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So Walter base on your comment
Canon 70D at 3:2 does 5472 x 3648
5472/3 = 1824 (which is what I see with full AF)
3648/3 = 1216

So what's happening when I hit 5X that gets me to 1920?  Does it stop line skipping?
Then when I turn 3X video mode on, with centre crop, I should get 1920 right away but instead get 1856?

Esas just loaded the latest you built.
Found that 2:35 aspect resolutions were that same 10,12,14bpp, had to set 5X to get above 1824pixels.
I was expecting something higher? What should I be looking for that is 4k?

I have some time to test 4k and lossless compression, when there is a build. I have been eager to test this out on the 70D.

Another question I have is why does one have to use 5X mag to get to 1920p?
I am wondering how ML gets there with 5X on, but not when its off?

I am a little puzzled, with my resolution results.  The 3X zoom I get, it actually is a crop mode, but the 5X mode, when selected permits 1920 @2:35???
I thought the 5X mode, was a zoom only for focus checking and records just like 3X zoom, but it appears that ML requires this to get to resolutions of 1920p. 
Not sure why ML has increased resolutions in 5X mode only shouldn't theybe in 3X mode as well???

As I understand it only the T3i and 70D/80D have the 3X zoom modes ( a lossless sensor crop).

I have a VAF which takes care of alias/moire. I find its only a problem in certain shots.  Generally you can ensure your subject is not wearing tight stripes etc. But then again sometimes you want to shoot scenes with bricks, hydro wires, and stripes and for these your can use 3X zoom, 10bit raw for no moire/alias.  You can get to 1864x792 24fps cinemascope.

Thanx I updated the RAW shooting resolutions in my previous post on this page #3030 to match lastest experimental raw, its rather good now.

You can get to about 90% of 1920/2.35 @ 24fps with 10bit raw with full AF capabilities, continuously.
All higher resolutions like 1920/2.35 requires 30fps and MF & peaks/magic zoom with time limits (see prev post).
10bit raw slo-mo is 1920/2.35 @60fps, for 8.5s, more than enough for most needs.

With full 1920/2.35 support in 10-bit raw, this camera for video exceeds an 80D unless you want H264/IPB but even there youre shooting without the ML features and not in cinemascope (unless you post crop).  An interesting comparison would be 80D IPB slo-mo vs 70D 10 bit slo-mo. IPB when panned has shadow banding, and raw has ISO limit of about 800 for 8.5s before shadow noise (its really a trade-off comparison). 

Here are some key advantages of the 70D with ML that spring to mind.  How great they are depends how you like to shoot video.

Key video advantages in the 70D with ML include
- zebras for highlights &   other curves/waves etc.
- Magic zoom PIP zoom on LCD, and or focus peaks for MF/AF focusing
- rgb parade with warnings
Cinemascope (1:2.35 aspect) Video Resolutions and Durations with full AF options.
- 10 bit raw, 1600x680 @30fps.  Max resolution continuous for 30fps.
- 10 bit raw, 1824x774 @30 fps, 709 frames about 23.6s.
- 10 bit raw, 1824x774 @24 fps.  Max resolution continuous 24fps.
Cinemascope / Near FHD to 2.5k.  These are Zoomed with MF, the Zoomed AF only does centre point Single Zone
- 10 bit raw, 3X, 1856x790 @24fps. Max resolution continuous, 24fps, also note 3X has no alias/moire.
- 10 bit raw, 5X, 1920x818 @30fps, was 494 frames about 16.4s. 
- 10 bit raw, 5X, 2240x954 @30fps, was 197 frames about 8s.
- 10 bit raw, 5X, 2550x1072 @30fps, was 124 frames about 4s.
Cinemascope /Slo-Mo  (Note some camcorders have only 4s buffers for slo-mo)   
- 10 bit raw, 1824x466 @60fps, was 759 frames, about 12.6s.  Note vertical has to be stretched, but all AF options. 
- 10 bit raw, 5X, 1920x804 @60fps, was 525 frames about 8.75s.  5X zoom uses MF.   
Highest Bit Depth Cinemascope
- 14 bit raw continuous video for 720p @24 fps, full AF options. H264 720p for high ISO slo-mo.
** 80D greater sensor DR for H264 video, yet 70D raw video has highlight/lowlight recovery over its DR, more bits used the harder you can push it in post. Yet raw video supports lower ISO 400 max, because of hot pixels, and shadow banding. If you want to shoot low light high ISO with 70D H264 is good to ISO 1600 **
- 3rd party VAF to reduce moire and aliasing
- ML for stills HDR has more bracketing options, and dual ISO
- ML for timelapse has a valometer and silent / shutter click free, supports 4k video
- ML has clean HDMI output, 422 8bit H264 at 1600p horizontal max. resolution (needs crop)

