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Messages - ShootMeAlready

#226
Archived porting threads / Re: Canon 70D
September 16, 2014, 04:31:13 AM
Have to agree life sometimes gets in the way ... life is what happens to you while you are busy making plans ... John Lennon.
The 7DII has some awesome features for birders & sports shooters.  For still shooters the 65 focus pts, and 10 pps is excellent. Aps-c with the 1.6X for birders and sports shooters helps. But if you want it to shoot video it comes up short.

According to an emmy award winning director of photography the number one thing is focus, and the 70D trounces all others as its the next best to having a Hollywood focus puller.
Well without the touch-screen, youve lost your focus puller (unless you are really handy with dials when shooting video).!!!  This does not replace my 70D period (it loses right there).  The 70D articulating screen, is very good when not using a tripod, overhead shooting, and angled in sunlight still permitting touch screen follow focus.  Putting a 3X hood on the 7D makes sense it will help manual focus and sunlight shoots but that setup is not as versatile as an articulating touch screen.
It seems the 7DII's use of AF is really about tracking for still shooting subjects before you click.

The same emmy award winner picked low light performance as number #2 importance.  The 7DII sensor has not been put through its paces but I would be very surprised if it rivaled the 5DMII/III which the same director picked as HDSLR standard low light performer.

For video the 7DII uncompressed HDMI 4:4:2 8 bit FHD from the usb port is rather sweet as you could stream live to a lap-top (for a studio/tripod setting that's nice - get 8 of these and you can live monitor/stream a hockey game).  Although everyone wants to monitor audio, I did not read about XLR input so its not going to be used for quality audio recording just monitoring.  The slo-mo 60P FHD is another video advantage.  Its certainly useful for video but it does not replace the 70D's fast continuous AF on moving subjects for video.

I keep reading up on the GH4, the camera of 2014 so far, but it seems from the blogs and clips, no one can get decent cinematic skin tones, its challenged in low light & in artistic bokeh, and I keep bitching about the harsh/washed out colour tones I see in all clips due to MFT sensor size.  However for run & gun documentary style its light weight and a interesting choice (if you can suck up its colours).  Its 4K video, 60 FHD fps, are all interesting and certainly useful when needed.   

Also why did Canon not solve with the 7D the aliasing/moire crap?  Canon really does not get it, they aught to be releasing 4K raw video shooters in aps-c with the 70D AF touch screen (JM2C) perhaps this will be the 80D, a dream for indie film. 

Here is the emmy award winning dir of photo link:  https://vimeo.com/101177346
#227
I found some really useful numbers, but cant edit the video feature chart of the first post.
I also want to add a column on the Dual ISO RAW in video. For instance supported on 600D, 650D, 700D, then ....

I would also like to see continuous recording added for 2.39, and 2.67 aspect ratios.

http://www.ramasolaproductions.com/6.html

Above is actually helpful to evaluate the 5DmkII and 7D raw resolution specs, and 2K specs.

On the 5DmkII all at 24P
1856 x 1004 = continuous recording (this is close to 16:9, but needs VAF)
1728 x 972 = continuous recording
In crop mode: (3X crop)
2144 x 1076 = 339 frames
2144 x 898 = continuous recording (this is 2K at 2.35 aspect)
1856 x 1044 = continuous recording (this is near 16:9, and I do believe crop means min. aliasing).
On the 7D
1728 x 972 = continuous recording (currently this is the max res, but needs VAF )
In crop mode (currently only 30P):
2512 x 1200 = 95 frames
2240 x 1120 = 128 frames
1920 x 1080 = 213 frames
1472 x 828 = continuous recording  (the big thing here is min. aliasing).
#228
Quote from: Stedda on August 24, 2014, 09:29:03 PM
http://www.magiclantern.fm/forum/index.php?topic=11108.0

https://builds.magiclantern.fm/#/features

Hi I looked at the forum rules and always try to adhere.  I looked at the features table even before I posted my initial question, but its not clear and misleading.  Firstly if I read that table it appears that for the 7D neither raw 1.0 record, or MLV raw is supported.  To someone who does not own a 7D and trying to determine in practical terms what that means would assume that it does not shoot raw video at all (raw 1.0 or MLV).  Well fortunately Ive looked at raw videos shot on Vimeo and realize that that's not the case.
So its clear as mud to me what raw it does? Ive asked alex if he could update a column on the table below, as a module being listed on the feature table does not clarify if both raw video and still still photo are supported.

