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That's why you need to buy a square front anamorphic lens

Still dealing with lack of pull focus ability with the Panasonic ones, or do you mean the Iscoramas, you know...type that costs way more than the camera?   

Any tips?

Read the first post.

W - File dialog to choose the export directory
D - Choose export type, MOV or DNG
E - Start exporting from the start of the marked range to the export directory. Will use the source name with ".MOV" or "_DNG" appended.

I'll sell you mine!

Anamorphic shooting (done on the cheap) is simply not practical. You can't pull focus, you're extremely limited in your focal range, the anamorphic adapter needs to be constantly adjusted and checked for proper alignment.

DO NOT BUY A BLACK MAGIC POCKET!!! THEY EVEN ADMITTED THESE CAMERAS SUFFERS FROM INSANE AMOUNT OF HOT PIXELS.

Two friends of mine who have bought the BMPCC love it and have yet to report any stuck pixels. Same with another good friend who has shot with his fair share of them.

Maybe the store had a really bad batch, or you're just incredibly unlucky. Not saying that BM hasn't had quality issues, but there are a lot of BMPCC out there which perform flawlessly.

But yeah, the 7D ISO performance isn't particularly spectacular. I didn't realize how relatively poor it was compared to even the old 5D2 until I had an opportunity to shoot with one. Buy yourself some crazy fast lenses!

One last question. Will the 7D ever be able to shoot raw on 1920x1080 on no crop mode?

1780X817 (or something like that) will get you in the general ballpark. Shooting in Crop mode is IMHO not practical unless you really have time on your hands and your crew is willing to sit around while you set it up and then immediately convert and double check the footage since shooting in crop seems a lot more prone to corrupted frames in my experience.

If you want a good alternative to the 7D with 1920x1080 at 24fps, you might consider looking into the Blackmagic Pocket camera.

Right, if you send the camera out to Canon, they will take photos, and take some video, and they will confirm that everything works as it should even at the highest possible ISO, and send it back to you because there's nothing to fix.

"At the moment am using the August 2nd build (5D3 and imac, Rawmagic, premiere pro cs6)" - Please get yourself a newer version. So much has changed in the past...oh...7 months...that there is absolutely no reason to use such an old build.

"Will this workflow work for mac users?" - Not quite yet. CDNG files exported from RAWMagic are currently not quite cool in Premiere Pro (they have a pink cast). MLRawViewer does a bit better, but not perfect. It's coming, but not quite yet.

"Which is the latest working build?" - The one that comes out today!

"Will RAWmagic work?" - RAWMagic works with .raw and not currently .mlv. CDNG will need to be converted to ProRes first before you edit, and the quickest way to do so is to use Resolve.

"Will sound be recorded in the same CF cards?" - Sound is only supported with .mlv recording. Yes, it will be recorded on the same card that you tell it to.

No.

I have run into Stuck Pixels issues when pushing ISO past 1600.

It's a real issue which can be a bit problem if you're planning an entire production in low light situations.

You can clean them up fairly simply in AE, this is because the pixels are always in the same exact spot. The Wire removal tool works nicely, but even a blur filter on them will get rid of them. In Resolve you could do the same by making a mask and applying the blur.

The main downside it that it adds a bunch of extra time to your post workflow and it's an eyesore to look at while you edit.

I don't know of any in-camera solution that will fix this issue.

But does anyone know the absolute longest I could shoot 1280x720p RAW continuously? What's the biggest fastest card out there in order to shoot as long as possible?

29 minutes? I think your question has been answered many times before, please do a search.

Get the fastest CF card you can afford, although on the 5D2 I think you're limited to a max size of 128gb I think...maybe less?

Thank you Kharak.

My original question was really made in an effort to figure out what I am missing out on by not moving over to .mlv from .raw considering the fact that:

1. Writing .mlv files seems to yield worse performance in camera than .raw

2. The conversion tools to CDNG were at the time non-existent (amazing what a few weeks difference made thanks to MLRawViewer and the "other" app).

3. The metadata saved with .mlv files doesn't seem to improve the post production workflow since Resolve, Premiere or FCP don't appear to make any use of it.


But yeah...it did branch out.

g3ggo...if you're interested in having an adult conversation about this, PM me and I can go into as much detail as you want.

Camera info? ML nightly version info? Resolution info? Crop non-crop info?

Looks like the CF card you're using is rated at 400X.

You might need to buy a faster card, like 800X or faster.

Forget about the "read" speed, the write speed can be substantially slower.

Also, you want to make sure Global Draw is OFF.

Here's a simple one:

Just about every NLE software out there uses the shortcuts I and O to set the in and out points. I think using those keys for those familiar assignments might make your app a bit more intuitive for people used to working in FCP or Premiere?

