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This Presentation shot mainly on 5D mark lll RAW cut with other camera like RED Helium and ARRI Alexa even GH5.
Project was done in 1080p with Davinci Resolve on ACEScc Color management system.

Such Large Sensor of 5D enabling wider FOV with Cinema lenses which I choose Canon Cinema Prime over CP.2

Only problems with 5D Mark lll RAW was the 50p shot which done in 3x3 binning mode give unusable liveview DP have to guess from HacKED preview before shooting.

Workflow

Shot > MLVFS > Davinci Resolve > Export Prores422 Proxy

Edit (Premiere) > XML > Davinci Resolve (MLVFS mounted) > Conform > Media Management (Copy used shot with handle) > Color Grading > Compositing with CGI > Export

Enjoy the video!!!!

Take a look at these skin tone. I didn't shoot this my self. It's Junior student project at University. So I take some shot for natural ARRI-Like skin tone to see how it holds up.

Shot on 5D Mark lll using 3x3 Pixel Binning at 1712x960 @50p

I just have chance to use 6D which also lately shoot compressed RAW format that save space and expand the resolution for 6D. Unfortunately it can do just 3x3binning 2.88:1 1824x628 50/60fps for slow-mo shot, magically it has good framing at the back of the camera.

The clip here is shot to test the lighting effect on my DIY LED panel which triggered by smartphone app. So I want to have paparazzi effect lighting and decided to shot on 6D that lay around for test. It did work like charm for me on capturing Full-Frame near 1080p quality, quite impressive. Virtually no moire' occurred for me. What a B-Cam beside 5D Mark lll for now.

Take a look!!!!

China Town - Thailand : 5D Mark lll RAW
Record at 1920x1080 3x3 45p Binning

The 5D's Sensor is about the size of Alexa LF which categorized as Large Format. But somehow they are really really close.

This test exploit extensively on How camera raw handled intense large dynamic range and saturation in scene. I wish I could under exposed a bit ( it's too hot in some scene). The neons and Saturate LEDs is falling apart in color but resolve handle roll-off really well.

Graded on Davinci Resolve Studio 14 with ACEScct CMS

I add some denoiser because I shot mostly at 1250-3200.

Music : Courtesy of ARRI Alexa LF Promotional Video

The Log to Grade Swipe

Hi! Folks. I deeply fused with how 5D Raw render the color in both Day and night.
My friend shot this and I colorgrade it. I'm totally embrace him to shot 5D instead of A7sll or A6500 because that cams color as sh!t.
This video was shot on 5D Mark III with some Canon glasses and high ISO.
Mostly shot on ISO 3200-6400 with some at 640.

Grading using Davinci Resolve Studio 14.3 - ACEScc Color management.
Hugely denoise and get compressed in to H.264. So the noise invisible in h.264 video.

Thanks for all comments - I keep using it until ML make mark4 record RAW!@!!!!!

Another 5D mark lll raw used on set when it available after switch to alexa in scene.

This clip shot on 5D Mark lll with Canon Prime EF CN-E 35,50
Using 1920 3x3 binning readout for 1920x960 resolution at 50p. Using Experiments ML Crop 4K compressed MLV build.

Post processing MLVFS to mount MLV then edit and grade straight out from Resolve 14 studio with Alexa emulation.

Note : Davinci 14 take out black sun spot completely make this the best highlight roll-off clip I ever shot and grade on ML RAW.

http://vimeo.com/235533941

Hi! Firstly, I thanks all of you ML devs for making this happened. This is just testing to see how 3K can make such sharp picture which by the way is the longest high-resolution video you can get out from 5D MK lll.

5D Mark lll Compressed / Crop4K experimental build for 1.1.3. Processed with MLVFS.

The Color science which I used in this clip is based on Emulation to ARRI Alexa Log-C which I did when I have two side by side footage compared to Alexa Log-C. Graded on Davinci Resolve producing beautiful Alexa like color. Various saturation and lighting circumstance. from ISO 100 to 2000 in the video. It's held quite well.

