/the-arri-alexa-is-10-years-old/

DualISO processing is very complex and the actual algorithm is single threaded only. Yes - this is slow, but a lot of math.
But I don't think non-dualiso 4.5K is 2.5x..3x slower than 2K 1x1: the amount of pixels is more or less the same. The only difference is a single 3x stretching - but this is way faster than you write. As soon as you rescale 2K to e.g. 4K and 4.5K to 4K both will need more or less the same processing time.

No offense, MASC. MLV App is a great software.
I am trying to configure my 650D as a practical news camera, balancing all of the major factors. I think the 12 bit 4.5k 1x3 dual ISO is probably the closest to the ARRI Amira, which is amazing, considering the price tag difference between the two. For short deadline projects, 1920x1280 14 bit 24 p is a good choice. For cinematic feelings, 5.2k 1x3 10 bit is the best, due to its super 35mm sensor size.

Unfortunately, UHD 1x3 does have flickering issue, all other 1x3 presets have this problem except for 4.5K 1x3 which is weird . .

Yeah, I am wondering how this preset don't introduce flickering, it worth digging into it. Will take a further look in future.

Another thing to consider:

The MLV App processing time for a 4.5k 1x3 dual ISO footage is about 4 times longer than a 4.5k 1x3 without dual ISO, about 10 to 12 times longer than a 1920x1280 1x1 without dual ISO. For fast turnaround time projects, 1x1 2k actually has such an advantage.

On 650D/700D first you need to select a stable RAW video mode, all presets in crop_rec "Crop mode" are stable (doesn't produce pink frames) with/without Dual ISO, also the normal Canon modes like (1080p, 720p, movie crop mode, x5 mode).

But if you are using arbitrary resolutions with crop_new (Crop mode V2), some settings would have pink/corrupted frames either with or without Dual ISO. crop_new isn't well fine-tuned yet, some settings will work without any problem like my favourite 1736x2214 1x3 @ 23.976 FPS (10-bit lossless), never had a problem with this mode on my 700D, also made a lot of tests with Dual ISO, this RAW video mode is stable.

Reducing FPS or RAW resolution a little in crop_new "Crop mode V2" should help to eliminate on pink/corrupted frames issues with your custom settings (don't push it to the limits).

But unfortunately currently I am not using Dual ISO much on 700D because it has flickering issue on most RAW modes, I tested MLVApp, latest version of cr2hdr (on linux), both produce the same problem.
Some modes does work without the flickering issue like 4.5K 1x3 in "Crop mode".

Thanks for your detailed answer, Bil. Is the UHD 1X3 immune to the flickering issue? I will try 4.5K 1x3 with dual ISO later.

Update:
I just tested 4.5K 1x3 with dual ISO, there is no flickering.

Yes, overclocking enabled, as well as card spanning of course.

I took 96 clips in a 48h time frame approximatively, all 3.5K 1:1 centered @14 bit (some of which using Dual ISO as well), with the following stats:

• 32 automagically stopped , all with write speed > 135 MB/s (150 on average)
• the remaining 64 achieved continuous recording (short clips, 30 secs on average, apart from a longer one lasting more than 3 minutes), with write speed up to 135 MB/s (130 on average)

I would say that in broadly half of cases I got a slightly corrupted first frame (typically resulting in a pink area in the top 1/4 of the image), but apart from that only one clip had a (completely) corrupted frame in the middle of it (i.e. MLV App skipped it when converting to DNG). So this seems pretty reliable to me.

Also, no particular overheating observed (but again, my shooting sessions were very quick).

HTH

Sergio

Thank you for the detailed answer.
Is dual ISO on 5D3 reliable?
Also to IDAML:
Is dual ISO on 700D reliable?
No pink flash? Moire severe? etc.

If dual ISO works on 650D/700D and 5D3, basically these cameras are comparable to Arri Amira, which is the best news camera due to its high dr.

After some Easter family shooting, I can conclude that these LV hacks boosted my 5D3 (1.1.3) write speed from 115-120 MB/s to 130-135 MB/s in real-life situations.

Switched to 14-bit 3.5K (that should be called 3.7K actually IMO) definitively. I just cannot do exact ETTR in very bright conditions and complex scenes -- in these cases I have to stop down 1/3 to 1 EV in order to achieve continuous recording, sometimes also killing Global Draw. Happy to pay that price though.

