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Can someone with far more intelligence than me, explain the high level concept of what needs doing and how it works.

Is it a hunt for the memory addresses than respond to the things we need. LED at address xxxxxxx, memory for sensor data at xxxxxx ??

I'm genuinely very curious and would love to learn more if someone can break it down just a little.
Cool Stuff!

Alex, you and the rest of team...Bravo.

I honestly commend your tenacity with the magic lantern project. I feel a thank you doesn't do it justice, so I'll say Alex you sexy man!

I've been on the 50D for some time and on the earlier builds, thus can give you some insight as to the resolution capabilities.

The 50D 'can' do up to 2000 in the horizontal resolution in raw recording, BUT only in crop mode and on an older build of ML. I remember using it last on a Tragic Lantern build. This build did record fine at 2000 across, but made the 50D heat up just idling for whatever reason, the newer build's do no heat up the camera anymore, so glad for that, but the crop mode resolution has dropped a little, so not 2000 anymore, but 1982 or something similar if I remember correctly.

Lastly, not in crop mode, it does 1568 pixels across in the horizontal resolution with aliasing and such. Hope that helped

Hey, if you guys need a guinea pig or help from a layman like me, I'm here to help. Have a 50d and 7d.
Love what you guys are doing.

Can the 7D do the alternating scan line HDR with the RAW video module?
or is that only possible with the 5d mk2/3?

Shot a RAW video in crop 2k and standard 1.5k full sensor mode. Used a fuji film lut too, here it is. I lost quality on the export from AE, so need to work on that.

http://www.magiclantern.fm/forum/index.php?topic=13980.0

Here's a short video I did for a youth organisation.

Used the 50D with a 50mm f1.8 mk1 and a Tokina 11-16mm f2.8.  Roughly 50% of the video was shot at full sensor RAW so, 1586x892 and the other half shot in crop mode for 1920x1080.
Applied a LOG-C LUT first and then the Fujifilm 3D LUT ontop of that in MLRawViewer. Straight into ProRes from there. Imported that into AE and exported as h.264 and then off to youtube.
I am losing quality at the end, would like a better meansfor the output to youtube.

Anyone know the last build that allowed 2000x1080 recording in crop mode???
Also the reason for it not being in the latest builds?

My canon 50d never used to get pink corrupt frames when i used RAW some months back, but with the latest build its always there.

Please don't mix up terms.
EF-S is a mount introduced and used by Canon only. It was derived from EF mount.
Because Canon's EF-S lenses are built to have a shortened distance between last lens group and sensor they will damage cameras with full frame sensors! Mirror will collide.

umm, thats exactly what i said, but only some will cause problems. Just to be clear, the mounts are IDENTICAL aswell as the flange distance.

EF-S lenses have a smaller image circle and that would cause mechanical vignetting (= blackened corners) in APS-C cams.
Third parties like Sigma, Tamron, Tokina (and others) build lenses with smaller image circle intended to be used on APS-C cams only. These are not EF-S mounts.

Obviously the point of my statement was that an EF-S lens would project onto a smaller APS-C sensor, hence why they would be perfect for 2k ML CROP RAW on a full frame sensor?
Also, Third parties do make lenses for EF and EF-S mounts, (sigma lenses denoted with DG and DC for example).  EF-S does of course mean that the lens is designed to project onto the smaller APS-C sensor, therefore it would obviously cause a vignette on a full frame, everyone knows that. My point is, its perfect for crop mode raw recording, thats it.

Yes you can, and the tokina 11-16mm is an EF-S lens:
http://vimeo.com/23694188

Only certain EF-S lenses, where the rear element moves into the camera body when focussing, will have issues in a EF body.

EDIT: surely I can't have been the first to figure this out ?

Is anyone using an EF-S Lens with their mark2 and shooting in crop mode RAW.
Seems like the perfect solution for 2k raw that is moire free.

It would only make a 1.7x crop recording using an EF-S lens. So a tokina 11-16mm f2.8 becomes a 18-27mm (APS-C equivalent).

I can't get v1.2.2 to output. I click on record and reaches less than 1% where it just stops and freezes up.
anyone else getting this?

