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Sorry about the stupid question but I looked a bit and find nothing related, so here it is : how do yout extract sound when you film in the .mlv format ?
Just tried for the first time and I get a .mlv and a .idx. I can extract the vid with mlv2dng but no sound.

You did turn sound on too right?  It's not enough to just enable the module; you have to go to the first page and enable it too.  After I did this when I did the extraction to a raw file the .wav file appeared as well magically - meaning there's no special "switch" to extract audio.

Sorry I haven't read this entire thread (planning to tonight) - Using the 5d3 + 1000CF KomputerBay + 32GB Sandisk I'm able to extract files fine and I get raw and audio.  My only question is this - when I set it to 1920x1080 in raw and have the MLV option enabled, I lose global draw (my sweet focus peaking is no more).  If I toggle the MLV recording off and restart the camera everything is fine.  Before you all yell at me, is there something simple I'm missing?
Thanks!
Shawn

[ultimatemale]

If you read carefully my comment, you will see that it's not a personal comment about you, but a general comment about people that request this comparison.

It's almost impossible to "match" RAW and h264, and even if you can, it would involve a lot of work that I find unnecessary.

I think that the most important thing about the video of ultimatemale, is that you can see a big improvement in detail resolution in RAW, much more dynamic range, and less noise. I don't think that matching colors would make a difference in those parameters.

Also, I don't think that the way of postprocessing RAW should involve aggressive tweaks in Lightroom (shadow/highlight i.e). I think that the DaVINCI RESOLVE path is a much better approach for getting a more natural look.

Anyway, I agree that H264 is still VERY GOOD for some works, but if you have the time and knowledge for post-processing it, RAW is much better.

best regards,

The biggest problem I have with Resolve is I shoot video with lenses that vignette heavily wide open, like the Canon 35/2 IS and the Tamron 24-70 2.8.  I cannot correct this with Resolve, but with the Adobe ACR I can very quickly.  I completely agree if I were shooting a film, commercial or something like that I'd shoot raw.  Something I shoot again if a take is screwed up.
Wouldn't do it for a wedding, and it's too much of a pain for me for moving kids.  My buddy's band I'd shoot some in raw though.

I've seen this "request" a lot in this and another forums. It looks like some of you actually "wish" that the h264 results were superior.

Some kind of non-raw shooter envy. 

I just don't get it...

For starters, the color of an h264 is very hard to match to a graded RAW (LOG) shot because of its weak structure and high compression, you would see noise, blocking and another shitty artifacts with just a simple curves adjustment. So this kind of tests that you "complain" of, are actually benevolent with the h264 files.

I think that RAW is a big gift for all the people that likes to grade their work without losing quality.
H264 is still a good thing for people who doesn't want to "put their hands in the dirt" and use their files right out of the camera.

Each tool for each job. Just a thought.

Please check my history on here; been shooting raw since May.  You have to admit you can get non-raw looking pretty good too, and there's many comparisons of non-graded H264 vs. "corrected" raw (raw that has had lens correction, exposure, shadow/highlight adjustment).  Big difference.

While I absolutely agree with this for controlled situations. Try run and gun shooting a 2 year old child, by yourself, out doors, with a dual focus anamorphic setup, starting and stopping an audio recorder, on a glidecam, adjusting aperture and a VND filter, when there is only 25 seconds before buffering out and say that traditional film slate is practical.

I stopped shooting my 4 and 7 year old with the 5d3 unless they're somewhere sitting still.  I bought a 70d that tracks them very well in AF with the articulated touchscreen.  I was missing footage of them fooling around with the camera.  Just too tough without an external screen that you can view with the camera held down to their height - then, you really have no good way to mount a LCD + audio recorder without using a full rig, and at that point it's not worth the hassle anymore.

Now if they're in a school play or sitting still I always try to record raw.