https://docs.google.com/spreadsheet/ccc?key=0AgQ2MOkAZTFHdFFIcFp1d0R5TzVPTVJXOEVyUndteGc#gid=5 

Thanks for all help in advance.
#229
Quote from: jman on August 24, 2014, 03:03:47 PM
http://www.magiclantern.fm/forum/index.php?topic=7553.0

The above link is about still photos.  I am trying to find about video with dual iso?.  I understand the 50D does not do video dual iso but was wondering about the 7d? 
#230
Sorry I am looking at purchasing a 7D. I see that it does RAW in video quite nicely, but does it do dual iso yet?
#231
Archived porting threads / Re: Canon 70D
August 22, 2014, 04:06:40 PM
Quote from: Edu on August 21, 2014, 07:48:05 PM
Hey, thanks for posting all this stuff... I have been a while searching and doing my own investigation with cameras. I have been using the 70D for almost half a year, took almost 10K pictures and maybe 40 or 50 hours of video.

Now I'm thinking if it may be or not a good idea to sell the 70D and get the 7D with a hi-speed memory and a VAF filter to film raw... I don't know if it would be a good desicion. What do you think I should consider to stay with the 70D?

Thanks !
Its hard to know what is perfect for you as these decisions revolve around budget.  If you like DSLR and not BMCC ($3K)to shoot raw then the champ is the 5D MIII ($3.3k), it has the biggest sensor shoots raw that is motion picture quality, but its glass (3 f/2.8 zooms, and 4 primes) run around $8K.  Then the second question is do you want to pull focus? If that's your thing then a 70D is not a help.  The setup that some like is the 5DMIII to shoot raw, and the 70D for its continuous auto focus.  So for a raw shooter the 70D is a B cam, used for certain shots (ETTL and color graded to match).  I think there is no decent replacement in video for the 70D, unless you like to pull focus manaully. Now if the 5D is to rich for your blood, then the best aps-c glass raw resolution is the 7D (used about $750) it has some banding issues which limits your ISO (meaning very low light is more challenging, but some claim the post software can fix it?).  Now if that's too steep there is the 50D ($500 used) its a great picture but no audio so that its own issue.  As for VAF you will need that for all canon DSLRs except perhaps the 5DMIII, and the T3i/600d and the 70D (which have 3X zoom mode which removes aliasing).  So look at budget and focus pulling ability before you decide on the 70D.  As for 70D raw, well that may not be for a year (its not for sure).   
#232
Raw Video / Re: 650D/T4i Raw Video
August 20, 2014, 11:29:53 PM
Quote from: AgentJJ on August 14, 2014, 09:13:00 PM
We just shot the entire series of the First Five Years @ 1280x720 24fps and many takes were well over several minutes.  We used the Sandisk Extreme Pros.

I saw episode 1, what a cool thing.  You made the 650D shine!  I like the set photos too. 
China ball lights, LED lights, nice to see the full indy lighting treatment. 
My constructive comments: 
I liked the raw/colours, and the 720p frame size shined (it seemed very TV like full size on my 27" screen).  Nice pace but I would like to see some non-dialogue driven shots.  Perhaps physical comedy and clowning?
If you head out doors to a new location, I would like to see a few more establishing shots worked in. The shots seemed very dialogue driven (heads).
The vocal audio was very loud compared to the ambient sounds,  I think out doors it should be a little more mixed in level else it starts to sound studio dubbed (personal taste perhaps?).
Great stuff!!!
#233
Archived porting threads / Re: Canon 70D
August 19, 2014, 09:58:09 PM
Interesting point on the sharpness of smaller sensors being better suited for critical focus (any references on that? its interesting).  But the part that confuses me on that is why FF can out sharpen aps-c often ?(except for the sigma 18-35 f/1.8 comparisons which is because of the superior glass).

I dont own a 50D.  But from what I read it was one of the first to offer dual ISO.  Here is one video where he used 50D for dual iso raw  http://vimeo.com/73732208
I like dual iso raw for smaller sensors because it gets a richer luminance, and starts to recover detail in shadows.  Its a much better comparison to the BMPCC raw.
However before one gets hooked into thinking everything must be dual iso raw, let me say that its a whole lot easier with vanilla raw.  Not every shot will benefit from dual ISO.
I think the true champ for aps-c raw is the 7D (near 1080p continuous), but its still a rather expensive camera especially if you already have invested in a 70D.
When I have the extra cash lying around, then I would go for a 7D over a 50D.  Until then I will explore raw and ML with my 600d.
However if you were buying right now and wanted a B cam that utilises aps-c glass and does raw, the 50D is best bang for the buck.
 
