Messages

As the title says, I just picked up a 5D III for absolutely dirt cheap. 1000 cad for a 107k shutter 5D3, battery grip AND a 24-105. Got the original boxes and everything. The 5D3 is a bit battered on the outside, but the LCD is not scratched and everything works. Only thing I need to fix is the aperture cable on the 24-105 and it will be like brand new.

So, would anyone be interested in direct comparisons between the 5D2 and 5D3 ? I have the VAF filter on the 5D2 so I can compare the quality of Full frame 1080p on both. I can do crop rec comparisons, 4k modes, write speeds benching on both with the same cards, etc. I have CineLog so we can test between the two as well.

What would you guys like to see ?



Here is some threads where I did some tests on the 5D2 :

VAF-5D2 Optical Anti-Aliasing Filter Test on 5D2

MLV RAW 14-Bit vs 12-Bit vs 10-Bit Comparison on 5D2

Cheers

This seems to be a good solution !

I did a zoom meeting for a class presentation where I used the 5D2 in liveview with the program ''camera live'' on my macbook pro.

I tried placing the 5D2 just above the screen so that its easy for me to look into the lens while talking. I just slightly adjust my gaze downwards to look at the people talking on zoom. I reduced the zoom window a bit and pushed it towards the upper portion of the screen as well to really reduce the elevation change of my gaze and it worked quite well !

Webcasts are a tricky thing honestly. Listening to people I dont think your gaze matters much. I think you gaze while talking is much more impactful for ''connecting'' per say.

Thanks , Yes it looks like the VAF does help a lot , very surprising but it looks like at a cost of sharpness a little bit .
What lens did you use ?

Yes that is my conclusion as well. Overall sharpness is slightly reduced, but jaggies and aliasing are pretty much all gone.

I used a 35mm F/2 IS USM between f/7 and f/9 with no filters.

Here is the test requested by Reddeercity for the 4k(4096) 3x1 Anamorphic mode.

Setup is exactly the same as the earlier posts. I did four different scenes to get some variety for detail, depth of field, focus transitions and patterns.

The organisation of images will be with VAF on top and NO VAF at the bottom for each pair of images.















Here are the files as usual.

Ahhhhh I've been waiting for this test!!

This is exactly what I needed to see. The VAF filter in the 5D2 is amazing for full frame! Those branches just melt away. I also now understand why Reddeercity and I disagreed so much on the use of the filter. That filter is unusable for his crop recording, and I never use crop mode.

It really gets rid of the aliasing... Man I'm jealous. I wonder what the difference between the VAF1 and VAFb is now.

Amazing test! This is proof that I needed to get a 5D3 for the filter and extra vertical resolution, but ever since the EOS R5 was announced, I'm just going to save the money and buy that no matter how much it costs.

Yes for full frame video I am extremely happy with the performance of the VAF filter ! I wanted the VAF-5D2b but these are so rare its ridiculous. I've been waiting a year for one to pop on eBay.. That R5 looks to be an absolute monster !

You need to wait up to 30sec in crop mode before you start recording. It's still bleeding edge.

Thanks for the heads up. I'll try waiting 30s before starting the recording when I re-test tomorrow !

I did some preliminary testing earlier today and I am getting a ridiculous amount of vertical lines.



I followed the procedure listed on the 3k/UHD thread, am I doing something wrong ?

They do seem to fade towards the end of the video. I recorded 5 seconds of each configuration and the last frames are better, but still have them.

@ Volumetrik I have a small request , can you try the VAF-5D with the crop_rec 4k 3x1(4096x590 = 4096x1770) preset and post results please ?
I'm interested to if can completely remove the line skipping artifact as good as the 3x3(HD) .
Since you use A.E. with ACR , just load the mlv in to mlv app & select 3x vertical stretch and export to fast pass cdng.
This will export @ the source bit depth & set a flag for 3x1 pixel for proper display (e.g. info says 4096x590 but displays 4096x1770)
and will not bloat the file size (like mlvfs), so 10bit read 30-40 % less then 14bit.