Here's where the decision is tough - this week for Halloween.  Do I take the 70D and have it track them walking up to the door (good) but the light is getting low (bad)?  I haven't decided yet.  I could splice together and make a better "film" of their Halloween night with raw, but if I want to capture the entire thing I just don't have enough patience to make sure they're safe crossing the road, focusing, hitting the external audio, carrying a rig, trying to keep stable, focusing, keeping an eye on exposure, focusing, trying to remember how much space is left on the card, etc.
Think I'll just grab my 70d, get the entire thing.  Have a Sigma 30 F/1.4 that's good for low light.  Won't be "ooh-ahh" raw footage like raw but I won't miss anything and the night might be actually fun for me.  Now all I need to worry about is framing and keeping the camera steady.

For extra audio I've rigged my Zoom H1 in a shock mount underneath my son's candy holder...

While clearly the raw wins, I would love for once someone to post a video that actually had GRADED H264 footage.  Sharpened in post (as everyone recommends anyway) with some shadow/highlight recovery, contrast, etc. added back in.  For low contrast scenes there's not much of a difference.
Of course every time I shoot H264 I wish I had shot it raw instead. 

Well I've done all the tests; uploading to Youtube now.

http://youtu.be/x088RKnFNQI

I tested 9 lenses.

Shawn

In my quest for good lenses to use for AF on the new 70d, I have picked up a few to test, and I have tested some that I use on the 5d3.

So far, these lenses are way too noisy for AF video (shotgun mic wouldn't even help):

Sigma 17-50 2.8 HSM VC (great lens otherwise - I shot with an external mic 2 ft away outdoors! and you could still hear it AF).
Tamron 17-50 2.8 - Didn't own it but heard the AF on Youtube - older screw drive lens that's pretty loud
Canon 50mm 1.4 - loud

The following are lenses that are pretty close to being acceptable that I've tried.
Canon 35mm F/2 IS - love the lens, but probably just a tad too loud.  Still heard the lens with external mic.  Just barely.
Sigma 30mm ART 1.4 - in a quiet room, no, but outdoors, probably ok.  Way quieter than the 17-50.

Here's lenses that I feel confident are quiet enough for video AF use:
Obviously, the 18-55 and 18-135 STM Canon's
24mm F/2.8 IS Canon (not as quiet as STM, and it's a shade quieter than the 35mm).  It's close.
Tamron 24-70 USD VC 2.8 - Actually pretty acceptable.
Canon 70-200 IS II 2.8 - Pretty darn quiet too

Let me know if there's interest and I can create a video with all the above lenses for you to hear, minus the Canon 50/1.4 and 35/2 IS (I no longer have them).

Thanks!

Shawn

Even better - after using the 70d for a while (and actually reading the manual):

If you change the back button "af-on" button to toggle AF, you still have to hold it down to disable AF in video mode.

But guess what?  The flash popup button?  By default this is AF on/off and it doesn't need to be held down!!!!  So slick...

Had a 5d3's SD slot fail - sent it in they fixed it under warranty.  I did change the firmware to 1.2.1 first, but obviously the bootflag was set.  No problems.

Maybe this software could save some of the crappy soft Sony a99 footage I took last year?  The a99 looked like the example on the "left". 

Just popping my head in here to find out if any progress has been made getting the audio working / back in the raw builds / synched.
Thanks!
Shawn

I'm only a fan of this rule in regards to spinning things.

Or water fountains/sprinklers.  Couldn't agree more.  I have no qualms about speeding up the shutter to 1/800 if it means I don't have to use a ND filter.
On the Canon 70D in program auto mode I've seen it go F/10 and 1/640 in bright sunlight, and the subsequent video looked fine to me.

I don't have a button on my lens, but on the bottom left of the touchscreen, the Servo AF button is available all the time while recording, so you can turn it on or off. If recording a longer session, you can turn it off when using manual autofocus and it won't automatically focus, and when you're done, you turn it back on, and continues servo autofocusing.

As for the ISO: it is an APS-C:) A videographer guy using 7D asked me to make a 100-12800 ISO noise test and he told that it's about 1 stop better than the 7D. It also has slightly better dynamic range. 70D also has ALL-I and IPB modes, if interested.