What cards are you using? I definitely cannot reach above 135 MB/s.

Sergio

Did you use sd card overclocking on 5D3? How long was your shooting session? Did you experience overheating and related corrupted frames? Thanks.

@mlrocks , This is very interesting. Did you have a chance to compare the output of the 650D to that of the eos-m? As the 650D is quite affordable, it could be interesting.

I do not have EOS M any more.
Theoretically, EOS M is the same as 650D/700D, just different body and flange distance. But I did not compare both ML versions side by side.

By hardware compression ratio of 3, do you mean subjectively?
1x3 Binning isn't exactly compression. What you lose is mostly sharpness (And detail resolution), because every 3  horizontal pixels are combined into one. (But every line is scanned, thus, vertical resolution is relatively untouched)

Let us take a look using 650D's UHD versus the original Red One Classic as an example.
650D UHD 1x3 12 bit generates about 70-80 MB/s for a typical complex scene. Red One's RedCode 28 generates 28 MB/s no matter the scene complexity. RedCode 28 has a compression ratio of 8. 650D in UHD mode has a sensor size of 4-3, close to Red One's super 35mm sensor size. 650D's data files are about 2 to 3 times larger than RedCode 28. Certainly Red's patented codec is very good and keeps more information than 650D's simple and dumb un-stretching algorithms (we can see it as a hardware-software combined codec, although lossy and may not be efficient). But still the final footage may be very close, simply due to the much bigger data size of the 650D files.
Some one who has Black Magic's 4k cameras or the original Red One cameras can do this kind of comparison. I know BMPCC 4K or 6K has raw compression ratio to the 12.
"REDCODE range is 2:1 to 22:1. Default is 8:1. For maximum available REDCODE values, see the DSMC Media Operation Guide."
http://docs.red.com/955-0154_v7.0/REDRAVENOperationGuide/en-us/Content/4_Basic_Menus/REDCODE.htm
https://www.provideocoalition.com/red_one_geekery_real_world_info_on_redcode/

By hardware compression ratio of 3, do you mean subjectively?
1x3 Binning isn't exactly compression. What you lose is mostly sharpness (And detail resolution), because every 3  horizontal pixels are combined into one. (But every line is scanned, thus, vertical resolution is relatively untouched)

REDCODE is a mathematically lossy codec, meaning that decompression does not fully restore the original image data captured by the camera. Red claims the codec is "visually lossless", suggesting that the information loss is not visible to the naked eye when images are viewed.
https://www.dpreview.com/forums/thread/3091209#forum-post-39762774
https://www.afcinema.com/IMG/pdf/2/c/e/955-0001_v31.6.16_rev-a_red_cs_red_one_operation_guide.pdf

The highest Redcode on Red One is Redcode 42, 42 MB/s. It was a great achievement at the time. Now 650D ML can do 80 MB/s, equal to Redcode 80. Hehe.

By hardware compression ratio of 3, do you mean subjectively?
1x3 Binning isn't exactly compression. What you lose is mostly sharpness (And detail resolution), because every 3  horizontal pixels are combined into one. (But every line is scanned, thus, vertical resolution is relatively untouched)

I think so. Hardware binning loses information permanently. Software compression may recover some information by smart codec and algorithms. However, heavy software compression will lose information. This is very often seen on commercial camcorders, the in-camcorder codec is so heavy that the footage is not so great, but the through hd sdi or hdmi to external recorder the uncompressed stream has much better quality. Software codec at compression ratio of 6 and above will have certain loss of information.

I was trying to use the silent picture function in video mode on 650d.
I noticed that when coupling a dumb adapter with a manual focus lens, push the shutter button will generate error like "communication issue with lens". Then I have to remove the battery to clear.
Today I try connecting Canon EFS 10-18 IS, then push the shutter button, the camera generates both CR and JPEG files, and I hear a shutter sound. I have the silent picture on with "simple dng". I am happy that I can take pictures in video mode, although silent picture function seems not working, which does not bother me much.
It seems to me that the lens connection plays an important role when trying to take photos in video mode. Hope this can solve so that manual focus lens with dumb adapter will take photos too.