Common strengths with 80D
- 3rd party flat or log picture profile improves DR (est. 1.5 stops) in H264 over standard Canon profiles
- PDAF with touchscreen for focus pulls
- PDAF with facial recognition permits tracking of slow to fast moving objects
- PDAF with facial recognition achieves parfocal like behavior when zooming with non-parfocal glass
- PDAF on LCD for stills shooting with focal extenders, means you arent limitted by f-stop for AF (birders/action)
- 3X zoom video does a digital zoom, which some have used to about 6X
- 3X zoom video does not line skip (no moire or aliasing)
- twistflex LCD supports shots at low/high angles

- Remote  H264 video shooting can be done by wire with EOS on windows or DSLR controller app on Android, with drag/drop focus set.  There are some 3rd party wireless router solutions (ex. TGP,  but have not used these so others have to confirm their status).


These are just a few

Perhaps a sticky for this thread
- latest build links, some like 50D, 70D are not regularily updated
- latest mlv raw comverters for 14bit, 12 bit & 10bit

I think these two stickies type thread might speed things along, as these get asked often ...

I think the BMD ursa mini 4k, at $3000 (with a global shutter), and the 4.6k at $5000 (body only) also played a part in getting Canon to move.
They also do 4k raw light (12 bit raw), but it seems to me that they both are potentially better value than the C200 4k light raw.
However I am going by spec sheets, as have used neither BMD.  Sony of course is having great success with their log formats shooting 4k, so it seems between ML 10bit 4k raw, BMD ursa mini 4/4.6k 12 bit raw, and Sony we can expect even more affordable 4k raw from Canon.

Read a number of posts, and saw a 700D reference but no real explanation for any aps-c port.
I am a 70D user, and was wondering what the difference is here? to get to 4k?
The 70D even at 3X zoom mode, would be hard pressed to get 2k for any length of time.
Is there something I am missing, and what would be a 70D (card write is still 40 MB/s) max?

For me there is really two 70D issues of note.
Biggies
- Variable fps for video.  ~ doable but requires tweaking between the two known A & B timers.
- LCD Preview of 10bit Raw clip. I have seen raw_twk.mo for my 600D and it worked better. However on 70D it plays once and hangs the camera. Probably an overwrite or improper re-initialization.  This is doable but requires some scrutinizing.  I suspect it should be doable, since we can see LCD live display when shooting, stands to reason its not a throughput hang, so play-back looks doable.

Nice to have
- 24fps for 3X mode video, which enables highest resolutions (even 2k).  Right now best is 30fps. Probably get solved as part of the first item.

I wont have enough time until August.  But I want to.  But just to get the raw_twk.mo working would take 10bit raw from interesting to practical. 

The rate I recommend is 720p @2:35, 24fps, 10 bit raw. Its 19.6 MB/s, so its continuous.
That is rather excellent for this camera, and is very fine setting for Inet delivery (assume you deliver at 2:39).

If you want better raw, you need a higher card write speed than 21 MB/s max.  really 5DMkII or 5DMkIII would do it.

Overheat depends on ambient temp & throughput of video.
You can use astronomer's tricks to basically cool it when shooting for long periods of time.
They put it in a kind of cooler that supports shooting.

For most users ISO 800 & above you will start to get Hot Pixels.  This happens before overheats.

However ISO=100, and 14 bit raw video 720 @ 2:39 24fps is continuous and that would be a valid concern.
OliverRat reports he smoked his 70D circuit board from heavy use.  I dont think there is a simple answer.
If youre a starting a project with heavy use of the 70D then I'ld have a back-up camera.  That's probably the best
advice you will get.

Kizza the DR stops or range is a matter of sensor size and performance.
You can have 20bit raw out of a small sensor, and it will not be better than a 10bit raw from a big sensor that has wide pixel separation, low noise. 

Humans are not very good at distinguishing colour depth, so 4 bit colour verses 2bit we are not as quick. Folks cant discern any difference in a 14bit raw vs a 12bit raw photo.  Where you get the big benefit is in pushing the raw data, like adjusting exposure in post, in that you can push 14bit raw much more than 10bit raw.

I think humans can distinguish 12bit raw vs 10bit raw photos, but that's only in certain shots and not always. 10 bit raw provides greater depth than compressed video, so one should be able to distinguish these, especially in low light shooting detail.  10bit will generally do a better job with highlight details (assuming not overexposed).  So rather than quote stops of light, think more about depth and detail in low/high light.