Rented one for the weekend and I have it in my grubby little hands.  That 18-55 lens is way sharper than I expected it to be - will be a nice "here, wife" lens to give her.  So far I'm very impressed, and the place I rented it, if you decide to buy it, credits the rental cost towards the purchase of the camera.  The video obviously is nothing like ML raw, but very close to the 5d3's H264 (probably a tad sharper hence the moire).
I love how light it is, and if ML raw is ever available even at 720p for this it'd be super amazing.

If I read correctly, you're interested in autofocus capabilities. I own this camera for ~2 weeks now, and I played a little with it. I use it with a 17-55 IS USM.

You can either use Servo AF (full automatic) in video mode (either with face tracking or simply a certain point), or you can turn it off and use focus by hand.

When using Servo AF, it zooms slower, more gradient, but accurate, no hunting. This is good for overall usage, and can track anything moving at "normal" speed. This cannot track very fast movements like full zoomed on a kid's face who's running around. But for wide, it's working perfectly. I read in a Canon paper that the engineers slowed down the focus change to have movie look, because it can perform much faster (see next option).

The other option is to turn Servo AF off and use manual autofocus. It means that the camera focuses to the place where the focus box is when you push the AF-ON button. This is very fast, almost instantly, no hunting. Not as fast as the conventional PDAF AF, but almost at fast, always < 1sec, usually ~0.5 secs. This is good when you're moving the camera and when you stand on a new object, push the button, and it gets focus. Also, in this mode, the focusing noise of the lens is only heard when you push the button.

My lens has an audible noise, mainly in Servo AF where the camera is always focusing. in AF-ON mode, its better because much infrequent. According to the reviews, STM lenses have no audible noise and they focus smoothly.

So, if you like to record games, not fully zoomed on faces, I think you'll be satisfied with the Servo AF with an STM lens. 55-250 STM is now available, try one because it has the coverage I think you need.

The sensitivity of the sensor is a bit better, but it doesn't matter for outdoor sports. Compared to the 5d3, you don't have Tv and Av modes on this camera, only AUTO and MANUAL. In AUTO, you cannot set ISO, in MANUAL, you need to set everything manually (but there is auto ISO). So, in MANUAL, you set the aperture to the desired, you set the shutter speed to 50 and you set auto ISO, it'll work fine.

Wow that sounds like exactly what I want.  I think I'll just stick with the 70-200 2.8 II that I use though; the weight isn't what I'm trying to get away from.  Having to rig something to have an external LCD screen and the zoom recorder and still be handheld (along with the focus hassle) is my problem right now.  I don't need to zoom on the face while their moving; I'd just be happy with close-ups either for my son batting or my daughter doing indoor gymnastics periodically when I'm not shooting a wider shot, which is most of the time.

Question for you - can I hit the AF/MF button to disengage the AF feature, and then re-enable it, all during the same "take"? Meaning if I'm tracking a moving subject and know it's going to be in one spot for a while, and I want 0 chance of the camera trying to refocus on another target entering the frame, can I do that? Let's use lions walking around in a zoo for example.  Or could I just use your aforementioned "manual" autofocus then?

Thanks for your help.  I might even sell the 5d3 if this works out - I find myself rarely going about ISO 1600 and certainly could use more reach.  The problem is ML raw has made the video so gorgeous it'd be so hard to not have that as an option.  Plus winter's approaching (along with Halloween night; one of my favorite nights to shoot video) and I know I'll need the low light.  Sigh.  What to do.

I'm thinking of buying one of these from Microcenter tomorrow - as much as I love my 5d3 + raw, shooting video of sports (baseball) is just too much work and I'm not getting good results.  Well I am when the batter's up, but halfway down to first I can't keep up with focus.
I can't use auto ISO else it's a pain to fix in post.  Can't record audio unless I'm using the zoom H1 on the shoe. 
Right now I have to adjust the Vari-ND filter, set exposure, make sure the Zoom is running, pull focus all by myself.

Sure, you'll say this wasn't designed for this; it's more for static scenes.  I agree.

But that's why I might buy a 70D tomorrow - just set it on auto-ISO, let it AF, and record audio on its own.  Might make for better overall footage, but obviously I'd lose the wow factor.  Tough decisions.  All I know is I've gone the camcorder route and absolutely HATE the deep DOF "live" look.
I recorded most of a game yesterday with a GoPro3 hidden behind home plate and it just doesn't do it for me.