Update:
I just found out that the error was caused by my using extender. If there is no extender, open and close the battery, restart the camera, mf lenses with dumb adapters can take photos, although silent picture seems still not work, but this is good enough for me. 

Recording with a preset isn't benchmarking. Recordings will probably show the same but the hacks will allow for longer or continuous shooting.

Thanks. Will try this.

5.2k 1x3 recording using the current ML version without hacks on, the recording time is 1-2 seconds with global draw on, 20 seconds with global draw off.
With the three hacks on, the recording time is more than 1 minutes with global draw on, most time indicator is orange, sometimes is red. Now it is already 7 minutes recording time. With global draw off, the indicator is green, the recording time is more than 1 minutes, manually terminated. So it is continuous.
So 1-minute benchmark does not reflect the true improvement. Thanks Dan and Bil. It is a great achievement.

I think that now 650D is an APS-C 5K raw camera with hardware compression ratio of 3. Although software compression may have better recovery with smart algorithms, 650D 5.2k 1x3 footage very possibly will stack against other raw cameras' 5K footage at a compression ratio of 12 or even 8 or 6.

Cheers,



Update
For an indoor relatively dark scene, ISO 1600:
1. 5.2k 1736x2214 1x3 10 bit 14bit lossless, global draw off, recording indicator mostly orange, sometimes green, recording speed 75 MB/s, 1-2% idle, recorded more than 10 minutes, manually terminated. I consider this continuous. With global draw on, the recording time is about 3 seconds. I think 1736x1950 AR 2.67 will be continuous with global draw on. Will test it later. Update: It is green, one minute recording, terminated manually. Continuous.
2. UHD 1X3 14 bit color depth 14 bit lossless, global draw off, recording indicator orange, recording speed 70 MB/s, idle time gradually increase from 100 ms to 900 ms after 5 minutes recording, manually terminated. I consider this continuous. With global draw on, it is continuous also.
3. 3K 1x1 10 bit color depth 14 bit lossless, AR 2.67, global draw off, recording indicator green, recording speed 72.5 MB/s, 2% idle, continuous. AR 2.4, recording indicator red to orange, recording speed 79 - 80 MB/s, 1% idle, more than 1 minutes, sometimes more than 5 minutes, scene dependent, stopped automatically.
Thus, all these three modes are robustly continuous even in challenging scenes. If the three hacks prove no serious side effects, these modes can be used in practice fairly stably.


Update:

For a scene composed of several tree with dense green leaves, a parking lot with several cars, a gate with iron fences
during the sunny noon at ISO 100
using a EFS lens 10-18 IS at 10 mm, IS on, AF off
UHD 1X3 14 bit color depth 14 bit lossless LJ92 compression records at 80 MB/s.
With global draw always on, the recording time is about 3 seconds. However, if push the info button to enter the user interface 2, where I typically change the shutter speed here, the indicator is orange to green, continuous recording. It is almost like with global draw off.
Thus,
I rate the Canon 650D ML as a raw news camera with the following specs:
14 bit 4K raw with a hardware compression ratio of 3
35mm/4-3 sensor size
continuous at ISO 100
If using a preset to reserve high dynamic range in MLV App, the dr may reach 12 stops.
This Canon 650D ML is an Arri Amira mini disguised, at the cost of 1%.

The same setting at late evening, needs ISO 1600, F 4.5, shutter speed 30, still a little bit dark. The writing speed is about 72 MB/s for 14 bit color depth.

Therefore, 14 bit UHD 1X3 AR 16-9 is usable most of the time in the user interface 2. For some extreme cases like late afternoon when the writing speed is over 82 MB/s, 12 bit can be used, which cuts the writing speed to 75 MB/s, and continuous.

Personally I settle on 12 bit color depth UHD 1X3 AR 16-9. This bit rate generates 75 MB/s peak data stream, plus 5 MB/s global draw, still less than the current 82 MB/s limit. I like the global draw very much and want to operate everything in user interface 1 with global draw on.

Update
The same set up as above, 12 bit UHD, handheld, 90 seconds footage, processed in MLV App with default setting, export to mp4. The footage has no first frame corruption, no pink or corrupted frame in duration. The dynamic range is good. The sharpness is acceptable. It seems to me that 650D UHD 1X3 12 bit mode can be used for run and gone news shooting safely.