Alright, i'll try that out soon ! I'll post the results here. It's this build right ?

Dec 31 2019
Experimental build: 4k(4096) 3x1 Anamorphic ,  2784x1160 1x1 @ 24.00fps & FHD 3x3 (1856x774) @ 48p

@reddeercity Agreed, might actually be the most interesting.

@Luther Has embedding improved for you? I changed it.

It certainty changed for me !

Code Select Expand

[img width=640]

I'll use the tag from now on. That's a much more elegant solution.

Great test @Volumetrik. Can you just repost these images on a better host? This "ibb.co" thing only works with javascript enabled. I suggest using pictshare instead...

Thank you ! I'll fix the embedding, I did not know it was a problem with javascript disabled !

Thanks so much. Always wanted to see what VAF-5D was actually like at the pixel level, in crop mode. Literally been waiting years for this test.

And it's just as I expected, vertical blur, to compliment the already exisitng horizontal binning.

ALso great to see a direct comparison in raw, without crop. Looks really good.


And what software did you process raw in? Looks like Adobe?

MLV mounted with MLVFS. DNG's then imported in AE and processed with ACR. Usually with reduced highlights and slightly boosted shadows.

The last tests have CineLog-C applied to them in ACR. I then apply an ARRI Log-C to Rec709 Lut using Lumetri.

I wanted to test out the effect of the VAF filter on the video on the 5D Mark II. As you all know, the 5D2 suffers from aliasing in the full frame mode. On close up subjects it can be fine and not show at all, but on repeating patterns, clothing and fine contrasting detail it can completely ruin the video.

The hypothesis :

I think the VAF filter will eliminate the aliasing problem for full frame video. I also think that it may reduce sharpness.
Additionally, I think using a VAF filter AND crop mode will yield reduced sharpness, but I don't know to what degree.

Variables :

Canon 5D Mark II 2.1.2 w/94k actuations
Canon 35mm F/2 IS @ F/8
Canon EF-S 10-18 STM @ F/8
VAF 5D2 AA Filter
SanDisk ExtremePro 32Gb UDMA 7 160MB/s CF card

magiclantern-crop_rec-3k_Updated_Center_4.20pm-5D2-eXperimental.2019Nov14.5D2212 from Reddeercity
100 ISO
FF mode : 1866 x 1248 1.00x Crop @ 23.976 fps 1/50s
Crop mode : 2784 x 1080 2.01x Crop @ 23.98 fps 1/50s

The setup :

Using a tripod, I shot multiple different scenes using the same settings with the VAF filter and without the VAF filter. For the first scene, I tested two lenses : a 35mm and a 10-18 Ultra-wide zoom meant for EF-S. Since I have the original VAF-5D2 filter and not the updated VAF-5D2b filter specifically designed for wide angles, I expect the performance of the VAF to be less using the 18mm focal length. Since I am using an EF-S lens on full frame, I expect the corners to be blurry and with vignetting, so I will use center crops only for comparisons. All of these shots are within 30 seconds of each other.

Here is my exposure for this test. Note the picture is at F/7, but I later changed this to F/8. The RAW zebras were only green in the sky, not green and blue like pictured.



Here are the tests. I added labels to aid in comprehension :

Click on each of these photos to see them in full size.










Initial conclusions :

Full frame video has now no aliasing when viewed at 100%. An interesting side-effect is the reduction of compression artifacts. This can be viewed clearly in the grass in both full frame tests. The reduction in sharpness is (to my eye) due to the elimination of false sharpness created by the aliasing. I most definitely think that the resulting image with the VAF filter is better when using FF.

Crop mode is straight up not usable. The sharpness reduction is dramatic. The shots look out of focus, but I can assure you I focused using the 10x liveview and autofocus on the central part of the image multiple times. I even re-did the whole test again because when I viewed the footage on the computer, I thought I made a mistake. We can conclude that using the VAF in conjunction with crop mode will yield poor results at best.

