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Trying out 10bit on a 550D using DeafEyeJedi's recent 'I went nuts again this morning' build, 1280 wide 2.35:1 23.976 fps overide and MLVFS installed for the first time today, recording works great, no freezing or odd behavior except top quarter of playback in Resolve via MLVFS every other frame is offset to the right by a consistent 16 pixels, so top quarter of the image jumps from side to side on playback.

50D 10bit every other frame top quarter 'corrupt'. Same portion of the frame as the 550D but 50D shows multicolor, which looks like an incomplete bit plane stack and it appears to be offset to the right by a consistent 16 pixels.

Tested playback with MLVFS and viewed DNG's via MLVFS in Rawtherapee.

Nice update and minor comment about the crop factor and equivalent focal length in the final calculation. For example if I have a 40mm lens on APS-C then the calculator shows the correct angle of view for my choice APS-C. So I'm not interested what equivalent focal length I would need on a full frame camera ie: 61mm to get the equivalent angle of view to the APS-C choice.

If I wanted to know the angle of view for a full frame I could enter it as my choice instead of APS-C. For me as a non photographer the whole crop factor thing is just photography baggage, admittedly many new cameras have multitude of sensor capture areas.

But look at all the movies made over the years, many of our favorites and they're on APS-C sized 35mm motion picture film, Super35 and new movies / TV shows on Alexa. To me that's where comparisons / equivalents would be good, not full frame, DSLR revolution or not.

But great update.

It would be useful to be able to enter AOV required to see what focal length is required for the users choice of sensor size, aspect ratio and resolution along with the all important raw calculation.

A bit confused over the angle of view calculation. For example on a 50D the full APS-C sensor area is 4752 pixels wide, physical size approx 25.1 × 16.7 mm 3:2, but the 50D maxes out at 1584 wide and likewise for vertical max, are the max horizontal and vertical for any camera taken as the full sensor physical area in your calculation of horizontal angle of view, is that how ML raw works? Forgetting crop mode for now. Reducing the horizontal and vertical resolution in the calculator below the camera's max possible appears to act as a matte cropping and reducing the angle of view.

This looks really useful, what about hiding the crop factor and just providing the important bit which would be equivilent horizontal angle of view, maybe equivilent diagonal aov for different aspect ratios. I often find myself reading up on wha camera, lens and focal lengths were used in a shot of a movie and working out ehaov for a 50D, its far easier admittedly to compare aps-c to 35mm motion picture film as imaging area is near identical, unless trying to compare Vistavision or such.

The corruption seen in the 10bit and 12bit dforts 543 post looks like its to do with bit planes https://en.m.wikipedia.org/wiki/Bit_plane, guess this is obvious to those understand math and code, not me.

1250 is not divisible by 16? See A1ex post up a bit.^ I dunno thou.

Thanks for the reply, I use Resolve and it's stabilization is good, although inevitably it needs the 'zoom' box ticked as well to scale up a bit and loose the skewed framing. Agree post stabilizing can leave warping morphing effect whatever. So IS lens stabilization was not enough, just wondered as getting my first IS lens soon, Canon EF-S 10 - 15 IS II.

10 & 12bit ML raw is a great development. The detail does look good  but there's some horrible effects of image stabilization, baccinoluigi is that Resolves stabilization settings or IS in the lens, maybe it's even softened the detail if it's been stabilized in post and zoomed a bit to reframe.

Using nightlys myself on 550D & 50D, wasn't aware 5D3 hadn't got the option. Too bad.

When you took the cable release apart did you have three wires soldered to three strips of metal on top of each other? top two plates push together give half depress, all three plates together for shutter lock open? I just used the wires off the top two plates and a switch for both 550D & 50D cable releases.

Movie -> Rec Key

I used the top two wires, on the first two metal plates, from the three in the cheap Chinese 'Pixel' remote and used momentary switches push to make:

http://www.ebay.co.uk/itm/281829466789?_trksid=p2057872.m2749.l2649&var=580815628034&ssPageName=STRK%3AMEBIDX%3AIT

Epoxied the switch and cable into a short bit of 15mm rod and clamped onto a rig. Used Halfshutter press in ML menu to operate. Works great on a 550D, made another for a 50D.

Better than the shutter button because I always push to hard, take a photo and get a raw error instead of an MLV.