Ensure you have video switch set, and card (min. 40 MB/s write speed) has enough space.
Dual ISO does not work for video.
RAW video crashes the camera (need to pull battery out, wait 30s) if you use raw_twk.mo.
RAW video (14 bit) varies how it stops based on resoution and and fps.
After you hit stop stop record or it stops because of skipped frame, you have to wait for the camera to finish its processing, else you get weird behaviour.

To get most from RAW video (14 bit) continuous, ensure you dont exceed 720p /24fps. ISO 400 max.
The highest useful 14 bit raw resolution of 1600 @2:35 /24fps, and it will run about 40s or more.  ISO 400 max.
If you use higher resolutions you get clip times less than 30s, which tends to limit things.
5X mode supports 1080p and even 2k but you lose AF tracking, it forces 30fps, and the clips are less than 5s.
The best video low light mode is H264, flat profile pic shot flat, ALL-I at 1080p 30fps, ISO 1600 max.


   

Hey Kalamuni

14 bit raw video is continuous for 720p at 24 fps.
So fill up your sd card. Good for vlogging & demo clips.

10bit raw, once it gets LCD review working can shoot 90% of 1920 anamorphic (2:35)at 24 fps.

Until 80D gets the ML treatment, the 70D is best aps-c for raw video. 

The basic issue with 10/12 bit raw video is that its not usable for a project unless
you can preview the clip on set.  This can be done with a 3X loupe off of LCD once
raw_twk (or its new improved replacement) supports preview. 

What's happening with raw_twk.mo?
It seems that its been left out in the cold.
Its able to display playback 10 bit raw MLV on the LCD.
The only issue I had with the 70D was it only works for the first clip, then if you try to playback
a second clip it hangs. 
Since it plays the first clip, it tells me that's its not initialized correctly for the second clip.
That should be a doable fix.  At least in terms of house of pain threshold.

raw_twk.mo issue with 70D

For 10 bit raw, if you want to have liveview playback working
you need to copy raw_twk.mo to your ML->modules folder on your card.
*** It seems to work for one pass, but 2nd clip it hangs your camera ***
*** Looks like that its not initializing properly for 2nd clip ***

here is a link for the raw_twk.mo I used.
https://www.dropbox.com/sh/arb43xa6svvjljr/AACyi51IrJfMGs3ZQ8EC_6hOa?dl=0

The modules that need to be enabled for it to work include
file_man
mlv_play
mlv_rec
mlv_send
raw_rec
raw_twk

Ok partially solved one problem.  For 10 bit raw, if you want to have liveview playback working
you need to copy raw_twk.mo to your ML->modules folder on your card.
*** It seems to work for one pass, but 2nd clip it hangs your camera ***
*** Looks like that its not initializing properly for 2nd clip ***

here is a link for those who want to download raw_twk:
https://www.dropbox.com/sh/arb43xa6svvjljr/AACyi51IrJfMGs3ZQ8EC_6hOa?dl=0

The modules you need to enable include
file_man
mlv_play
mlv_rec
mlv_send
raw_rec
raw_twk

pic_view    -- is needed for still pics.

However does not work for 12bit raw (perhaps an overload occurs???).  Still not ready for nightlies with this bug.

Still would like one more crucial fix to make this better, really need the 24 fps in 5X mode to enable highest res.
The other fix for same is variable frame rate for all modes, this is even better because now one could use frame rate for time-lapse video.

Perhaps I will try to build & debug, as this variable frame rate seems quite close. 
Need to free up some time.  Would also like to compare against other variable frame rate implementations.

Canni

If you want to reach 1920 or 2k, then you have to use 5X mode on the 70D.
For some reason when you select 5X, it jumps fps to 30 (or 60fps if your in a 60p canon setting).

At 1920 @ 2.35, if it maintained 24 fps, you could extend your record time to 17.5s, instead of 14s (in 30 fps).
You also get 2k @ 2.35 res. for pan type shots (where high res. is important).
Your highest res. will always be with 24fps.

Any progress on 10 bit raw, 5X mode, as we really need to be able to set 24 fps, to get max. resolution/duration.

currently when select 5X mode, it jumps from 24 fps to 30fps

gary you put double quotes around the EXE file.

double quotes are only for the directory & sub-directories.

mlv_dump.exe cant be in thedouble quote. Look at the example

Example:
"C:\Users\Bubba\Videos\Videos\Projects\Magic Lantern\RAW Converter\"mlv_dump.exe

Ok, mlv_dump works to get me DNG.
I can colour correct usingbut how to get them into Ppro?  If I save as JPEG from LR, it complains that bit depth is not supported.

Is there a way to get 10bit scaled to 14bit depth?

Found that DNG works very nice in Resolve.
However LR becomes useless in this flow, since its corrections are not recognized when DNG is input to Resolve.
One can export from LR into jpeg but that limits Ppro or Resolve's abilities.