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EOSM crop mood captured in 3k raw. 400 mm tokina FD lens with a solar filter

5d3 magic lantern, gyro stabilized and intercut with Insta360 1-inch.

2.8K 14-bit lossless with tokina 14-20 f2 @ 17mm f2.8 (~35mm with the 2x ml crop)

Mlz converted to cdng lossless, then processed an Adobe camera raw, converted to jpeg sequence.

Yours truly getting smashed while my buddy captures it on my 5d3 magic lantern. gyro stabilized and intercut with Insta360 1-inch.

2.8K 14-bit lossless with tokina 14-20 f2 @ 17mm f2.8 (~35mm with the 2x ml crop)

Does anyone know if there's a way to dial in the shutter down to a decimal. Newer cameras have this feature to compensate for flicker from LED lights. Not sure if this can be done in ML.

Shot this on the night of the blue supermoon. Mounted my EOS M onto my telescope to basically fill the frame with lunar awesomeness

The opposite actually. I don't think there's any difference between lossless and uncompressed except for file size really. If there is, then my skills are simply not there to notice the difference.

The thing I'm curious about is genuinely finding the difference at least within my skill set limitations between 10 bit and 14 bit color.

Been exploring the differences between various resolutions and bit depths using Magic Lantern video files converted to Cinema dng Raw lossless vs uncompressed.

I feel like sticking to lossless is the best option, especially when using the workflow showcased in this video.

Let me know your thoughts and considerations you take when working with these files.

What's interesting is Adobe seemingly intended lumetri to be ACR for video but it's not even close in capability.

Recently acquired the Canon 5D Mark 3 and wanted to see where you can go with relation to low light. This is one of the First videos I shot with it.

Captured using EOS M Magic Lantern RAW crop mood build 1080p mode. Stabilized using gyro flow via Insta360 gyro data.

Lens: Tokina 14-20mm f2 at 20mm couples with viltrox focal reducer.

Shot handheld and stabilized with gyroflow.

Workflow:
1080p RAW to CDNGvia mlvapp
grade + upscale in premiere to prores
stabilized in gyroflow using Insta360 footage
Rendered stabilized footage in prores
final edit in premiere

For most jobs I think RBF denoiser is good enough. Here my example for 5D3 footage using ISO1000..4000 + Darkframe subtraction + RBF denoiser + YT denoiser ( sry, compression ).
https://youtu.be/69zvr4VFkSw

This is simply beautiful!

35mm f 2.0 not good for aps c sensor it is hardly a good focal lens for full frame sensor , its a uphill battle from there with ml crop walking around with telephoto and shooting video

uff! I'm gonna have to agree to strongly disagree with you on this.

i am not trying to be negative but composition is very important if your using crop senor camera you almost always have to go wide but not full frame wide.

Composition is important, regardless of whether you're on full frame of crop sensor. The sensor size in this context is irrelevant. I'd argue that composing an image in wider angles is notably more challenging than in tighter focal lengths.

that is why most high end zoom start even wider than 35mm  it is a very common mistake that happens investing in a fast lens that was made for full frame camera but trying to use on crop sensor and when you mix ml crop on top not a very good look.

In my humble opinion, almost all high end standard zooms perform terribly at the wide end. There's always always - for me at least - undesired noticeable barrel distortion at the wide, and typically lack any sort of image stabilization. If you do get a lens with image stabilization (a feature I want in lenses paired with EOS ML since I refuse to take a gimbal or tripod for the sake of mobility) the cost + weight starts getting packed on.

However, I feel like we're comparing apples and oranges - zooms and primes. Personally, I'd always opt for a prime over zoom, simply due to size and weight.

i am sure you have seen zeeks videos covering eosm with wider lenses (shout out to zeek yeye ) you would have been better off if you used wide zoom like efs 10-18mm IS , and it would not have mattered that it is a slower lens because its outside. bokeh is  a good look but you have to learn to mange it and its not easy when walking around and not using a nd filter ,tripod. so that 35 mm lens would be good for portrait or sports you have to treat it like a telephoto lens or portrait lens because of the crop factors.

(I love Zeek!)

RE wide angle vs telephoto - it really comes down to what you're looking for, which ultimately depends on the type of video you wanna shoot and the focal length you'd associate with that.

An ultra wide angle lens, in my experience are great for for capturing action. This was shot on the Canon 10-22 for example:

And this was shot on the Tokina 11-16 f2.8:
https://www.youtube.com/watch?v=FOBohfmt-I8

However, what you gain in field of view, you loose in close up isolated and sometimes intimate detail.

My natural reaction was to then go with a tighter lens (50mm f1.4), as shone here:

I got details, expressions, etc - but then I was missing out on the wider action.

If you want both while generally keeping your setup light and still having fast prime lenses, you'll end up swapping in and out between two lenses like demonstrated here:

Personally though, I don't like to be swapping lenses.

So, naturally, I considered a zoom. In this example the Canon 17-55 f2.8 IS:

The problem here though is - once the sun went down, I needed to swap out to a faster (not image stabilized Sigma 18-35mm f1. lens.

I anticipated that situation, but I'd rather not have to pack an additional lens in most situations.

One of my favorite go-to lenses had been the Canon EF-M 22mm f2 (which is essentially a 35mm in field of view on full frame).

