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I was told they were going to improve upon the prototype over 3 months ago... I also know that they have a Canon 50D to test with... However, I haven't heard anything from Mosaic specifically about improvements or advancements...

I like your question... That was one of my first thoughts regarding Mosaic's email today too.

Got a reply from Mosaic Engineering here at 1:40 PM on 12-16-2013...

"We're writing to you today because you had previously emailed to us inquiring about a Video Aliasing Filter for the Canon 50D.  By the way, we apologize for our delay in responding if we've not replied to you previously.

Nevertheless, we'd like to let you know that we do now have the VAF-50D available, for use with Magic Lantern RAW video recording!

The VAF-50D is available now, in our online store: http://store.mosaicengineering.com

A brief with-and-without demo video of this filter -

- has been produced by Mr. Levi Davis.  We expect to have additional video example material available before long, and will post that as soon as possible also.

Our product page for this new filter is here - http://mosaicengineering.com/products/vaf/50d.html; we'll be adding more information and details shortly.

Sorry again for our delay in responding; anyway we hope this information can help you at this time!

Thank you again for your interest in our filters,"

Looks like 50D shooters are about ready to hit the professional market!!! Been having a lot of success with the prototype filter myself. The filter does a great job of resolving details and eliminating moire. The camera before the VAF displays serious issues with moire. These issues appear in every image in some way shape or form. There is moire on straight lines & fine detail. There is more on skin tones in areas of fine detail. With the VAF filter I'm shooing an image that holds about the same detail as a BMPCC. Albeit there are low-level moire issues with the prototype 50D VAF but the levels are nearly identical to the BMPCC. Technically this quite the accomplishment given the BMPCC shoots pixel for pixel and the 50D is line skipping a 5K sensor...

Picked up the BMPCC about two weeks back after watching a side-by-side dynamic range test with the BMPCC and the 50D. Dynamic range will play a large roll in future sensor development for sure. The 50D resolves about 10.5 to 11 stops in comparison to the 13 stops of the BMCC. However, the 50D appears to resolve a stronger color pallet. Quite simply, the 50D shoots a wonderful image for a colorist. In my opinion, I've got a long way to go before the BMPCC hits my liking... It's as though one unit is happy and beautiful and the other unit is bland and extremely true... Hmm??? Perhaps the 50D appears to hold a more of a mass-market "look & feel?" Maybe in 5 years I'll say the complete opposite?

If the 50D and the BMPCC cameras are going to be compared for their resolution and similar moire issues, then the shooter should be made aware of the sensor's capabilities and limitations...

The noise floor is definitely more apparent with the 50D. The image slightly suffers from what appears to be sensor refreshing / banding, even at lower ISO values and exposing to the right. Adobe Camera Raw typically requires the chroma channels and luma channels to have low-level noise reduction. DaVinci Resolve 10 might actually produce a better noise floor, however, ACR typically produces a much stronger result. Essentially, though, we are talking about a sensor that has so much life in the image! The skin tones in particular are very prominent! The strength of the colors wants to reach out and touch the audience. In particular, the sensor has the great latitude so long as the image is inhibited by moire.

The grain and noise floor of the BMPCC are much more video/filmic. Additionally, there is no allaying issues with the sensor. However, at this point in my venture with the camera, the sensor readout lacks the character that the 50D lends so wonderfully. Having applied 6 months of raw color-correction techniques to the BMPCC, I've found the camera captures nearly exactly what that eye sees. It's almost as though a perfect copy of the real world has transferred into the raw digital realm. Therefore, if you want character with the BMPCC, BMPCC shooters need to push "character" into the image in the production.

With cameras like a "50D + Mosaic Engineering VAF + Magic Lantern" and the "BMPCC + raw" a shooter is able step aside from technical faults and truly produce an image made for high-quality television productions & independent film productions. Let's face it, this level of confidence is absolutely necessary. After all, the purpose of the shooter is to push the sensor to the limits, right? Quite simply, the 50D's limitations come up a bit too quick without the aid of the VAF.

... Continuing with the 50D VAF filter testing... The 3x zoom is soft with the filter in place, but I still shoot 3x with the filter in place...Not that it's a "completely unique look..." It's a usable look without too much degradation.