More testing :

After this initial test, I set out to test out different scenes to see the actual difference in real world tests. Since this filter was not intended for crop mode video and just for full frame, the later tests are all tested on full frame with the 35mm F/2 IS USM.








You can make your own observations. Here are the original files used in the test.


More conclusions :

With the further testing I did, I can say with confidence that for FF video in RAW on the 5D2, the VAF filter does its job very well. It reduces aliasing and compression artifacts to almost invisible levels when viewed at 100%. Crop mode is not to be used with the VAF filter. I do not think it was designed for that so I cannot fault it in that aspect.

Hope you found my tests useful !

[virtual]

Are you sure you're recoding in 10-bit and 14-bit? Exiftool says these files have the same bit depth:

Code Select Expand


14-bit (f/8)

ExifTool Version Number         : 11.93
File Name                       : 14_f8.dng
Directory                       : .
File Size                       : 3.8 MB
File Modification Date/Time     : 2020:04:18 20:21:12-03:00
File Access Date/Time           : 2020:04:18 20:20:59-03:00
File Creation Date/Time         : 2020:04:18 20:21:12-03:00
File Permissions                : rw-rw-rw-
File Type                       : DNG
File Type Extension             : dng
MIME Type                       : image/x-adobe-dng
Exif Byte Order                 : Little-endian (Intel, II)
Subfile Type                    : Full-resolution image
Image Width                     : 1856
Image Height                    : 1044
Bits Per Sample                 : 16
Compression                     : Uncompressed
Photometric Interpretation      : Color Filter Array
Fill Order                      : Normal
Make                            : Canon
Camera Model Name               : Canon EOS 5D Mark II
Strip Offsets                   : 65536
Orientation                     : Horizontal (normal)
Samples Per Pixel               : 1
Rows Per Strip                  : 1044
Strip Byte Counts               : 3875328
Planar Configuration            : Chunky
Software                        : MLVFS
Modify Date                     : 2020:04:18 12:41:35
CFA Repeat Pattern Dim          : 2 2
CFA Pattern 2                   : 0 1 1 2
Exposure Time                   : 1/50
F Number                        : 8.0
ISO                             : 100
Sensitivity Type                : ISO Speed
Exif Version                    : 0230
Subject Distance                : 83 m
Focal Length                    : 35.0 mm
Focal Plane X Resolution        : 1283.070596
Focal Plane Y Resolution        : 1302.713987
Focal Plane Resolution Unit     : inches
Lens Model                      : EF35mm f/2 IS USM
DNG Version                     : 1.4.0.0
Unique Camera Model             : Canon EOS 5D Mark II
Black Level                     : 1792
White Level                     : 16200
Default Scale                   : 1 1
Default Crop Origin             : 0 0
Default Crop Size               : 1856 1044
Color Matrix 1                  : 0.5309 -0.0229 -0.0336 -0.6241 1.3265 0.3337 -0.0817 0.1215 0.6664
Color Matrix 2                  : 0.4716 0.0603 -0.083 -0.7798 1.5474 0.248 -0.1496 0.1937 0.6651
As Shot Neutral                 : 0.4225005186 1 0.6434584088
Baseline Exposure               : 0
Camera Serial Number            : 3CD6BAE2
Calibration Illuminant 1        : Standard Light A
Calibration Illuminant 2        : D65
Active Area                     : 0 0 1044 1856
Forward Matrix 1                : 0.8924 -0.1041 0.176 0.4351 0.6621 -0.0972 0.0505 -0.1562 0.9308
Forward Matrix 2                : 0.8924 -0.1041 0.176 0.4351 0.6621 -0.0972 0.0505 -0.1562 0.9308
Time Codes                      : 00:00:00.00
Frame Rate                      : 23.976
Reel Name                       : /M18-1246.MLV
Baseline Exposure Offset        : 0
Aperture                        : 8.0
CFA Pattern                     : [Red,Green][Green,Blue]
Image Size                      : 1856x1044
Megapixels                      : 1.9
Scale Factor To 35 mm Equivalent: 1.0
Shutter Speed                   : 1/50
Circle Of Confusion             : 0.029 mm
Depth Of Field                  : inf (4.94 m - inf)
Field Of View                   : 53.1 deg
Focal Length                    : 35.0 mm (35 mm equivalent: 36.1 mm)
Hyperfocal Distance             : 5.25 m
Light Value                     : 11.6

