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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Magic lantern... Dude.

dio Zafi said:
ANDREAS DID YOU TEST THE 5DMll or 5DMlll??

I didn't get the moire (fairly clean) with the 5dmlll but with the 5dmll there was a lot more moire...
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Hi Dio Zafi.
I have 2 Canon 5D Mark IIIl The moire is not a problem with the standard 5d, however I can see it in the hacked versions with raw footage. There it's back again.
/Andreas
 
Proud Epic owner here. That said, the images out of the hacked Mark III are insane. It's still in pre-alpha phase and already many improvements have been made. In cam playback, audio, dropped frames fixed etc. The Magic Lantern guys ARE nuts and it wouldn't surprise me one bit if it was people from RED because they are making Canon look BAD. :)
 
Luke speaks the TRUTH. I LOVE my RED and everything about it but that does not matter. What these guys are doing is extraordinary. These two guys right here that are perfectly secure with their RED cameras can fully admit it too. I only think it is a HUGE positive. Hopefully it forces the DSLR companies to implement this genius idea for extracting RAW data out of the cameras. We all know it was theoretically possible...but none of us realized it could be done this way. Hell probably not even Canon! If Canon were smart they would embrace this and further develop it for their top end DSLR cameras such as the 5D III. Talk about changing the game! Yes, I know it isn't 4K and I agree that is the future. But RAW video out of a Full Frame 5D III with its insane lowlight capabilities, light weight/ small size is just totally badass and insanely awesome even if its only 1080p! I think it is now safe to say that the 1DC (& probably 1DX) could be 4K+ RAW cameras too.

Canon needs to get there shyte together!

Luke Neumann said:
Proud Epic owner here. That said, the images out of the hacked Mark III are insane. It's still in pre-alpha phase and already many improvements have been made. In cam playback, audio, dropped frames fixed etc. The Magic Lantern guys ARE nuts and it wouldn't surprise me one bit if it was people from RED because they are making Canon look BAD. :)
Click to expand...
 
Adam Johnson said:
Luke speaks the TRUTH. I LOVE my RED and everything about it but that does not matter. What these guys are doing is extraordinary. These two guys right here that are perfectly secure with their RED cameras can fully admit it too.
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Totally agree with you Adam!

I really don't know why anyone would feel insecure about a canon DSLR in relation to a RED camera!
Probably people who have never really explored the issues with DSLR's!

I think this is great news. It brings RAW to the kind of people who don't have the means for a RED camera and then maybe in the future if they find they love the whole RAW thing, they will upgrade.

It's all good! :)

Freya
 
Robert Ruffo New said:
Mark 3 video footage is blurry, period, the resolution data just isn't there. Nothing close to as sharp as an Ex1 from 2009.
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Not in RAW now. And EX series are 1/2" sensor size, so another ballpark anyhow :-)
 
Adam Johnson said:
I think it is now safe to say that the 1DC (& probably 1DX) could be 4K+ RAW cameras too.
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Any attempt to hack the 1DX? Any news in that front?
 
Color and tonality are great. Skin tones and greens are excellent. Buggy.

Pretty soft, but in a flattering way, no longer as mushy at all. Sharp as hv30 footage and smooth, not crispy like C300 footage or silky like Alexa footage. Very cool. Not "production-ready." Weird image stuff you wouldn't notice in stills shows up a bit... noise is splotchy. DR is dramatically improved but highlight saturation is an issue.
 
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Emanuel A. said:
Not in RAW now. And EX series are 1/2" sensor size, so another ballpark anyhow :-)
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But it still looks line-skipped to me, a fake sharpness, not the silky niceness of Alexa, F55, F65 and Red. I frankly don't get why anyone would cut corners on the acquisition camera. The camera is such a tiny part of the shooting budget, why not just go for whatever works best (rent it if you can't buy it?) The camera rental is what, 5% of the per-day cost? (In our case often way less, more like 2%). Why put thousands of dollars and your professional reputation at risk to save $500? (You can get a Scarlet easily for $500 a day in most markets, or a Red One - both are way, way better than this.)
 
Robert Ruffo New said:
But it still looks line-skipped to me, a fake sharpness, not the silky niceness of Alexa, F55, F65 and Red. I frankly don't get why anyone would cut corners on the acquisition camera. The camera is such a tiny part of the shooting budget, why not just go for whatever works best (rent it if you can't buy it?) The camera rental is what, 5% of the per-day cost? (In our case often way less, more like 2%). Why put thousands of dollars and your professional reputation at risk to save $500? (You can get a Scarlet easily for $500 a day in most markets, or a Red One - both are way, way better than this.)
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Not everyone is shooting with that kind of budget.
 
Robert Ruffo New said:
But it still looks line-skipped to me, a fake sharpness, not the silky niceness of Alexa, F55, F65 and Red. I frankly don't get why anyone would cut corners on the acquisition camera. The camera is such a tiny part of the shooting budget, why not just go for whatever works best (rent it if you can't buy it?) The camera rental is what, 5% of the per-day cost? (In our case often way less, more like 2%). Why put thousands of dollars and your professional reputation at risk to save $500? (You can get a Scarlet easily for $500 a day in most markets, or a Red One - both are way, way better than this.)
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Robert,

I follow the merit of your point but trust me, it is like to make love with your second half or one night stand partner :D

For a lot of people, having the pleasure to have their own gear is everything.
Why do you think Jim risked to offer 4K for 17,500 seven years ago making lots of them investing in? :P

Owning a camera also has been a fim school; as well, place for experience other than paid gigs.
A sort of future paid gigs, territoire to develop further income.