The equipments I used in this clip.
- Canon 5D Mark lll Firmware 1.1.3
- Canon 24-70mm F2.8 Lenses
- Sandisk Extreme Pro 32GB 160MB/s CF Card

Lighting with Kino-Flo Select 30 LED light. Tuned to Aqua blue and practicals in the room.

http://vimeo.com/235245408

Here some frame grab from 5D Mark lll vs Alexa Mini on Prores4444XQ.

5D RAW feed through Log-C emulation then into ARRI Log-C to Rec.709 / Alexa mini Prores4444XQ with ARRI Log-C to Rec.709.

People have hard time to figure out which one is which.



Don't put Dynamic range into comparison. 5D just have such tightly packed fine color detail compare to Prores4444XQ. Though Alexa always win on DR and many aspects. This comparison just based totally on based grade on Rec.709. When such heavily look applied it may perform differently.

Hello! I've seen some footage lying around few days before by baccinoluigi and inspired me to test myself the new module.

All this footage using 5D Mark lll record @2.88K 2.67:1 crop mode recording which can do continuously on 1066x card.

2880x1078 @ 10 bit RAW

24-105mm Lens @ F4

ISO 3200 1/50

All clips were process with MLP Hit R for run and just make DNG straight out from MLV and Graded in Davinci Resolve 12.5 with some film look apply (ACEScc).

Problem with this shooting scenario : You can't get the liveview with correct framing once you hit record. It will show corrupt noisy glitches frames. And can't playback too.

With this build you can playback 10-12 bit video : https://bitbucket.org/Dannephoto/cr2hdr/downloads
better use it only for raw video not  raw video (mlv) is more stable

Maybe modify the camera to have rotary shutter and optical viewfinder that corresponds to position that it record will help!!!

I would like to see forward in to the future that developer can make Liveview in 10 /12 bit viewable both correct position to center sensor and smoother Liveview apart from ML Hacked which once you hit record it will slow down to stop motion.


Bonus for me here is that I can now record 10/12 bit which enough for me to do color stuff. 14 bit just too heavy. 1080p mode still have correct frame in canon liveview and no stop motion once hit record anddddddd can output HDMI signal which I happy about that. So now it is possible to shoot with less stress on card and storage turn around. I use 64GB X 4 1066x CF Card to keep production flows.

MLRAWViewer will support 10 / 12bit soon. I guess.

This one with ISO 6400 ETTR.

I'll try daytime next few days. Enjoy!

This film has been shot entirely on 5D RAW 14 bit. It's my friend's senior project.

What's news in this film, I used ACES color grading method for this entire RAW workflow.

Equipment :

- Canon 5D Mark III
- 64GB Lexar 1066x X4
- Carl-Zeiss EOS DSLR Cinema lens
   35mm
   50mm
   85mm
   100mm marcro
   135mm
- ARRI 650w Fresnel Tungsten
- 2000w opened-face
- Some Kino-Flo

Sound record using
- Sound Devices 744T
- Sony UWP-D Wireless connected to Sound devices MM-1 for wireless boom
- Sennheiser MKH-60

Edit on Adobe Premiere CC 2015

Graded on Davinci Resolve 12.5 using ACES Color system.
MLVMystic for MLV - DNG Extraction.

Soundtrack from Hugo and Tomorrowland. Some excerpt composed with tomorrowland theme.

Thank you all developers for making this happen!!!!!!

Here! I'm testing again the Dual ISO Function. It's not practical for me to using it for daily basis shoot. But It prove what Higher dynamic range helps to get better contrasty lighting situation.

YOU KNOW WHAT?? THERE IS NO OVEREXPOSED OR UNDEREXPOSED PORTION AT ALL. It's all get great great protons to hit sensor.