This is the time for the community to shine too. I can see not everyone being into camera fw hacking but I'm sure there are quite a few coders who can do windows/mac and image manipulation. Its a fairly different skill set.

Agreed, that's why I see promise with tools like MLRawViewer and the other aforementioned app that I shouldn't discuss.

Hmmm...in that case maybe this has more to do with the way the image is being debayered?

I honestly don't know why in crop mode you're getting different results than in still mode. Perhaps one of the developers could chime in with some insider info?

Anamorphic isn't really a good solution since these cameras can't be adapted to PL mount lenses (it's probably ok anyway, anamorphic cinema lenses like the Angenieux line can easily cost or rent as much as an Alexa per day or more). I had high hopes for anamorphic shooting, but ultimately I had to give up due to far too many impractical issues (particularly when done with projection lenses).

I mentioned before that part of the problem with ML raw (particularly on the 5D3 which yields a full HD resolution with low moire, high sensor ISO, and robust media) is that it's a little too good. What I mean is that the quality really is remarkable and it puts it in the class of productions that originally made the 5D2 shooting so attractive (i.e. independent features with not quite enough budget to afford a $20k or more camera rental package). It also makes it a very attractive b-camera on higher end productions, and certainly a good camera to be mounted in tight spaces or in situations where the camera might be disposable (i.e. dropping it off a building).

There are undoubtedly many impressive videos out there done even with low end ML raw cameras. But there is a big difference between a leisure/week-end warrior shoot and a pro or semi-pro shoot. I think ML raw is so close, if the post pipeline was only stronger (similar to the way RED did it...I know I know, billion dollar company...I know). This lack of an efficient post pipeline is IMHO the reason why industry magazines and higher visibility cinematographers like Phil Bloom and Shane Hurlbut haven't embraced this remarkable tool.

To paraphrase Marlon Brando "It coulda been a contender."   

Yeah, the pink highlights. Kudos to get it this close though...it's working quite well for me (aside the pesky pink highlights).

I think he's asking if the card speed is enough to shoot raw with.

The answer is yes, but you will need to drop the resolution low enough to write the data fast enough, which means pretty low.

[not]

Fast/lower quality proxies is not a feature that anyone has requested to the enhancements list: https://bitbucket.org/baldand/mlrawviewer/issues

If you can figure out the whole CDNG Premiere Pro thing, I'm not sure proxies would be even needed (assuming that other NLE's will also support CDNG).

Yeah. Well, for me the 5D3 has been the one camera that could be fit for production. Recent developments with MLRawViewer and another product that I'm not quite at liberty to talk about; coupled with the Blackmagic's 4K's lackluster low-light performance could breathe new life into if for pro uses. As a matter of fact tomorrow I'm the ML raw consultant/DIT on a music video that's being shot on the 5D3 with ML raw (nighttime shoot, low light setups).

Just yesterday I was discussing with someone in the industry how cool it would be if ML could be ported to the 1Dx or the C100 (the C100 in particular would be very appealing since many DP's prefer its ergonomics and stronger production features).

I'm more in line with the thinking that you'll be able to rent or even buy something that shoots 4K, albeit in 4:2:2 H264/etc. Rather than deal with the huge file size and complicated workflow people can just go for that option. So a production with the extra hassle of a DSLR raw might not be so enticing and the compressed won't compare. There are always the interchangeable lenses and the tool that you have is better than the one you don't.

Oh and well the whole photography thing.

I agree, but just to clarify I was strictly speaking about production uses. My point of view is from someone who shoots and works on film productions for a living and what I'm seeing is a huge interest in raw video capture coming from both production and post production sides. Most of the color houses in town don't want to deal with compressed footage anymore. The hardware and storage are up to speed to where they need to be. Oh, and 4K is here to stay.

My point is that DSLR shooting for professional production arose as a bit of a fluke with the 5D2, it's had a useful lifespan; but ultimately it was a workaround for the lack of better (or at least affordable) capture hardware. Blackmagic has broken the price barrier for a sub $5k super-35 camera capable of producing 4K footage. It's not perfect, but it has a strong post production pipeline that is just going to keep getting better. NAB is a couple of weeks away and I'm sure some major announcements will be made from Blackmagic and other manufacturers. Interacting with several professionals it's clear that the writing is on the wall as far as DSLRs for film production is concerned. This is neither good nor bad, it's just the natural progression and evolution of technology.

Well, understand that while CR2 stills take advantage of the entire sensor resolution, while raw video is still using binned pixels to arrive at the 1920x1080 resolution. So yes, some aliasing, moire and softening are inevitable.

It would be insanely incredible if the cameras could somehow record the full resolution of the sensor 24 times per second, but it's not possible and hence the degradation in the quality as compared to still raw images.