----------------------------------------------------------------------------

10-bit (f/8)

ExifTool Version Number         : 11.93
File Name                       : 10_f8.dng
Directory                       : .
File Size                       : 3.8 MB
File Modification Date/Time     : 2020:04:18 20:19:59-03:00
File Access Date/Time           : 2020:04:18 20:19:58-03:00
File Creation Date/Time         : 2020:04:18 20:19:58-03:00
File Permissions                : r--r--r--
File Type                       : DNG
File Type Extension             : dng
MIME Type                       : image/x-adobe-dng
Exif Byte Order                 : Little-endian (Intel, II)
Subfile Type                    : Full-resolution image
Image Width                     : 1856
Image Height                    : 1044
Bits Per Sample                 : 16
Compression                     : Uncompressed
Photometric Interpretation      : Color Filter Array
Fill Order                      : Normal
Make                            : Canon
Camera Model Name               : Canon EOS 5D Mark II
Strip Offsets                   : 65536
Orientation                     : Horizontal (normal)
Samples Per Pixel               : 1
Rows Per Strip                  : 1044
Strip Byte Counts               : 3875328
Planar Configuration            : Chunky
Software                        : MLVFS
Modify Date                     : 2020:04:18 12:39:41
CFA Repeat Pattern Dim          : 2 2
CFA Pattern 2                   : 0 1 1 2
Exposure Time                   : 1/50
F Number                        : 8.0
ISO                             : 100
Sensitivity Type                : ISO Speed
Exif Version                    : 0230
Subject Distance                : 83 m
Focal Length                    : 35.0 mm
Focal Plane X Resolution        : 1283.070596
Focal Plane Y Resolution        : 1302.713987
Focal Plane Resolution Unit     : inches
Lens Model                      : EF35mm f/2 IS USM
DNG Version                     : 1.4.0.0
Unique Camera Model             : Canon EOS 5D Mark II
Black Level                     : 112
White Level                     : 1013
Default Scale                   : 1 1
Default Crop Origin             : 0 0
Default Crop Size               : 1856 1044
Color Matrix 1                  : 0.5309 -0.0229 -0.0336 -0.6241 1.3265 0.3337 -0.0817 0.1215 0.6664
Color Matrix 2                  : 0.4716 0.0603 -0.083 -0.7798 1.5474 0.248 -0.1496 0.1937 0.6651
As Shot Neutral                 : 0.4225005186 1 0.6434584088
Baseline Exposure               : 0
Camera Serial Number            : 3CD6BAE2
Calibration Illuminant 1        : Standard Light A
Calibration Illuminant 2        : D65
Active Area                     : 0 0 1044 1856
Forward Matrix 1                : 0.8924 -0.1041 0.176 0.4351 0.6621 -0.0972 0.0505 -0.1562 0.9308
Forward Matrix 2                : 0.8924 -0.1041 0.176 0.4351 0.6621 -0.0972 0.0505 -0.1562 0.9308
Time Codes                      : 00:00:00.00
Frame Rate                      : 23.976
Reel Name                       : /M18-1241.MLV
Baseline Exposure Offset        : 0
Aperture                        : 8.0
CFA Pattern                     : [Red,Green][Green,Blue]
Image Size                      : 1856x1044
Megapixels                      : 1.9
Scale Factor To 35 mm Equivalent: 1.0
Shutter Speed                   : 1/50
Circle Of Confusion             : 0.029 mm
Depth Of Field                  : inf (4.94 m - inf)
Field Of View                   : 53.1 deg
Focal Length                    : 35.0 mm (35 mm equivalent: 36.1 mm)
Hyperfocal Distance             : 5.25 m
Light Value                     : 11.6


It seems reddeercity has responded already, but I have arrived at the same conclusion independently. Both show as 16-bit as he said, so I popped the ExifTool generated description in a text compare and got these differences. White and black level seem to differ between the two. Its crazy that only this changes in between bit depths while using MLVFS.