 
Correction: for 7D & 50D dual ISO is still pics only sadly not video ...
Dont think I would buy a 7D for raw, as its rather expensive for what you get. D50 best aps-c raw bang for buck.
5D MarkII used, is better buy than a 7Dfor raw, and slightly out performs for about same money used. 
5D MarkII is FF, so you have to consider your lens costs to cover your FF lengths.
#234
Quote from: ShootMeAlready on August 04, 2014, 10:49:10 PM
Firstly lets deal with the pretenders, the Black Magic pocket camera, the sensor is smaller (3/4) and it has 10 bit colour depth. If you compare to 10 bit depth and bigger aps-c sensor (I realize this is new ground for aps-c users who keep getting put in our IQ place by FF users) then you realize size and depth both matter.  Personally I would rather buy a used 50D and shoot in 14bit raw with dual iso, then a 10 bit Black magic 3/4 sensor anything camera.  I mean if you are going to wait that long to process your film then why stop at 10 bit blah!I think some H264/MOv of the 70D can match 10 bit raw blah adequately.  Its in the physics 14bits beats 10bits, so sorry BMPC users suck it up.

PS: Did I mention that dual iso (11EV) 14 bit raw blows the snot out of a Black magic pocket camera 10 bit raw with a teeny-weeny sensor ... So if you shoot dual iso raw be prepare to be gob-stopped.

So I wanted to correct my post.  I looked a lot more into the 10bit raw vs 14bit raw, and have to admit that after the compression is taken into consideration, that its not the issue.
For those who wish to read about sensor size, and its impact here are some links & key points.
Here are some crop ratios:  5D MkIII  FF sensor crop 1.0,  70D APS-C crop 1.6, BMD CC crop 3.02.  The difference in the the BMPCC is about the same difference as an APS-C is to a FF.
So what does that mean, here is a highly technical university of chicago paper analysis.  For those who are not inclined to scientific papers, just go the end and read his Bottom Line conclusion.
http://theory.uchicago.edu/~ejm/pix/20d/tests/noise/noise-p3.html#bitdepth~  The bottom line finding:
- "bigger sensors yield higher quality images, by capturing more signal (photons)."  Of course Ive watched many FF vs APS-C video comparisons which illustrate this finding.
- He also mentioned that larger sensors capture more image in lower light (but again anyone of a 100 videos on the subject demonstrate this).
A few more well known points gleaned from Wikipedia (included as a nominal reference). http://en.wikipedia.org/wiki/Image_sensor_format
- increased noise SNR (proportional to square of crop factor), which is a bad thing.
- diffraction impacts sharpness, which increases with smaller sensors, which is a bad thing.
Now lets look at a rather interesting comparison done by Blunty (an Aussie photo blogger), comparing the BMD (the Aussie company). Surely if anyone was to be bias Blunty should be.
Blunty Compares 70D with BMPC -   https://www.youtube.com/watch?v=JAIF5Q5tPAQ
- What I see in every shot of the BMPCC is that its washed out colour depth compared to all the other APS-C cameras including the 70D.  No surprise the science suggests that.
- The BMPC handled detail in the shadows, that was its main advantage, perhaps due to raw vs H264? Not quite sure to be honest (????).
Another video, BMPCC vs 60D - http://vimeo.com/80026804
- This uses a 60D its not a bad 70D comparison point.  The BMPCC has very washed out colour, flatter pic, and lower sharpness (again agrees with the science).

SpeedBooster - for BMPC
- This is rather fabulous enhancement for the BMPC.  Prices around $660USD, was what I saw, and provides a 1.75 crop but it does not increase the sensor size.  Its pretty much essential for BMPC.
- It improves the lens list and provides awesome fast apertures.  These create a niche where the BMPCC has some of the fastest aperture glass !!! (turns a sigma f/1.8 18-35mm zoom lens into f/1.0).  It WINS in this aspect.
- However wonderful the low light glass ability, the colour depth and image quality is still constrained by a small sensor.  Scooped from a pro blog, 
One has to to shoot using the waveform, with everything "over exposed" and pull back in production. Need an external monitor one on back not useful.
"You have to get every photon on sensor you can".  Life is not good in this aspect. 
- PS: Strange thing about the BMPC is that BMD dont provide a Canon lens list, and when you read through the blogs you keep finding one saying yeah a lens works and others finding well not in every aspect
on many lenses so its never clear what glass fully works???