After about three months of testing the prototype filter, I think it is a very positive/powerful addition to the camera. This statement holds especially true considering BMPC's ability to resolve detail on a sensor shooting "pixel for pixel." Effectively, the 50D is right there with the BMPCC's image detail at 1600x900 when the BMPCC is shooting native 1920x1080.

Feel free to download the CDNG samples of the 50D with the prototype VAF on Copy. There are full-sesor read-out images as well as 3x image readouts. The images were taken with a near mint 35mm Nikon Nikkor F2.8 AI. The lens has a 52mm ProMaster UV in place. Please follow this link to download native CDNG images copy.com/8PP4i3MBODoTiovb.

The images are of an author named James Hinkley: Jimhinkleystudio.zenfolio.com & route66chronicles.blogspot.com. James has authored a number of books about Historic Route 66 in addition to other solid works of history! Interestingly, I talked to him about the production of the book and he had used the 50D for many of the shots along Route 66. He was very impressed to see the power behind ML! "What comes around goes around, right?"

Special thanks to the ML team and Mosaic Engineering! Feels great to have such a powerful workflow. Enjoy!

May even consider purchasing two A/C adapter. Then, adapt the second A/C adapter and run it to a secondary battery.

If heat becomes a major issue... Purchase an inexpensive A/C adapter that fits in the grip of the camera. I had a two camera shoot with the 50D. One camera was on batteries and the other was on A/C. The camera without the battery was typically 3 degrees Celsius cooler. It took the camera nearly an hour to reach the same temp as the camera with batteries. There is a definite advantage with the A/C adapter.

With that type of card you will be able to record continuous at lower resolutions such as 1280x720... The full-resolution is not typically available for shooters with less than a 1000x card. However, you will be able to record with the camera's maximum resolutions, but it will have to be utilized with lower frame rates such as 10 - 14 fps and/or time-lapse. Totally worth the shooter's experience just so you know!

No news on the final VAF from Mosaic Engineering, as far as emails or phone calls.

... Been on a shoot for the past 5 days in Tucson,AZ. Just shoot a documentary for the 14th conference for the National Scenic and Historic trails. Volunteered for the project and shoot about 1TB of footage.

Had two files in the mix of nearly 200 shots where the 2nd .roo was not finished in the writing due to camera errors. Will look into both the VAF and to find a way to fix a .roo file.

Again, the VAF isn't hitting the 50 d's resolution that hard. Also, I read somewhere about the 5d3 having an anti-aliasing filter and the possibility of removing the filter. Is the 50 d the same?

I was hitting an 81.5 MB/s with the 1050x when shooting 1584x1058. The card was formatted in camera too.

Komputerbay 128GB 1050x records continuous raw at...

23.976

- - 1584x1058 (almost 3:2) - - Shows no bars in the metering... Global Draw is off. (Raw photo mode is ON.)

25 P

- - 1584x1058 (almost 3:2) - - Shows no bars in the metering... Global Draw is off. (Raw photo mode is ON.)

29.970

- - 1584x1058 (almost 3:2) - - 864 frames ((Raw photo mode is OFF.)

5X Center Crop

23.976

1920 x 1080 - 1715 frames (results varied a lot) (Hacked - No Preview proved best results).

1920 x 1038 - Continuous (results varied).

Things to consider is that if you are going to push the card to the limit it want to record a short take and then skip frames. After that first short take it will record something fierce and of course continuously. This is different than the Komputerbay 64 GB card. That card seems to just get up and go and if it gets into a recording bind somehow finds a way to lower buffers.

... Saw a serious increase in the 50D's ability to capture frames by disabling raw in the photo mode. However, I too typically shoot with raw enabled because 1584 x 892 at a standard frame rate is not a stretch for the Komputerbay cards. Have never gotten pink frames either.