Juggling these DNGs of different bit depth is a bit confusing because they all have the exact same size (3,849 KB) between 14, 12 and 10 bit so differentiating them is harder than I thought. I am glad someone is back-checking my stuff !

Because "MLVFS" export's virtual Cdng's to 16bit (it just padded at the end of the file no extra information is added)
Look at the black & white level , 10bit=112 , 1013
14bit= 1792 , 16200
so it's correct .


@Volumetrik 2 Thumbs up !! great job - now that's how you do it , thanks for the contributions to ML .

Thanks, that means a lot !

Alright, I am back with a second test, this time concerning the highlights as mentionned by Reddeercity and yourboylloyd.

First the variables :

Canon 5D Mark II 2.1.2 w/94k actuations
Canon 35mm F/2 IS
VAF 5D2 AA Filter
SanDisk ExtremePro 32Gb UDMA 7 160MB/s CF card

magiclantern-crop_rec-3k_Updated_Center_4.20pm-5D2-eXperimental.2019Nov14.5D2212 from Reddeercity
100 ISO
1866 x 1044 1.00x Crop @ 23.976 fps 1/50s

Methodology :

I started with a very over-exposed sky and brought down the exposure by 1/3 ev using the aperture.

Test starts at f/6.4 and using the raw zebras as mentioned in the thread. I then pulled back two settings in ACR, exposure and Highlights. Exposure is brought down relatively to the aperture setting so that the resulting image is the same exposure across the board. Highlights are always pulled back @ -100.

I did two rounds, first at 10-bit and the second at 14-bit. Something that I encountered however during the recording is that the RAW zebras did not show while recording 10-bit footage. They were displaying fine while looking at live-view without recording, but as soon as I started recording, the zebras turned standard.

Here is what I am talking about. First image is while recording 14-bit, second while recording 10-bit.



Here is a reference picture of the scene I made with my iPhone 7 Plus :



Moving on to the actual tests, here is the 14-bit :



And here is the 10-bit :



Don't forget that you can click on these images to view in full resolution.

Can you tell the difference ? 


Here are all my files from the test, DNG's, xmp profiles created in ACR, PSD files, exported JPEGs and everything in between.

Conclusion :

It seems that both 14-bit and 10-bit depths handle high exposure detail very, very well. Both can be ''metered'' about the same for the highlights. From what I can tell, we lose detail in the clouds at f/6.4 and f/7. We start seeing consistent detail in the clouds at f/8. Coincidentally, f/8 is when the black bars in the RAW zebras don't appear anymore. I would conclude that using zebras for exposing and looking for an exposure just before black bars is a great way of getting all the highlight capacity of the sensor. I had trouble seeing the difference in this scene from 10-bit and 14-bit. In my eye, they both seem equal. I did not test 12-bit because the difference was marginal compared to 14-bit in the first test.

The bulk of the difference that I wanted to expose is between the two extremes. This does support my hypothesis in the first test that highlight detail seems unaffected by bit depth.

I also took the good exposure picture (f/8) and pushed the shadows to 100%. I looked for areas where I could see differences. Here is another example of the green cast in the shadows when pushed to the extreme (Shadows -100) :



You can see what I am talking about in two places : the back of the stop sign and the window frame. In the 10-bit portion (left) you can see some green cast in the recovered shadow areas, but the cast is much less severe than the initial test. There is however much more grain. Its especially visible in the window frame section in the middle.

Conclusion of the conclusion :

10-Bit is AS GOOD AS as 14-Bit for highlight detail retention @ 100 ISO. For shadow detail when pushed up +100, 14-Bit still holds an advantage, albeit less than previously thought.