Update

The same set up as above

1. 5.2K 1X3 1736X2272 10 bit 24 fps
AR 2.35, writing speed 78 MB/s, continuous global draw off, <3 seconds global draw on;
AR 2.39, writing speed 74 MB/s, continuous global draw off, 10-30 seconds global draw on;
AR 2.67, writing speed 65 MB/s, continuous global draw on.

2. 3X3 720 P 50 FPS 10 bit
AR 2.39, 1736x698,  writing speed 68 MB/s, continuous global draw off, 10-30 seconds global draw on.


Update

The same set up as above.

1. 1280 1x1 mode, 1920x1280 1X1 14 bit 24 fps, writing speed 65 MB/s, continuous global draw on.

2. 1440 1x1 mode, 1920x1440 1X1 12 bit 24 fps, writing speed 65 MB/s, continuous global draw on.

3. 2.5k 1x1 mode, 1920x1280 1X1 10 bit 30 fps, writing speed 65 MB/s, 10 seconds global draw on.


Update

3x3 60 fps 1736x586 mode, 14 bit lossless, writing speed 64 MB/s, 4 seconds, global draw on; 12 bit lossless, writing speed 56 MB/s, 4 seconds, global draw on; 11 bit lossless, writing speed 50 MB/s, 18 seconds, global draw on. Seems this mode is not optimized enough. But in real world, 10 seonds of slow motion in 24 fps is enough.

3x3 24 fps 1736x976 mode, 14 bit lossless, writing speed 44 MB/s, green, global draw on.

3x3 30 fps 1736x976 mode, 14 bit lossless, writing speed 55 MB/s, green, global draw on.
If the traditional setting of AR 16-9 plus 30 fps is required, this mode is the only way to go. The operation in this mode is very convenient and reliable, pushing set button to do auto ettr, pushing zoom in to have 5x 10x high resolution enlargement, pushing zoom out to have low resolution magic zoom during video recording, pushing info button to access 4 different user interfaces. 

I just tried the new small hacks on my 650D (more hacks with two hacks and one more hacks enabled). I don't know how to implement this on my 5d3 so I just skip it now.
On 650D, I tested two modes with SD card overclocking at 240 mhz with a Sandisk Extreme Pro 170MB/s 256 GB SD card.
1. UHD 1X3 14-bit 14-bit lossless, without dual ISO, with auto ettr, with waveform, with zebra, with magic zoom and focus, global on, the benchmark was about 68 MB/s. This mode is continuous even at ISO 1600, with a benchmark at 62 MB/s. So this mode is very robust and practical.
I did test global draw off without waveform, zebra, focus, magic zoom, the benchmark was about 71 MB/s.
2. Full frame 5.2k 1x3 10-bit 14-bit lossless global draw off without waveform, zebra, focus, magic zoom, the benchmark was 65 MB/s.
It seems that in both modes, the writing speed is about 5 MB/s better than before.

Update:
Turning off the more hacks and one hacks on 650D, the benchmark is still 68 MB/s in UHD 1X3 14bit/14bit lossless mode. So it seems no improvement? Not sure what happened. I checked the ML version is 4/7/2022.

Update:
In 650D's 5.2k 1x3 full APS-C sensor mode, I remembered that the 1-minute benchmark for the last ML version was about 60 MB/s with global draw on, with the current version, the 1-minute benchmark is 63.5 MB/s with global draw on, 67.5 MB/s with global draw off. So there is about 3 MB/s improvement for writing speed. However, activating the three small hacks does not improve further using the 1-minute benchmark test.

On 5D3, after I activated the silent picture, I pushed the shutter button, an error message showed up. I had to remove the battery to restart. I hope that I can take photos during video shooting.
I think on 650D, I cannot take silent picture neither.

On 5D3 ML, 5.7k anamorphic 1x3 mode, the tallest AR can only be 2.46, 1920x2340. It is a bummer. I wanted to go to 16:9, with card spanning and sd overclocking activated. The good thing is that the reading of remaining space on the ML user interface now is for CF card, after unloading the two optional modules.