When clicking around on the frame, why does it change the colour/tint of the video?
Should I be setting the grey point for WB when clicking at a point on the frame? If so, thats amazing but not sure yet?

Created a short piece for a charity.
This is my 1st attempt at videography, let alone raw video. Any criticism is highly appreciated. I will Vimeo it soon.

Majority shot at 1920x1080 (5x crop mode) Raw, using the kit IS lens.
The first and last shot is at 1584x1058 full sensor (hence the moire/aliasing).
Went straight from Rawanizer into ProRes444 proxy for editing in After Effects.
Finally, exported to .mov (probably a mistake).

Simple but effective workflow, but wish to optimize this in learning more complicated workflows that I keep seeing.

Created a short piece for a charity.
This is my 1st attempt at videography and Raw. Any criticism is highly appreciated. I will Vimeo it soon.

Majority shot at 1920x1080 (5x crop mode) Raw, using the kit IS lens.
The first and last shot is at 1584x1058 full sensor (hence the moire/aliasing).
Went straight from Rawanizer into ProRes444 proxy for editing in After Effects.
Finally, exported to AVI lossless in AE.

Simple but effective workflow, but wish to optimize this in learning more complicated workflows that I keep seeing.

Quick question, searched and couldn't get an answer.

Im using Rawanizer to extract DNG's from the RAW and it creates a brilliant proxy ProRes444 file, which edits wonderfully.
Its my understanding that the DNG's are converted into TIFF by rawanizer and then uses these TIFF's to create the proxy ProRes? is that correct?
Also, why are my TIFF files looking as though they are negatives??

Was also wondering about having an efficient system to record and backup the files on the go, even though short takes are enough for all the work I intend to do.

USB3.0 transfer speeds should saturate the read performance from a 1000x CF card if i'm not mistaken...Around 150mb/s.
Meaning I should be able to copy the whole of my 32gb cf card , in roughly 5 minutes.
Which isn't too bad, could be swapping out to another card in the meantime to get going straight away or just wait out the 5 minutes, format and go.

Nothing in the price range of the 50d would perform as well in post production...NOTHING.
You can transform 50d raw video into the most filmic, emotive scene you can imagine. Its just a straight fact, doesn't compare at all to the GH2 or GH3. 

No

LOL I got it mixed up with mkv. I understand the abbreviation now, totally missed it.

 oh ok, thanks anyway, if you could put it up as it stands, that would be EPIC of you and sure to help many others I assume. But I understand if you wouldn't want to.

mlv can be played back cant it?
i'm sure I have a codec installed for my pc's media player to play .mlv

Does Andy600 have a guide up? been looking through this thread for it with no luck.

Also,
which tragic lantern build is comfortable running 1920x1080 in crop mode. I have a 90MB/s 16gb Sandisk Extreme Pro for it to record on.
Also what are the recommended settings for it do so please. Ive tried ETTR off, global draw off but no luck.

Any help is greatly appreciated.

Picking up a Canon 7D today, chose it over the 50d and gh2.
Hopefully, it will stand next to the 5d mark II/III in terms of raw video.
fingers crossed.

Will donate happily to the cause.

@oc_masta
important aspect is depth of field must be narrow for filmic scenes

i suggest also Rokinon (Samyang) fish eye 8 mm f3.5 lens which is around 40 mm and 80 mm on crop x5 and x10
but depth of field really goes off probably...


how you going to manage it with super wide angle lens and slow apperture in crop mode?

wouldn't a very small focal length lens create a very shallow depth of field?

yeah i covered that few pages ago

there is huge advantage in crop x10 mode on Nikon 70-300 mm VR ED lens on canon 50d raw full hd video

that is equivalent of 3000 mm lens on full frame camera

that is more than anything exist

great for sports and wildlife and candid shoots far subjects

however there is no VR working
so probably if you use high end canon telephoto lens with VR would make even more sense

I actually meant in the opposite sense.
It worried me the zoom was too much in crop mode but that can be worked around grabbing a smaller focal length lens anyway. I see no reason to shoot with the lower resolution full sensor mode? everyone want higher res in full sensor, but its crazy?!? moire aliasing and all that when we can have a perfect picture in crop with the correct lens to make up for the zoom?