VAF filter comparison coming soon.

Go to Sub-Menu of Zebras, under Overlay Tab.

'When Recording: Show' - Note: as you are on 5D2 this might decrease the recording time as it requires more processing of the 5D2, so you might want to set it to Hide.
'Use RAW Zebras: Always'  - this will also show you a high quality RAW zebra overlay in Image photo review, really helpful.
'RAW Underexposure: 0 EV'

Thank you very much ! Areas where I thought were clipping previously are now shown not clipping, this is great for ETTR.

I edited my Original post and my reply with links to the original DNG's.

[can't]

I can't agree here , I use 10bit all the time for 3x3 , 1:1 & crop_rec up to 5.6k
I haven't use 14 or 12 bit in a few years now .
I see 2 problems here
1st: VAF 5D2 AA Filter
a total waste of time & money it messes with image too much
2nd : Your exposure is not push far enough to the right or (ETTR)
on the 5d2 you need to over expose the hi-lights by at least 10% , special if
you are processing the Cdng with ACR (the hi-light are always recoverable)
this will produce very clean shadow etc. .... in 10& 12bit .
Plus the other thing that made a big difference is exposing (to get clean noise free shadow) to a log style picture style profile .
I use technicolor cinestyle picture style profile , there was some  Reverse Engineering done on it and other Log profiles
and the conclusion came that the technicolor cinestyle was a 10bit Log curve . you can read able it in the link below
https://www.magiclantern.fm/forum/index.php?topic=16299.msg158364#msg158364
If you use a Standard Picturestyle profile of any one other then log you are exposing to a rec709 space that clipping.
The 5D2 shines the best with a Log style environment (yes it take a few more steps but can produce a superior image to other camera even 5D3)

Take this with a gain of salt , it's just my opinion  - after 10 years of experience on this camera in the News/Documentary field .

Edit: Just to clear things up a bit , the reasons to use technicolor cinestyle for picturestyle profile on liveview
is a tool to help with the exposure to push hi-light for better D.R. with out crushing shadows .
In No Way Dose the PictureStyle Profile effect the Raw Image/video , it just to aid to do better ETTR .

Thanks for the detailed response ! I will definitely try to overexpose even more the highlights in my next test.

I think the VAf did a great job. I almost thought Adobe had some new amazing debayering. The lines look great with no aliasing and there's plenty of resolution. Easily as good as a 5D3.

Surely it only messes with crop mode image?

@Volumetrik could you show me how crop mode looks with VAF, I'm curious to see how it actually messes with the image.

Yes that's a great idea, I will test the difference that the VAF 5D2 filter does on full frame and 2x 2.7/3k crop mode from the reddeercity build.

Thanks for the test, its nice to see the comparison first hand.

But I think you made a mistake in measuring the scene, ML Spotmeter does not measure the RAW data, unless you use RAW EV Meter.

For a much faster and accurate scene reading, I recommend you expose with RAW Zebras and RAW Histogram, especially if you want to hit the sweet spot of ETTR to maximize the DR. You can clip the Green channel and still reconstruct the highlights with Blue and Red channel. In certain scenes you can clip two channels and still be able to retain the highlights with some Post magic, but clipping two channels I would only recommend for Sky or naturally super brights, not clothing or walls as it can introduce unwanted artifacts in the reconstructed areas. And never ever faces.

Could you post 1 DNG from each test sample?

Thank you for the exposing tips, I'll use the zebras from now on. Is there any special settings I need to modify within the zebras setting?

I will post the DNG samples from the three bit depths later today, that's a great idea!

EDIT : Here is the link for the DNG's : MLV Bit-Depth Test

I think that because its cloudy that you got a little more uniform range. You should try to do the same test on a super bright day! My hypothesis is that the sky is only going to be slightly washed out and the shadows will turn green on the 10bit footage in those cases, but recoverable on the 12bit and 14bit.

Thanks for the feedback ! I will definitely try the bright sky test tomorrow using the same methodology.