In my experience, it was a great storytelling focal length. It's wide enough to show context while not distorting the image. And, it's tight enough to get close when details are desired. The only thing that lens lacked was image stabilization.

I gifted that lens to my brother when he purchased his Canon M50. So, I found myself looking for a replacement. One that was light, and portable. While also having image stabilization.

The canon 35mm f2 IS, when paired with a focal reducer on a crop sensor ends up giving you close to 40mm field of view, which isn't that much different than 35mm.

Pairing that with the EOS M, while also getting 3x crop mode, lends me a lens that essentially 40mm + ~120mm which has been fantastic.

i hope this helps you plan your next video and think ahead what your shooting and what you need to get it done tripod filters lens etc.

I appreciate the feedback!

👍

how do you manage the focus?
I have trouble when moving while using mf 😁

It seemed pretty straight forward. For selfie shots, I made a note of the distance scale on the lens, so I'd just focus to that when I needed to point the camera at myself.

All other instances, I'd simply let my attention dictate where to turn the focus ring to. If ever I wasn't sure if I caught focus, I'd jump to 3x to make sure.

The focus ring on this lens is smooth and dampened, which makes the experience real smooth.

Nice work!

Thanks! much appreciated!

That lens/focal-reducer combo yields some splendid looks on the EOSM.

Indeed it is.

The little bit of jitter during the fast pans and high shutter speed might be smoothed with simple motion blur applied to those frames.

How would I go about adding motion blur that doesn't look weird? Any suggested tutorials?

Since some of the shots are 3x crop, it would be fitting to post this video in this recently active eoshd.com thread on the EOSM ML crop modes.

Thanks for the tip. Posted!

Shot and edited over the weekend. Been wanting to test out the Canon 35mm f2 IS and see whether or not it would be good for shooting on the M, especially with regards to image stabilization hand held.

Mixed it up with 3x crop to get an additional 100mm+ focal length for tight detail shots.

Shot 1080p MLV RAW
ISO 100 throughout
Aperture kept between f2-4

Cranked up shutter speed to adjust for exposure as needed.

Decided to break out my Canon EOS M with magic lantern raw and see how the EF-S 10-22mm performs in terms of field of view when attached to a Viltrox focal reducer.

Sweet filmic colors! And sweet intro!

Thanks! much appreciated.

This looks great, from the very first shot. Very little moire problems nice colours, good shots, everything.

Are you using MLV App? If you are, you should enable highlight reconstruction to fix pink highlights (which you can see on the right side of the very first shot).

Yup MLVApp. Will def keep highlight reconstructions in mind next time around! Thanks for the tip.

This looks great! How do you upscale to 4K? I've tried Topaz but it's really slow and usually crashes my 2015 MacBook Pro.

I just do in MLVApp. Set the render settings to the appropriate resolution and done.

Excellent image quality, nice color grading.  The scene with the white and red sauces does not look very aesthetic though.  I understand that you had to eat the food first to comment on it but this mess of leftovers on the table ...

I realized that after the fact - once the food came out I took a couple pickup shots and started eating...and forgot I was shooting a video.

Just finished uploading EOS M RAW vlog:

Shot on Canon EOS M with magic lantern RAW. 2.8K upscaled to 4K.

Viltrox focal reducer coupled with Canon ef-s 17-55mm f2.8 and Sigma 18-35mm f1.8 for night shots.

Enjoy!

Shot this few days ago. Initially was gonna be a magic lantern vlog on catching the arrival of Ramadan with some moon sighting.

But, ended up being about finding happiness and staying optimistic in these times.

I've mixed footage between magic lantern raw (mcm rewired upscaled to 4K), lumix G85 (shot 4K 8-bit), and cell phone (Instagram live feed).

Can you tell what's magic lantern raw vs what's not?

I wonder if they've considered doing what Z cam did in terms of playback. Simultaneously recorded proxy h.265 file.  This way, you can play back the proxy just to review what you shot. But, you have the raw footage to play with later.

Definitely has a lot of issues that may not make a good purchase - but worth renting to address curiosities.

That's the beauty of having a lens with a short minimum focus distance. The further an object is away from the lens, the larger the depth of field gets.

That's why macro lenses seem "slow" in comparison but because you can get closer than any "normal" lens you get all the bokeh you want.

The great thing about 35mm macro is that you avoid the wide angle distortion while the macro allows for separation.

This is probably my favorite FD zoom lens. Best combo so far is Canon FD 24mm f2 + the 35-105mm Macro. Only challenge is with the EOS M, i need to make sure there's plenty of lighting.

I'm very curious to try this combo on a Sigma FP (gotta go rent one). Most cameras will maintain data in the seemingly blown out highlights when it comes to raw. Sigma FP took an opposite approach where it's advised to underexpose to ensure the highlights aren't blown out while being able to recover the shadows. (Some testing for another time and place.)

Shot and edited this yesterday.

EOS M Magic Lantern 2.5K (3x crop).
Canon's FD 35-105 macro zoom with a Pixco focal reducer
MLVApp to Prores Upscaled to 4K

Mostly shot at 35mm, (with 3x crop: 105mm macro)

Every time I slap on that lens, I just go into playtime mode.

I've had that lens since October, and love it more and more each time I use it.