Correction: GH4 is better than BMPC.  If you want to shoot super 16mm digital equivalent, with extra goodies like 4K picture, and FHD 60fps its an affordable choice. Run & gun documentary style its a great choice.

#236
The best I obtained was using anamorphic (2.39) not 16:9 aspect ratio.  The anamorphic crop is your friend on the 600D.
16:9 you get QHD @ 24fps continuous write, which is 25% of 1080p frame.  This is only good for Web and Phone apps. 
2.39, you get 1152x482 @24fps continuous write, which is 80% of 720p anamorphic frame. The up res is very little, and 720p is a very respectable end delivery.

If you have a slow moving master shot, you may get away with 10fps, then you can shoot 1600x670p, which is 83% of a 1080p 16:9 frame. 
Run it through After Effects Time warp, then you can interpolate frames back in to recover to 24 fps. 
This is not perfect but it helps get rich master shots, then you have to use lighting and color grading for the H264 motion shots.

In many ways the 600D provides 80% of what you want in raw, Hope this helps.
#237
Raw Video / Re: 650D/T4i Raw Video
August 14, 2014, 05:53:19 AM
I found with 600d that using the Sandisk Extreme Pro cards (write 90 mb/s), that I was able to get a 23.3 mb/s continuous write, which was about 2.3 mb/s faster than was expected.

Has anyone tried using Sandisk Extreme Pro (write 90 mb/s) with anamorphic (2.39)  1728 x 723 @ 24 fps???  Its about 80% of a 1280p anamorphic frame., so up res is not that big.  The equation  requires about 42 mb/s, and perhaps with the very fast cards the SD controller can support a continuous write???

PS: My Lexar 32GB 400x SDHC were 20.0 mb/s write to the decimal.  I could get 1152x433 which requires 19.9 mb/s continuous write, but it skipped frames around 40-45s at 960x540 which requires 20.7 mb/s.

#238
Quote from: mocenigo on August 11, 2014, 09:45:54 AM
Does this mean that you have dual iso working already on the 70D? If so, how does it work? per "dual pixel" line (so the two photosites under the same microlens are binned and thus it works like on previous cameras) or can you actually read the two photosites under a microlens individually and apply different gains to them?

Roberto
I have tested on the T3i/600D, in mov, raw, and dual iso raw.  It is not working on the 70D yet, but the SD controller write speeds are similar to the 650D, so one can expect 40-45 mb/s.  That means to expect continuous 720p raw (16:9).  It is likely that anamorphic (2.39) will be very close to 1080p. Would love to find out what the 650D max. pixels for continuous anamorphic @ 2.39???.  My observations are that raw beats mov, especially in lower light (everything else being equal).  Dual iso raw beats raw by about 11ev on my T3i (its some what like having a bigger sensor, in that it handles lower light better  yielding richer luminance depth).  The dual iso raw workflow, is one extra process on the DNG pics.  It takes the dual iso values (100/1600 etc.), and combines both (need to check raw dual iso threads for the details of how it works).  I have tried HDR video, and its more finicky, and does not handle fast movement (adds blur) so its only good for slow moving master shots.  The dual iso, however handles motion no problem.   The one area the dual iso raw is weak from what I tested was moving high contrast edges/lines (some moire on the fringes, we are talking  bright white shirt against dark black background in motion), suggest its best to shoot those in vanilla raw or perhaps 3X zoom mode ... hmmm.         
#239
OK, so I have done quite a bit of testing with my 600D/T3i in raw.  Based on my testing I can start to project what to expect from the 70D raw (assuming some dev can deliver such a build for our humble testing).  Certainly the continuous focus is the main draw (for now and in this snack bracket). Firstly lets deal with the pretenders, the Black Magic pocket camera, the sensor is smaller (3/4) and it has 12 bit colour depth. If you compare to 12 bit depth and bigger aps-c sensor (I realize this is new ground for aps-c users who keep getting put in our IQ place by FF users) then you realize size and depth both matter.  Personally I would rather buy a used 50D and shoot in 14bit raw with dual iso, then a 12 bit Black magic 3/4 sensor anything camera.  I mean if you are going to wait that long to process your film then why stop at 12 bit blah!I think some H264/MOv of the 70D can match 12 bit raw blah adequately.  Its in the physics 14bits beats 12bits, so sorry BMPC users suck it up.