For well exposed footage without the need for extended dynamic range, the 10-bit being fine is an interesting observation. I did not think of the extra vertical resolution you could add with the decreased data rate of the 10-bit !

I wanted to see for myself the differences that full frame MLV raw video bit depth does on the 5D2 so here is a quick test I did.

First the variables :

Canon 5D Mark II 2.1.2 w/94k actuations
Canon 35mm F/2 IS @ F/7
VAF 5D2 AA Filter
SanDisk ExtremePro 32Gb UDMA 7 160MB/s CF card

magiclantern-crop_rec-3k_Updated_Center_4.20pm-5D2-eXperimental.2019Nov14.5D2212 from Reddeercity
100 ISO
1866 x 1044 1.00x Crop @ 23.976 fps 1/50s

I shot the same scene with both highlights and shadows clipping so we can have a good sense of dynamic range.

Using the ML spot-meter, the sky is 100%, the wall in-between the two windows is 55% and the towel is 1%.

Here is an example of the ACR settings I used. I only changed two things : Highlights and Shadows



First test : ACR settings : -100 Highlights & +100 Shadows : This is an extreme test, you can see banding so this is not usable footage, but a good example.



Second test : ACR settings : -70 Highlights & +70 Shadows : This is the highest shadows I could push before seeing banding, so I would consider this the limit of usable footage.



You can click on the images to view in full resolution. Areas to look at are the electric baseboard as it shoes the color shifting very clearly. Towel shoes the banding and the wall in between the two windows shows the effects on middle exposure (55%).

EDIT : Here are the three original DNG's extracted from the folder MLVFS created : MLV Bit-Depth Test

Conclusion :

I found that the cleanest was the 14-Bit (not surprising) compared to the two others. However, this is not a continuous setting on the 5D2 as it starts skipping frames around 24-26 seconds. The 12-Bit sounds like a good compromise as I can pretty much get it continuous with sound. It does have a very slight color shift towards green in the -100+100 test and a bit more banding visible on the towel, but in the -70+70 it looks (to my eye) 99% the same as the 14-Bit. The 10-bit is the worst of the bunch (again, not surprising) but I was very surprised at the green color shifting in the shadows. It was much more visible than I anticipated. Finally, the banding is less severe in the towel, but the green noise takes over that whole area anyways. Overall, the highlight retention of all the bit depths seem to be roughly equal, as I cannot see a difference between them.

Conclusion of the conclusion :

I will be using the 12-bit for 95% of shooting scenarios, especially ones where I need longer takes than 24-26 seconds. I'll use 14-Bit if I am in a low-light situation where I know I will need to pull up exposure and shadows. Finally, I'll never touch 10-bit as the color shifting is too severe for my taste.

Hope you found my tests useful !

Ok I really want to get the image centered on the mark II in the 3008x1080 mode, how do I get started. Is it a difficult change?

Also... wow! I'm super impressed that you almost have proper anamorphic working on 50D,  exciting.

Edit: it looks like there is still some weird aliasing, could we see MLV  file?

I love using the 3.5k crop mode with 2784x1160 resolution! I also agree on the live-view centering. It's the only thing left on my wish-list, everything else works great for my use !

This seems like it will kill the C200. However they don't mention if the 4k will have a crop. It will most likely have one, hopefully it's like the 1D C which is 1.3x.

I think I may be doing something wrong with the  crop_rec-4k3x1_2784x1160-1x1_FHD48p3x3_11.59pm-5D2-eXperimental.2019Jul15.5D2212  build. I can't get the preview or the recorded video to be centered.

Following instructions on the first post : 1080p30 --> crop_rec & mlv_rec only --> 10bit & 1:1 --> x5 zoom --> 3.5k preset --> 2784x1160 --> liveview and record.

Here is a normal photo of the scene. Full frame 3:2 :



And here is the framing I get out of the settings mentioned :



And here are these two pictures overlaid to illustrate the difference in framing.



Here is a picture of what I see when recording :



Am I doing something wrong ?