Equipment I used :

Canon 5D Mark III
24-105mm F4 USM
Sandisk 160MB/s 1066X 32GB

Processed with MLP > Davinci Resolve > Premiere

Video is not at great quality but you can get the idea what I am talking about. Cheers!

Hello!
Shooting in RAW always be somewhat huge and buggy somehow. I managed to using it to shot Crispy Banana commercial which Faculty of Food technology in my campus requested.
This film is being shot at considerable high ISO for me above >1600 not beyond 2000. Actually I can request A7s for this purpose but I ignored because noise floor and color was so unacceptable.

Shot on Canon 5D Mk III
1920x868 2.20:1 @25fps and 50fps
Canon 50mm f1.4
Canon 24-105mm f4
Lexar 1066x CF card

Lighting
Mostly Tungsten opened-face
ARRILITE 2000
Cosmolite 800
Kino-Flo 4X4
some LED Strip in set of mysterious metallic box.

Using Magic Lantern RAW Video capabilities to exploit the great color and depth.
After I shoot copy the MLV and Dewrap using MLVRAWMystic > Davinci Resolve > Proxy generation > Director cutting > XML from premiere > Reconform DNG > Rematch High-speed shot > Grading > Roundtrip to Premiere then export.

I have bunch of work I shot in RAW. KEEP Coming!!!

Suggestions appreciated. Thank you so much Magic lantern and developers who make this possible.

Hello! Last month I have graded this magnificent footage from my junior student for Movie for music production subject. I endorse them to shoot in RAW on 5D MKIII.=
Footages were overexposed by some shots but It's okay for smooth highlight roll-off charactoristic of RAW.

Firstly, After I receive footage for proxy generation. Dewrap MLV with MLVRAWMystic then import to DavinCi Resolve and correct some color for editor to see some color.
Codec : ProRes422 Proxy @720p
Then Editor finished their work. XML from premiere to Davinci Resolve linked them with RAW DNG that I dewrap from MLV and begin to grade the shot.

I used BMD Film color space and gamma for starting point then add some random curve and LUT. Mostly will be Fujifilm D65 LUT came with Resolve and VisionColor ImpulZ FilmLook.
Then transfer back to Premiere with Round-trip with 50 frames handle and XML back to timeline.

On Presentation day we encoded with DCP to be projected in Cinema Room with Christie projector and Dolby DSS-200 Cinema player. Magnificent picture.

Here is what we got. I export at 2K for sharpness reserve and upscale at export at premiere to retain better bitarate than FullHD 1080 on youtube.

This film is experiment of some mid-tone and sharpness max to the limit. Some shot may not Beauty.

Shot on Canon 5D Mark III
Graded on Davinci Resolve
CinemaMaster RGB LED backlit display

Hello! I've just testing the MLP processed method for days, It's producing very productive and easy way to Process Dual ISO RAW File.

All this clip being record in 1080p with Dual ISO 100/3200 which resulting in 3.2EV+ Gain in DR ~ 15.6 EV Stop.

Shot on 5D Mark III + 50mm 1.4 Canon Lense

CF Lexar 1066x card

Graded on Davinci Resolve

Notice that heavily aliasing on edge and highlight occurred heavily because of low resolution @1920x1080. Maybe next time with wider lens may take with 2.4K @2.35:1 scale which I found can be continuously record.

I've opportunity to used ML to record the project with RAW video. After realising that shore scene can't be done with conventional H.264 shoot.

This is project Music short film of Rangsit University of Thailand in Motion Picture and Video department.

So I used to shot 2 of this movies.

All graded in Davinci Resolve 10 with different color theme.

Shot at 1536 24fps and 1344 50fps

Time-lapse at 0.5fps

Shot with
- Canon 6D with Sandisk Extreme 16GB 45MB/s
- Canon 24-105mm F4
- Canon 50mm F1.4
- Konco CPL ND Filter

Lighitng
- Arri 650 Fresnel
- Kino-Flo 4ft 2bank
- Arri 575 HMI

Thank you for all your comments and suggestions.