Filmmaking is above all, time.
Yes, more than gear.
But you can't ever say more than budget, that's the reason for ;)


Cheers,

E. :-)
 
I remember a really cool Joseph Kahn ad shot on 5Ds that only barely suffered from image quality issues so I immediately think this is cool and liberating... A dSLR other than the 1DC that's "good enough" for whatever will encourage more of the "high production value guerrilla" style stuff e.g. more creativity.

Post with this will suck, but it's pretty cool that it works at all. I'm having a lot of fun with it so far.
 
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Robert Ruffo New said:
But it still looks line-skipped to me, a fake sharpness, not the silky niceness of Alexa, F55, F65 and Red. I frankly don't get why anyone would cut corners on the acquisition camera. The camera is such a tiny part of the shooting budget, why not just go for whatever works best (rent it if you can't buy it?) The camera rental is what, 5% of the per-day cost? (In our case often way less, more like 2%). Why put thousands of dollars and your professional reputation at risk to save $500? (You can get a Scarlet easily for $500 a day in most markets, or a Red One - both are way, way better than this.)
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C'mon Robert, no camera is perfect! And quite frankly your argument is a little short sided. Except where you say, " why not just go for whatever works best". Which is why people use different cameras for different things, not only due to budgetary reasons, and have been doing so for a very long time. You know I don't recall anyone ever saying... Hey, the B&H Eyemo 35mm's you are using for crash cams in this shot will look bad compared to the pin registration of the A cam. And since the camera is such a tiny part of the shooting budget, why not just use 4 Arri 35-3's and 2 more 35BL-IV's. Sometimes a small inexpensive camera like the 5Dmk3 is the right tool for the job at hand. Raw recording or not. Plain and simple.

All the best!

Dave
 
I did a round up of some of the video's on this subject for Red Shark:

http://www.redsharknews.com/technology/item/731-freya’s-magic-lantern-raw-video-round-up

It's early days for this yet and I can't quite imagine someone shooting a feature film entirely in raw using this but it does seem like it will be the perfect thing for low budget music videos.

Theres examples of some of the other EOS cameras too where they are having less success so far.
It's all interesting.

I think the people who shoot stuff on DSLR's are a different gang working to different budgets (probably mostly no budget type stuff) so you can't look at his kind of thing and compare it to a Red camera or an F55 or something. Well you can for fun but it's a bit daft. I mean I love my Kodak ZX1 and theres a lot of things about it that are way better than the Red One. For that matter bananas taste great and have good vitamins and have you ever licked the Red One?

Freya
 
Emanuel A. said:
Robert,

I follow the merit of your point but trust me, it is like to make love with your second half or one night stand partner :D

For a lot of people, having the pleasure to have their own gear is everything.
Why do you think Jim risked to offer 4K for 17,500 seven years ago making lots of them investing in? :P

Owning a camera also has been a fim school; as well, place for experience other than paid gigs.
A sort of future paid gigs, territoire to develop further income.

Filmmaking is above all, time.
Yes, more than gear.
But you can't ever say more than budget, that's the reason for ;)


Cheers,

E. :-)
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Well, if you're just playing around and learning, then a 7D is fine, but on pro jobs, taking risks with the camera makes no sense to me.

I also don't get this emotional connection you talk about. I'm connected to how I shoot, to what I know, to the images I make. These things are all the same whether I rent or buy. Yes we own an Epic, but we bought it as an investment and it turned out to be a bad investment - we should have rented instead.

I would never tell a friend to buy an expensive camera anymore, prices are falling way too fast - just rent something good when you need it, and you'll have way more money in your pocket at the end of the year.

To those who think you don;t need film school, think again. A good agency in L.A., a work-permit in a country other than your own, even a bank loan to buy gear, forget all that unless you have a University degree from a reputable school - plus you learn things in school you don't learn just by doing. A set won't teach you film theory or history, won't put you in a classroom full of people just as passionate as you for four years.

I have never met anyone writing or directing on more than shoestring budgets who did not have a University degree - just never. Do you think your heroes have high-school only? Nobody anyone has ever heard of is not a grad from a good film school.
 
David W. Jones said:
C'mon Robert, no camera is perfect! And quite frankly your argument is a little short sided. Except where you say, " why not just go for whatever works best". Which is why people use different cameras for different things, not only due to budgetary reasons, and have been doing so for a very long time. You know I don't recall anyone ever saying... Hey, the B&H Eyemo 35mm's you are using for crash cams in this shot will look bad compared to the pin registration of the A cam. And since the camera is such a tiny part of the shooting budget, why not just use 4 Arri 35-3's and 2 more 35BL-IV's. Sometimes a small inexpensive camera like the 5Dmk3 is the right tool for the job at hand. Raw recording or not. Plain and simple.

All the best!

Dave
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I stand behind the notion that a DSLR has no advantages at all other than low cost, simply just none, and that in a non-amateur production, the acquisition camera is very the last thing you should cut corners on.
 
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