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I explained it in my post. Also note that usually DR is wider at lower ISOs.

And please stop this trolling. Obviously after all the forums and nicks that you've gone through, you've grown some hard forehead of yourself to ignore remarks to your meaningless posts.

I guess soon the time will come when we on the forum will have to address the moderator to keep this forum clean and acceptable for those who are hungry for 50D RAW info, rather than having to sift through someone's egotistic garbage...

+1 - Monti's comments are beyond tedious now.

teach me auto expo plz

ps seems like those komputerbay cards crashing like wallnuts

maybe i should better stick with my lexar x1000 cards

okay here is depth of field test on crop modes raw video with canon 50d
first normal mode then x5 and then x10

i dont know what happen why the framing isnt same
also no VR so shaky video

watch in HD or Full HD resolution

i know this test sucks
but to me i can see what is going about

later i make photo test that is more obvious
that on crop 5x and crop 10x the depth of field becomes wide like table

The DOF changes because you are changing your camera to subject distance!

Seriously, monti or silkway or whatever you prefer to be called, your comments on here are making me think you're just a troll.

This used to be a helpful and polite forum but lately it's turned into dvxuser, such a shame.

Sorry about the huge quotes but I get the impression that Silkway and Monti are the same person or perhaps twins.

Especially if you look at Silkway's last login day/time and Monti's registration day/time.

of coz i might show when i make something on canon 50d

now i can only show what i did on nikon d7000 which is not this topic discussion)

my green cat was made on 640 by 240 pixel
which is less than my old nokia n86 can do
it is raw video 14 bit color 24 frame per second on 6 mb/sec continuous non stop raw video
on kingston 10 years old compact flash old technology card

3 times less consuming than h.264 codec compressed on Nikon D7000
which is also very very light and compressed video shooter
so i just set a new record of raw shooting with that green cat shot for most less consuming raw shoot) that was fun

to show that the quality is not so bad
when it comes to a memory card speed for continuous shooting on low resolution in raw

also i dont ask shit people for their step by step color grading
i ask from the master of art like D.I.Watson

i said clip above was stupid except for one shot
so to prove you i just made a screen shot of the 2:08 seconds shot of this clip above
check it and judge for yourself.



i didnt measure it

i just chosed a shot that look nice to me
and i just applied a 3 parts on horizontal and vertical
really straight lines and 3 parts

the eye and nose felt just on 2 of key points

and if you remember for a good camera composition
your objects target must be at least close to one of this 4 key points where lines are crossed

and if u ask why? who made this rules?
God made, when he made our eyes and brain
scientists found that human looks on this 4 cross points of the image automatically at first look
starting fromo top left going to top right then bottom left and bottom right

so if u wana attract attention of a viewer place your message there
otherwise it is stupid composition that is not attracting at all.

oh my god
this shot was GOOOD

but the rest is awful

if you want to know what is filmic look

look at this new movie from germany with Till Shweiger

and yes, i see lots of colors there and its not flat



also for those of you

who didnt learnt composition

check this filmic look camera composition on rule of thirds

it is aimed into the eye section to attract our view there


and yes
when they shot this scene they told to Till Shweiger to hold and not move his head

Latest 50D discovery: It's a tough S.O.B.

So I was out shooting yesterday evening and had the camera on a fully extended tripod while I looked for a spare battery. Stupid me hadn't secured one of the tripod legs and a couple of seconds after turning by back the leg collapsed and the tripod toppled over with the 50D taking the full impact on the asphalt. I was horrified but apart from an unstuck LCDVF frame, a few grazes to the body and a scuffed mode dial it was fine. I'm actually glad the camera hit and not the lens. I doubt my 600D would have survived.

Apart from the accident I got some great test footage that has confirmed to me that the 50D is capable of some seriously good looking images and I don't to upgrade anytime soon 

Ouch! I did that with my 550D a couple of years ago, luckily it was on rails and the follow focus took the brunt of it. Horrible feeling watching it fall though!

@abpcl - Most people are using 1000x 64gb Komputerbay cards

I also use a Redstan. Works very well for what I have. Solid - http://i.imgur.com/RBPNjRr.jpg

What taking lens have you got in that setup?