So lets cut to the chase, the bottle neck on the 70D in raw is the SD card write speed, which is 40-45 mb/s.   This is the albatross we have to deal with.
This is what I learned from my 600D/T3i:
1. Anamorphic means higher resolution than 16:9.  If you want to shoot a film, then 2.39 aspect ratio is your friend. I am not sure what the highest ratio for the 70D will be, but I can tell you that with the 600Dat half the SD write speed, it can go 1142x482, which is 80% of 720p anamorphic.
2. With a SD write speed of 40-45mb/s, your best option for 16:9 aspect is 720p (1280x720). Compare to the 650D which has the same SD controller speed.  The 650D supports continuous 720P HDDVD  at 24 fps (cinematic quality). That's what to expect with the 70D.
3. Now lets say, you want to use the awesome continuous focus of the 70D at some high frame rate or 1080p res., then you may think that based upon a slow SD write speed, you are SOL.  Well if you have a shot that is slow camera movement and slow motion (OK I mean an establishing shot), then you can shoot raw at higher res. with a slower frame rate (on my 600D I was able to shoot 1600x670 at 12fps), perhaps even 1080p anamorphic ??? (I am not sure what's the limit but with anamorphic you have a great chance to get to max. res.), then in post interpolate frames to add the missing frames.  As long as your shot is slow camera movement and slow motion this will work (Ok so lets just say real estate videos of properties are in the bag).

PS: Did I mention that dual iso (11EV) 14 bit raw blows the snot out of a Black magic pocket camera 12 bit raw with a teeny-weeny sensor ... So if you shoot dual iso raw be prepare to be gob-stopped.

Correction:  Use the right tool for the right job.  Up to 14EV shooting video 14bit RAW can be had for 43rds, aps-c, or  FF cameras, so its not a limiting factor.
43rds provides super 16mm DOF / look.  Useful for run & gun documentary style.  Its superior sharpness /deep DOF good for landscapes with detail.  Its common 4K resolution is good for cropped shooting (i.e. action scenes shot wide then cropped in post).
APS-C is best choice for the Super 35mm look of classic film. Also a good choice for wildlife and sports shooters stills, as the aps-c 1.6X added reach, saves huge $$$ on telephoto zooms and much lighter/smaller lenses help out in the field.
FF is best choice for stills with shallow DOF, and low-light. Its use in video permits low light shooting, shallow DOF, wider FOV for an "anamorphic like effect" all creative tools permitting a different look than the classic 35mm look.
#240
Anyone have any samples of 600D shot (or similar SD 25mb/s write camera) with 12fps motion, that's successfully been interpolated to 24fps?
I would like to know if Twixter pro can deliver?  With MLV dual iso raw, one can hit 1600x670 for 12fps, so how well does twixter match the other 50% ???

1344 or so at 16 fps, interpolated to 24 fps would be anpther comparison.
#241
The best solution for an establishing shot on a 600d is to use lower fps in anamorphic (2.39:1).  This works best if you have very slow to no motion.  If your establishing shot is very wide, then this might be livable (although limiting).
If you use a 12fps, you can obtain a 1600x670 in anamorphic continuous, that's 70% of the 1920x800.  The sacrifice in motion, is made up by the superior resolution and picture quality of what you do have. 
You can try and interpolate using software to get some frames back.  This can be done with AE, but I have seen some Twixter simulations as well.   This is an area I want to experiment with (but honestly black magic pocket camera at 500USD may be less hassle than money / time spent on interpolating software and clips).

I think for fast motion however, you may have to simply use h264 MOV, and work the lighting with ETTL approach & post colour correction. 
If you must shoot fast motion in raw dual iso, I suggest you use anamorphic(2.39) 1142x482, as that's continuous on a 600D.  I would also use a Loupe 3X magnification while shooting. 
If you consider that in 16:9 aspect ratio max is 960x549, which is 25% of the FHD area of the 1920x1080,
simply by switching to anamorphic you get 1142x482 which is 36% of the 1920x800, you actually have gained 11% more closer to max anamorphic picture size.  The anamorphic crop bars are your friend.   
#242
Archived porting threads / Re: Canon 70D
July 31, 2014, 07:44:46 PM
It seems to be in a holding pattern ...
https://bitbucket.org/hudson/magic-lantern/branch/70d-support
#243
Actually Moire should be worse with longer focal length.  I have had horrible CA with the canon 85mm 1.8 on my 70D, shooting high contrast (headlights in the dark).
But I did not see any moire on the 5D, and I looked closely at the hydro wires.  The 5D wider sensor just seem to be more inky and have more colour depth captured.