How do you guys record your kids' sports?  Disclaimer - my wife is not only camera illiterate, she doesn't want to know (yeah, worse case).  I'm hoping the 70d would be super simple for her to use.

For what it's worth, do any of you see the flicker in the un-edited DNG files?
Also, do you shoot in manual with Auto-ISO?  I've found I rarely get any flickers if I hard set the ISO.

Canon menu -> 1st box. Peripheral ilumin. correct

You can upload more profiles with eos utility.

Sorry to bump an ancient topic, but has this been replaced by the "Vignette" option in the Video tab?
For those of you who use the Tamron 24-70 VC 2.8, what settings are you using?

I don't think people really realize how awesome this is.  Not just for movies, but for stills too.
Since you can go way above 1920x1080 for short clips, your 70-200 2.8 IS II lens now becomes a 24 FPS 210-600mm 2.8 BEAST.  Twice as fast as the 1dx.  No, you won't have full high resolution 22 megapixel stills, but boy, you sure can get "the moment" for smaller prints and long distance sports shooting.
It's fricking amazing.

I appreciate it Alex.  Actually I'm just going to carry multiple cards.

I will set the camera up to shoot the best H264 (sharpness 0, contrast -2) on standard and use it with my external monitor, and save those settings to "C1" on the camera.  Will boot to alpha 1.3 ML.

C2 will be exact same settings but with 720p60 H264.

Raw will be booted from a different SD card, camera will be flipped to "M" mode and that way I don't have to try to remember each time if I have this or that working with raw.

Will try your suggestions though - just kind of brainstorming right now.

Trying to figure out the easiest way for me to do this - here's what I want:
1.  To be able to shoot raw to any of my CF cards (no problem) and record audio externally (no problem).
2.  In a split second shoot standard H264 movies with Canon's built-in audio but use Magic Lantern's focus peaking and zebras.

The problem is this - if I disable "FPS override" and "raw video" the audio still isn't working right on the newer ML builds that have raw video as an option.  I sound like a chipmunk when I speak during the video.

So what I'm thinking is this - load the 2.3 "Alpha" (NON-RAW) version of ML on a separate card if I want to shoot H264 video, have focus peaking/zebras from ML, and use the built-in audio recording from the camera. 

Does that sound reasonable?  Or is there something else I can disable in the newer ML builds that make on-board audio recording work?  I've unloaded all modules.

Sorry just trying to make life easier away from the computer...

Shawn

To anyone's knowledge?
I'm not talking about people who forget to load the bootloader, or make a card bootable, or have a dead battery, or use an external power supply.

I'm talking one that died completely from shooting raw video and/or the ML software.

I cannot find evidence of this happening with May 2013 firmware or newer AND a 5d3.  Anyone?

I know personally I pounded the crap out of mine this summer, blowing through several 1000x CF cards and batteries, shooting 1920x1080 and 3x 1:1 mode on the hottest, muggiest days and never had any trouble - other than having to pop out the battery occasionally, and almost never after around the middle of June.

Well, I was following Cinema 5D's instructions for installing magic lantern on my 5D3 and it now appears to be bricked. It happened at Step 16 where after using Macboot, I put the SD card into the camera and now it won't turn on at all. All that happens is the battery symbol blinks on the top LCD.

I've tried different batteries, different cards, fully charged batteries, etc.

A real bummer. But I guess that is one of the risks of trying out alpha or pre-alpha software.

Before I send it in to Canon, are there any things I could try to attempt to unbrick my camera?

Thanks kindly in advance!
-John

So was your camera ever actually bricked? Trying to find some sort of evidence that recent ML builds with raw video has ever completely bricked anyone's camera at all...

Early July ML build.
Canon 70-200 2.8 IS II @ 2.8
Handheld.
ISO 3200 / 6400 (lighting was awful)
Zoom H1 audio
dng to AE then exported.

Early July ML build.
Tamron 24-70 VC 2.8 @ F/4.5
No ND filter, handheld.
Audio: Zoom H1 shoe mounted
DNG to Adobe AE, exported.