I use a redstan clamp which is custom made for each of my anamorphics and gives a nice thread at the back for me to screw directly onto the taking lens. No problems with focusing but with the chunkier anamorphics you need to bolt onto rods also.

Ok fair enough, do you reckon my Moller Anamorphot 32/2x is too chunky to hang off a redstan clamp? I was concerned that the weight might stress the taking lens or the lens mount.

I've been thinking of ways to mount my Moller anamorphic lens to my rails and have I've ordered one of these.

http://www.indanc.co.uk/imagecache/3d48c652-5620-433c-8222-9e9600c02873_400x327.jpg

I was going to bolt it to a rail block and then lock it down in front of the taking lens but now I don't think it's going to work because the end of the taking lens is going to move back and forth when focussing.

How have other people mounted their anamorphic's?

(New site looks good)

rockfallfilms, can you share your preset?

I'm going to shoot some charts to get a true colour/noise profile off the 50D sensor first, then I'll share it.

By the time I've got it sorted Resolve 10 might be out with its new super duper debayering

Okay, there have been popping up presets for After Effects/Adobe to get flat pictures, import or render them to 10bit and apply luts or whatever. I've also read people complaining about flickering in ACR.

So far so good, I remember that on LRtimelapse (nice program) there is a general consens to not use highlight recovery, black , white, shadows,etc... because they are not linear but some "secret sauce" which depends on the scene. This doesn't matter to stills (which it was designed for) but when movement comes into play this can actually generate flicker. It does not always happen, but sometimes you get the flickering.

To avoid this, I have "created" two a camera profiles which give you a very flat picture style and some desaturation. This is just a test as I'm not an expert but I think it works fine (tried out with the 50d raw video with cdng files). I will look into it again when I have some time. Here are the camera profiles:

https://www.dropbox.com/s/sxxj82szbimxn8f/MLfilm%20slight.dcp
https://www.dropbox.com/s/8yhv4qsquaygs3s/MLfilm%20strong.dcp

You have to put them into c:/users/"your username"/AppData/Roaming/Adobe/CameraRaw/CameraProfiles

Afterwards they should appear under the camera calibration tab.

This is the same way I did my log preset, as you said, it works better as you don't get any flicker.

I based mine off the 50D camera neutral ACR profile (available on adobe's site) and changed the tone curve to linear. If you expose to the right and don't clip anything then you'll get an S-Log/BMDFilm style image.

Ideally I'd want to shoot a chart and create a profile based on what we are actually getting from the sensor as I'm not sure how accurate the Canon/Adobe profiles are.

I'm just tweaking my LUT at the mo, in Resolve I use the Offset control to adjust it to suit. So far I'm getting quite consistent results.

Here's some footage from a video I still have to edit, I did not see a lot of sport videos shot on 50D raw yet.

For run and gun shooting we found the battery life and data management was quite an issue, we shot over 250GB of raw footage that I will try to edit as a 20 minutes video.

I noticed one corrupt frame in the middle of one of the clips but that's the only issue/bug.

On H264 timelapses (fps override) we found the 50D would get really hot, but we did not get warning messages or shutdowns.

For this project I feel like the 50D was not the rigth tool at all but we got some beautyfull shots. My dream camera would be the 50D shooting prores 10 bit and with embeed audio, maybe the BMPCC would be a better tool for my use...

Anyways here is the footage :

I like this, nice to see something with more movement in it. I think the 50D held up pretty well, didn't notice any rolling shutter either. How did you manage your workflow when you were out and about, did you back your cards up to a laptop when shooting?

Here is the little music/promo/teaser video i'v made with 50D RAW...this was the first experience and i think i can't go back to H264 mode ever!

It doesn't look stupid.

It's not really my sort of video but you do have some nice shots in there and the green grading gives it a kind of Matrix vibe. Didn't see much aliasing or moire either.

Keep it up!

I just had a look at that footage from the Digital Bolex camera that some people mentioned.

Didn't like it at all, could just be the way it was shot but it looked pretty videoish to me. It just doesn't have the same filmic motion cadence that I've come to like with the 50D.

