Got a reply from Mosaic Engineering here at 1:40 PM on 12-16-2013…
"We're writing to you today because you had previously emailed to us inquiring about a Video Aliasing Filter for the Canon 50D. By the way, we apologize for our delay in responding if we've not replied to you previously.
Nevertheless, we'd like to let you know that we do now have the VAF-50D available, for use with Magic Lantern RAW video recording!
The VAF-50D is available now, in our online store:
http://store.mosaicengineering.com A brief with-and-without demo video of this filter - Not a valid vimeo URL - has been produced by Mr. Levi Davis. We expect to have additional video example material available before long, and will post that as soon as possible also.
Our product page for this new filter is here -
http://mosaicengineering.com/products/vaf/50d.html; we'll be adding more information and details shortly.
Sorry again for our delay in responding; anyway we hope this information can help you at this time!
Thank you again for your interest in our filters,"
Looks like 50D shooters are about ready to hit the professional market!!! Been having a lot of success with the prototype filter myself. The filter does a great job of resolving details and eliminating moire. The camera before the VAF displays serious issues with moire. These issues appear in every image in some way shape or form. There is moire on straight lines & fine detail. There is more on skin tones in areas of fine detail. With the VAF filter I'm shooing an image that holds about the same detail as a BMPCC. Albeit there are low-level moire issues with the prototype 50D VAF but the levels are nearly identical to the BMPCC. Technically this quite the accomplishment given the BMPCC shoots pixel for pixel and the 50D is line skipping a 5K sensor...
Picked up the BMPCC about two weeks back after watching a side-by-side dynamic range test with the BMPCC and the 50D. Dynamic range will play a large roll in future sensor development for sure. The 50D resolves about 10.5 to 11 stops in comparison to the 13 stops of the BMCC. However, the 50D appears to resolve a stronger color pallet. Quite simply, the 50D shoots a wonderful image for a colorist. In my opinion, I've got a long way to go before the BMPCC hits my liking… It's as though one unit is happy and beautiful and the other unit is bland and extremely true… Hmm??? Perhaps the 50D appears to hold a more of a mass-market "look & feel?" Maybe in 5 years I'll say the complete opposite?
If the 50D and the BMPCC cameras are going to be compared for their resolution and similar moire issues, then the shooter should be made aware of the sensor's capabilities and limitations…
The noise floor is definitely more apparent with the 50D. The image slightly suffers from what appears to be sensor refreshing / banding, even at lower ISO values and exposing to the right. Adobe Camera Raw typically requires the chroma channels and luma channels to have low-level noise reduction. DaVinci Resolve 10 might actually produce a better noise floor, however, ACR typically produces a much stronger result. Essentially, though, we are talking about a sensor that has so much life in the image! The skin tones in particular are very prominent! The strength of the colors wants to reach out and touch the audience. In particular, the sensor has the great latitude so long as the image is inhibited by moire.
The grain and noise floor of the BMPCC are much more video/filmic. Additionally, there is no allaying issues with the sensor. However, at this point in my venture with the camera, the sensor readout lacks the character that the 50D lends so wonderfully. Having applied 6 months of raw color-correction techniques to the BMPCC, I've found the camera captures nearly exactly what that eye sees. It's almost as though a perfect copy of the real world has transferred into the raw digital realm. Therefore, if you want character with the BMPCC, BMPCC shooters need to push "character" into the image in the production.
With cameras like a "50D + Mosaic Engineering VAF + Magic Lantern" and the "BMPCC + raw" a shooter is able step aside from technical faults and truly produce an image made for high-quality television productions & independent film productions. Let's face it, this level of confidence is absolutely necessary. After all, the purpose of the shooter is to push the sensor to the limits, right? Quite simply, the 50D's limitations come up a bit too quick without the aid of the VAF.
… Continuing with the 50D VAF filter testing… The 3x zoom is soft with the filter in place, but I still shoot 3x with the filter in place…Not that it's a "completely unique look…" It's a usable look without too much degradation.
After about three months of testing the prototype filter, I think it is a very positive/powerful addition to the camera. This statement holds especially true considering BMPC's ability to resolve detail on a sensor shooting "pixel for pixel." Effectively, the 50D is right there with the BMPCC's image detail at 1600x900 when the BMPCC is shooting native 1920x1080.
Feel free to download the CDNG samples of the 50D with the prototype VAF on Copy. There are full-sesor read-out images as well as 3x image readouts. The images were taken with a near mint 35mm Nikon Nikkor F2.8 AI. The lens has a 52mm ProMaster UV in place. Please follow this link to download native CDNG images
copy.com/8PP4i3MBODoTiovb.
The images are of an author named James Hinkley: Jimhinkleystudio.zenfolio.com & route66chronicles.blogspot.com. James has authored a number of books about Historic Route 66 in addition to other solid works of history! Interestingly, I talked to him about the production of the book and he had used the 50D for many of the shots along Route 66. He was very impressed to see the power behind ML! "What comes around goes around, right?"
Special thanks to the ML team and Mosaic Engineering! Feels great to have such a powerful workflow. Enjoy!