If you haven't been following... I purchased a 128 GB 1000x card from Komputerbay about a week ago. Unfortunately, the card would not work with ML on the 50D. I contacted Komputerbay support and they had me send in the card for a firmware adjustment. At that point, I asked to upgrade to the 1050x because they stated that the 1050x would also work with the 50D after they made a firmware adjustment. Well, I got the card back from their tech support today and was absolutely able to load the firmware with success. Yes it's a 128 GB 1050x card and yet it will work with ML! Reads as a 119GB card, but it should be able to capture 128 GB without any trouble. If you notice the 64 GB 1000x cards read as a 60 GB card in the Canon 50D and it still captures a full 64 GB worth of data.

If you are interested in the card, you might want to talk to Komputerbay before purchasing the card from Amazon or ebay. They may have some of the firmware adjusted cards in stock. I don't know for sure, but I would think that they would have at least a few. Who knows?

Komputerbay will sell 128gb 1050x and 128gb 1000x  CF cards that are firmware compatible for the 50D. Shipped in the 1000x to tech support yesterday, but found out about an upgrade path to the 1050x. ...Upgrading to 1050x given previous recording results of the 1000x. Will post results...

Received a new Komputerbay 128 GB 1000X today and I can't get the card to do a firmware update on my 50D. Wondering if anyone has found a way to make the card work...

Long story short... I had bought a 128 GB 1000X back in July and it work with my camera. However, the write speeds were about 2 - 5 mb/s too slow. Started thinking that with the latest builds that that same card might be applicable...

Any help would be greatly appreciated.

Anyone find a way to make a Komputerbay 128 1000X work on a 7D?

Uploaded a couple of ProRes 444 videos of the Canon 50D.

https://copy.com/f7jD7CnQsUZWeO9L

Each video is the same. However, each video shows very different characteristics that the 50D has to offer, especially considering the VAF from Mosaic Engineering. Footage was debayered and upressed from 1584 - -> 2048 using Capture One trial software. The color correction was finalized inside of After Effects using Synthetic Aperture.

... Each file is about a 160MB if you want to download them. Also, there are some RAW DNGs available for download in this same link. The DNG files are taken from this same test shoot if you want to apply color-correction yourself.

Does the 7D have a hi-jello shutter option? If it does, you'll be able to access shutter values that normally wouldn't be offered in Exact FPS and/or Low Jello... I own a couple 50Ds and have had similar issues.

Yeah... 2046 by 1152 upscaled using DNG in Capture 1 (enables upscaling images upon export)... Should be a 2048 by 1152; however, Capture 1 stated the resolution of 2046 by 1152 even though I applied a 2048 by 1152 dimension. Interestingly, the 2046 number was highlighted in red (almost as if Capture 1 limited the resolution to this number by default).

Will make time for a test for sure...

Here is a color corrected image from the VAF filter test with the Promaster UV filter in place using Capture 1 trail version to export flat 16-bit Tiff image and then applied Color Correction in AE with Synthetic Aperture to create this look... (Take notice to the detail and the lack of moire! Obviously the color is jumping out in a great way, right?)

No new news from Mosaic Engineering. Left a voice message last Friday the 4th offering my assistance and/or just to simply touch base and find out about the progress of the filter.

... Been following 50D ML Forum and reading what other users have asked about Mosaic Engineering.

Here is a link to DNGs featuring the VAF and a $10 Promaster UV filter and also no VAF with the same $10 Promaster Filter. Looks like the moire is nearly completely eliminated (95 - 97%).

https://copy.com/hjxaDziN02ae

... The last two Fridays in a row I've left a voice message with Mosaic in an attempt to touch base... Still no new news.

... Definitely noticing how pushing the cam's write limitations tends to develop corrupt frames.

Got corrupt frames with HDMI connected and Global Draw on. Soon as Global Draw was off the corrupt frames went away. Was shooting at 23.976 at 1584 x 892 with a Komputerbay 64GB 1000X.

... Just to be safe, I started turning Global Draw off when using HDMI, even with very low frame rates. 

Recording Raw Continuous at 1584 x 892 at 30 fps with Komputerbay 1000x with latest Tragic Lantern.

... Wondering if Canon would consider having customers ship back their cameras in order to reduce image noise now that RAW capability has been released.
... What about dark frame subtractions? Is that essentially the same technique to reduce image noise and optimize video?

Does your camera automatically turn off after a certain period of time? There is a Canon Menu option to turn off "Auto Off" or "Auto Power Off."