If only we could get Mosaic to make us a filter to take our moire worries away. I never heard back from them, how about anyone else?

Anyone have suggestions on extra batteries?  Mine dies way to fast.

Buy some more and swap them over? Or get a battery grip and stick 2 in it.

I bought a couple of these, cheap and work fine.

http://www.amazon.co.uk/Duracell-Replacement-Digital-Camera-Battery/dp/B0015YAER4/ref=sr_1_1?ie=UTF8&qid=1376519234&sr=8-1&keywords=BP-511

Not sure what you're asking really, there's no magic cure for power consumption...

Yeah, it can be a bit intimidating to post there but it seems like only a few of the users who are a bit obnoxious.

It looks like most shooters with that lens tend to go for a Helios 44:2 because of the flare and I have seen it paired with 35mm lenses on nex5's but you're probably best sticking to a 50mm. I personally wouldn't go the Helios route. It's hard to find a sharp V2 and there are plenty of decent, faster and cheap 50mm lenses out there that can flare. I have a 1974 Nikon F2 that would be ideal and it's sharp wide open.

I'm looking for my first anamorphic lens so I'm looking forward to seeing what the Moller looks like with raw on the 50D.

Thanks for that, I tried it with my Nikon 50mm AFD it it vignetted. Admittedly I was holding the anamorphic in front of the lens so not the most ideal test! I assume that if it vignettes on one 50mm it's going to do so on them all?

I've read a lot about the Helios 44m but like you said, opinions seem to vary. They sell for around £20 on ebay so I guess it might be worth a go to see what kind of copy I get.

Hi there,

Those old Moller lenses are very tricky to use and not very good really, also very difficult to sell too. Nobody wants them. I would be more than happy to take it off your hands for a small sum?

Ha ha, seriously, 50mm-85mm is the best range for a 2x 16mm Anamorphic on a crop sensor. Any less vignettes, any more you start to lose focus. Personally I'd say 50mm maybe a little wide especially with a 39mm rear thread. Helios is popular as 58mm is optimal focal length and has minimal vignetting. They can be pretty sharp but also "characterful". 55mm Takumar is not bad if you can find a sharp one but still vignettes, especially if you have to stop down. Clamp is really important too, you want to be as close to the taking lens as possible. Hope this helps, would love to see the results.

Cheers

Haha, yeah ok how's £5?! I need to fashion up some sort of clamp!

[Dual ISO on the 50D]

Mr 1% has done it again! We now have Dual ISO on the 50D  \o/ (Tragic Lantern only ATM)

Grab the latest Tragic Lantern build here: https://bitbucket.org/andy600/tl50d/downloads

Dual ISO only works in photo mode on the 50D so don't shoot in Live View.

Read a1ex's thread for how to use: http://www.magiclantern.fm/forum/index.php?topic=7139.msg59687#msg59687

You will need the conversion programs which are downloadable via a link in the first post of a1ex's thread. READ AT LEAST THE FIRST POST!!

Don't ask questions about it here. Follow the other thread and READ IT!

All thanks to 1% for the 50D port and a1ex, g3gg0 for this great feature.


p.s. also check whats under the star icon in the menu 

Great news! thanks to 1% & all the devs.

Looking forward to trying this out.

Nice. I'm jealous 

I think you can't go much wider than 50mm but it's probably best to ask on the eoshd forum

Yeah it's a pretty good copy of the lens too. I found it in a drawer a couple of months ago, forgot I even had it!

I don't find it that friendly over on eoshd, lots of infighting. Also if you ask a question you are just told to buy Andrew's buyers guide. I have a 50mm Nikon here so I'll see how it looks on that.

A question for anamorphic shooters:

I've got one of these lenses, which I haven't used for years. I was going to sell it but figured I might as well try it with the 50D as a way to get more resolution.

Does anybody know what is the widest taking lens I could pair it with? It's got a 39mm rear thread if that makes a difference.

Cheers!

Thanks

I shot about 50/50 crop/non-crop. The first 5 are non-crop.

I'm editing the video atm.