I think for now I will play with my 600D, and raw for learning experience, but if I were shooting a film in raw, the 5D MIII is the camera. 
BTW: 600D, anamorphic with MLV raw, permitted me 1152x482 continuous in raw with dual ISO increased EV. That's 60% of 1920 anamophic image. 
If I want to play around with lower fps and interpolate in AE, I can get a higher resolution.   

I think what would be interesting is dual iso raw on the 50D, to see if it can be more inky in luminance.  Colour correction a bit heavier to improve colour depth/saturation.
Also try shooting with 100ISO, and say f/1.4 on the 50mm.  Low ISO helps reduce aps-c noise.  I know you will say its not a fair comparison,
but its more about seeing how close one can come with a 50D to match the superior 5D raw performance.  JMHO.
#244
Ok got it working RAW, but really only the MLV module works. 
#245
Archived porting threads / Re: Canon 70D
July 23, 2014, 05:32:47 PM
I have only had the "near full" scenario happen on my T3i with ML with a 16GB slower card.  Strange things happened as it over-wrote some of ML, and my display went foobar, and it noticeably slowed down.  There was some free space when I checked in Windows on the card but less than 5%.  Never tried it with the 70D, but with lots of video strange things could happen, but even if it just slows down that alone would drop frames.
#246
I have some questions in this area.  is it possible in liveview "before" hit record, to be sending through HDMI or USB out, the raw pictures on the LCD???

It seems the HDMI port or USB is the last best chance to get a RAW video stream out of the 600D.  I recall its a 1200xsomething frame from the HDMI port.

#247
Archived porting threads / Re: Canon 70D
July 21, 2014, 09:48:42 PM
Quote from: TomJ on July 17, 2014, 06:14:44 PM
Off Topic:

Anyone else having issues with the 70D dropping frames in vid??

For me, the first thing to check is the card.   Is it close to full? writes slow down when its close to full (5% or less free).  What's its write speed?  I have been using a 20 mb/s write speed video 24fps FHD without issue.  And its the write speed that matters, most cards advertise the read speed.  Amazon had some nice prices on Sandisks Extreme Pro UHS-I 95mb/s read, 90 mb/s write.   
#248
I am new to this. But if you lower fps, then dont you introduce motion blur or choppiness?  I mean even at 24 fps, blur appears?
At what point does Twixter fail to correct? 
#249
Archived porting threads / Re: Canon 70D
July 16, 2014, 05:44:06 PM
I was wondering about the max. write speed of the 70D.  I need some faster SDHC cards, as I am learning to shoot Dual ISO RAW on my T3i/600D. 
And as such I would like to ensure I get a write speed suitable for the 70D in raw Dual ISO.  As far as I can find the fastest SDHC is something like 95MB/s read and 90MB/s write.  I am wondering if there is any good campare point for the 70D to an existing ML Dual ISO running camera with Digic 5 processor and 7fps shooting?

Answers: Ok read earlier threads looks like 45MB/s write, which suggests 720p raw max. res. 
The SDXC is faster bus, perhaps runs faster than SDHC of same write speed.
6d is closest cpu and write speed comparison for 70D. Nice chart
https://docs.google.com/spreadsheet/ccc?key=0AgQ2MOkAZTFHdFFIcFp1d0R5TzVPTVJXOEVyUndteGc#gid=5
Now the faster cards would help with -
Dual ISO raw provides 14 ev, which may yield better results than 720p raw.
Slower FPS video, with Twixter interpolation in AE, allows highest raw resolutions at 24fps. But I am not clear how well Twixter interpolates missing frames when theres motion??? hmm. 
#250
Hi all whats up with no discussion on the 600D shooting raw?  I find videos all over the web, and yet when I upload the latest nightly there's no RAW or load module option?  So has anyone been shooting 600D RAW with the 2014July08 nightly???? If so how are you doing it.  I am very eager to try out some different combos other than 960x544.