 

Little update on latest TL... Recorded 23 GB no corrupt frames on Raw_Record... Super stable User Interface.

Been reading a lot about the MLV_Rec module, particularly about the corrupt frames... With the latest TL build and the last build I noticed in 5x zoom, Canon Live View setting not Hacked or ML Grayscale, that there was an intermittent corrupt frame (about 5 frames into the 5X zoom mode). Perhaps the corrupt frame issue is somehow tied into this phase of the 50D's pipeline? 

Seems to happen at least once on every shoot after the camera has been on for some time. Thinking that if I see this again to immediately record in 5X mode as a means for testing the module/pipeline...

RobertGL:

Mosaic is reviewing the footage and will be in contact shortly. We are playing phone tag the last couple of days in order to properly view footage... I think they are attempting to completely eliminate moire and aliasing all together. But we'll know more this week... (I'll post another update too)...

I'm thinking to go back to the same location on Tuesday and fire off some shots to see just how prevalent the moire and aliasing are under different filters... Will post some results later this week.

Awesome find Thomas Worth with the vertical resolution testing. That's almost like raising the bit depth of the recording from a 12-bit (technically a 14 bit) to a true 14-bit image level. Seems like you're getting everything out of the picture. Thanks very much for taking this into account!

After a couple weeks of testing the prototype 50D VAF the one thing that stands out the most about this filter is the ability to push the RAW image in post. When aliasing and moiré occurs in your footage the post-production color correction process has a limitation. That is why I decided to acquire a VAF from Mosaic Engineering. Interestingly, what I wasn't expecting to come about, at least so dramatically, was the range of colors that the 50D could handle with the VAF in place.

The 50D aliasing issue causes post-production color correction limitations.  It's a factor that must be configured into the color correction process. However, with the limitation seemingly removed, especially during close-ups & mid shots, the images derived from the 50D become far more capable in post-production processes.

For example, when color correcting footage without the VAF I find that my scopes rest in the 50 - 70% legal television chroma-value range before the image proves qualities of aliasing, moiré, and false color. With the VAF in place I regular find myself beyond television chroma-value limits and the image appears to want to go even further without breakdowns in skin tones and other artifacts. This is a very positive attribute that is only derived from a camera that has a lot of flexibility. So as a result, you know, the prototype 50D VAF is proving very valuable to the workflow.

Not to say that everything is totally perfect. There are some additional issues with the filter that need to be addressed. Currently, parfocal lensing is not possible. The VAF negates the user's ability to zoom in on a subject, adjust focus, zoom out from the subject and maintain focus throughout the entire focal distance. However, that is not an issue with prime lensing. I am currently in the process of speaking with Mosaic Engineering to address the filter's performance.

If you follow the link you will be directed to download sample DNG images as well as video footage. You'll notice that the filter eliminates about 85 - 90 percent of the moiré and aliasing in the chroma channels. The luma channels appear to hold aliasing and moiré but the percentage is about 93 - 97 percent eliminated.

https://copy.com/IOqlwsmWUi8i

So what do you think? Would 92 - 100 percent moiré elimination actually take away from detail & texture? Is 100% moiré and aliasing elimination a better solution because the shooter would never have to worry about when and when not to use filters to block moiré and aliasing? Or, would you prefer more texture and detail with the chance of moiré and aliasing in the image?

More or less that is what I'm thinking about the filter right now. The right thing to do will be to post another response after addressing this with Mosaic Engineering. I presume we all want to know just how much of an impact the VAF can make, right? Until then, thanks for reading and enjoy your time.

ACR will absolutely produce/introduce flickering. I'd stay away from using fill light and highlight recovery whenever possible.

Also, I too have actually taken a very similar shot as what you posted. Interestingly enough, when exporting from ACR and using .psd I noticed that there was a great deal of additional artifacts implemented into the image. It looked like there was a heat wave in the out-of-focus BG.

If you don't believe me try rendering out say like 1 second of video using .psd and then render out the same 1 second of video using .tif (make sure to use .tif and not .TIF). Kind of a cool thing, right? But, definitely a definitive process that has to be discovered by shooting a great deal of situations and circumstances... So keep on shooting and enjoy.