Is this one an anamorphic lens or did you just crop in post?

http://imgbox.com/aclQK8KF

It's a real shame that Raw Therapee doesn't output quicktimes.

is the 50d raw video capability comparable to a hacked gh2?
I know on paper the 50d would be better, but if you guys had the choice to choose a camera for filming video with... GH2 or 50d right now, which would it be and why?

Torn between the 2 cameras.

In my opinion the 50D image is much nice than the GH2, it's more organic and gives you more options in post. It's not nearly as sharp but that's I good thing as far as I'm concerned. I got fed up having to deal with the 8 bit codec and heavily compressed footage anymore so I recently sold my GH2 and will be shooting my next project on the 50D.

Just bare in mind that the 50D does suffer from moire/aliasing whereas the GH2 doesn't suffer from moire. With the right monitor on set, the moire of the 50D can be worked around.

It does depend on what you shoot aswell, for documentary work the GH2 would be better but for narrative I'd go 50D.

No, I don't think so. The debayering in Resolve really lets it down.

I shot some low light tests last night and processed everything in Raw Therapee (AMaZE demosaicing), output Jpeg and rendered in AE. The debayering and upscale is very good in RT and doesn't seem to have the flicker problems that ACR has.

These shots don't have any noise reduction. I only balanced and slightly sharpened, not even graded yet  . It was actually a lot darker than it looks.

A few frame grabs (video later) http://imgbox.com/g/YDDntkAGA7



50D ISO 200-1600 F1.4-F4 (Tragic Lantern 2.0 latest build)

Nice images Andy, were they shot in crop mode? Look forward to the video.

[goldenchild]

goldenchild, I take my words back and now have full agreement with your point. I tested ACR against DV Resolve specifically in terms of moire and aliasing -- ACR ROCKS!

UPDATE: a very noobish question: when importing the cDNG sequence to After Effects, is there a waу to see another than the first frame, and make adjustments against it? thnx

This is how I do it:

- In AE project window right click the dng and choose 'Reveal in Bridge'
- In Bridge, select all thumbnails then choose File/open in camera raw
- Make changes to your favourite frame then click synchronise
- Click Done
- Back in AE right click on the dng in the project window and choose 'reload footage'

Your changes will now be viewable in AE.

If you have a lot of clips which are going to need similar corrections then you could save a preset when in adobe bridge/camera raw then just load that preset into AE.

There might be an easier way but I haven't found it yet.

Details on Vimeo

Very nice footage looks like it was shot on a Blackmagic Cinema Camera..  The problem with the resolve BMD Film workflow is that Resolve doesn't de-bayer as efficiently as (ACR) I've been testing for a while. 

Cheers for the feedback.

Yeah I did have a go a while back with Resolve and wasn't too impressed but the new version is supposed to be out any day now so I'm hoping they have improved the debayer.

If someone could make a true log film profile for ACR then that would be a start, I've done a close approximation preset but I doubt I'm harnessing all the available DR from the dng, I don't know enough about log curves.

An even better option would be to convert to LOG when doing the initial conversion of the .RAW files and render a proxy too.

How's Cineform's debayer? has anyone given that a thorough testing?

A local festival was on so I shot some video with the 50D using Magic Lantern Raw.

A bit of moire crept in here and there but it's not overly distracting. Also some shots could benefit from de-noising as I may have increased the shadows too much. I'm still trying to optimise my shooting and post workflow.

- Used Tragic Lantern by 1%
- Shot at 1584x892 and upscaled to 1080

- DNG's extracted with RAWMagic 1.0 Beta 7
- Tamron 17-50mm f2.8

Logish grade in ACR, rendered out to Prores 444 and then applied a custom LUT in Resolve with a little sharpening. I might try the Resolve BMD Film workflow next.

Another test with the 50D

- Used Tragic Lantern by 1% (11th July build compiled by Andy600)
- Mostly shot at 1584x892 and upscaled to 1080
- 1 or 2 shots in 5x crop mode

- DNG's extracted with RAWMagic 1.0 Beta 7

- Raw processing in ACR
- Tamron 17-50mm f2.8

I'm getting more accustomed to the workflow now. I did a light 'logish' grade in ACR rendered out to Prores 444. Then applied a custom LUT in Resolve, tweaked it and added a little sharpening.