Its not an April fools ;). I'm careful in stating "raw in liveview" and not "raw video" as its still in the early stages.
However, the developers say it passed the biggest hurdle. They currently can do 10fps of compressed raw. They say "raw video" meaning at at least 24fps is potentially possible.

Read more here and see sample files:

14bit RAW “Video” on Canon DSLR’s with Magic Lantern (http://neumannfilms.net/2013/04/27/14bit-raw-video-on-canon-dslrs-with-magic-lantern/)

Yep, we have 14-bit RAW data in LiveView. DNG silent pics for 5D2/5D3. (https://bitbucket.org/hudson/magic-lantern/commits/f9f107a658eacf12efa3df7450b639fc9dd0d345)

RAW "Video" on Canon DSLRs with Magic Lantern - YouTube

Preview video is incredibly impressive, but it's interesting that they keep making comparisons to the Blackmagic Cinema Camera. BMCC and 5D3 bodies are similar pricing, and lenses are interchangeable. Cool feature for existing 5D3 owners but no one would make a purchase decision based on this. Excited to see where this might go though. Hopefully my 7D can be upgraded too.

Hopefully my 7D can be upgraded too.
And the T2i/3i/4i/5i. I agree, there's no point in buying a Mk III for a hacked feature. If you're making even a small amount of money doing video and you need raw, buy the BMCC.

I wonder about heat from the camera when doing this?

Thanks for reporting this, Ted! Just a heads-up, though: I replaced your third-party link with direct-to-the-source links. On DV Info Net we greatly prefer links that point straight to the original source, as opposed to some other site's report on that source. Thanks in advance for understanding,

Currently it looks like a bunch of raw photos taken quickly, which isn't all that surprising (I would have thought if they found the data stream straight off the sensor, or after it is line skipped and before it gets compressed, the frame rate would be the frame rate. Then it's just a matter of writing it to the card somehow. Then again I know nothing at all about any of this).

If they get it working I wonder if the same stunt will work on the crop sensor models (7D, 60D etc). That'd be cool. Give them a new lease on life. I wouldn't be surprised if the systems, SD card based particularly, turn out to be a bit slow for the job though. (7D twin processors might help there, where they initially hindered. Who knows).

Thanks for reporting this, Ted! Just a heads-up, though: I replaced your third-party link with direct-to-the-source links. On DV Info Net we greatly prefer links that point straight to the original source, as opposed to some other site's report on that source. Thanks in advance for understanding,

No worries Chris. I'm even glad you changed the links.

And the T2i/3i/4i/5i. I agree, there's no point in buying a Mk III for a hacked feature. If you're making even a small amount of money doing video and you need raw, buy the BMCC.

I agree. But for those with the good old 5d mkII, ML gave it a new lease on life.
I was about to replace it a couple of years ago when ML became unified and became stable.
With addition of a mosaic filter its still a useful workhorse.
Personally these are the features I find most useful;
1. The ability to automatically restart recording when 4gig limit reached.
2. HDR video for tricky lighting conditions. (ideal on dslrs with 60P)
3. Headphone out monitoring with gain control
4. split channel recording with independent gain control ( int + ext mics on the 2 channels)
5. extreme low light capability and creative options using variable frame rates from 1FPS to 30FPS
6. built in intervalometer for timelapse.
7. peaking and magic zooms for focus assist.
There are much more, like auto rack focus but I don't use them.
With the BMCC coming out I was again about to jump ship from dslrs, but now its worth to wait a bit, after all, the 4K bmcc isn't out yet.
But if after several months and the ML team can't figure it out and provide a workable raw video feature then other options will be considered.
Magic Lantern team is also testing making the video record YUV 422.
Link to MLthread by developer:
uncompressed YUV422 video recording (http://www.magiclantern.fm/forum/index.php?topic=5247.0)

Crazy stuff indeed.

Lets hope this can work eventually but at this stage it is just a series if still shots, which is what the camera is known for already. The 1Dx can shoot 12 frames a second in RAW right now for still work.

It would seem a big leap to be able to record 24fps RAW from this camera for any useable length of time. Canon has already demonstrated that there is a pecking order in their product offerings and RAW video from the 5D MKIII is not in that order!

I read that it will work for the 600d. Although unlikely to get 25fps.

Can't see how this will be possible. The media isn't fast enough to support continuous raw recording. You need around 1Gb/s for uncompressed 2k raw and a 64GB card would be full in just 3 mins.

creative options using variable frame rates from 1FPS to 30FPS
6. built in intervalometer for timelapse.


Those might be the two coolest things I've heard. Had no idea. I suppose shooting 1fps would accomplish a very similar effect as the intervalometer.

Shooting at 1fps would visually produce something similar when using an intervalometer.
The advantage is it would be a little faster to include the footage in post since its just 1 mov file as opposed to hundreds of frames when using stills.
The advantage of the later would be resolution and dynamic range if you used raw.

Heres a test I did awhile back when the version was only at 3fps. Now it goes to as low as 0.5 fps !

5D Magic Lantern LOW FPS Test # 2 on Vimeo

Very exciting. This could be especially great for timelapse in that the mechanical shutter can stay open.

Can they get to 24 fps? That could be very tough. If it does 10 today, they need to more than double the speed, and they can't get there by just cropping the extra stuff on the edge. And it only does burst mode today - at 10 fps. My gut tells me that there are physical limits that will get in the way. Maybe a 1DX can get there from here.

And maybe we can get a 720p crop at 24fps. That would still be useful - especially if it delivers higher relative resolution than the current 1080p compressed video provides.

I am following the nightly builds and testing them as well. They are making progress. The first build I tried dated
April 28, I could only record around 8-9frames with corrupted bottom of frame and black bar on side, also exposure seem to vary per frame.
April 29, I could already record 11-12 frames and the frames are now clean, exposures stable throughout.
Now, just uploaded,
April 30 build. I was now able to record 51 frames, DNG.

Note that I'm only using 5D mkii with a transcend 133x 8gig card, I use this small card for tests since my 32gig cards are loaded with the stable 2.3 release.

I bet those using the newer mkIII with fast cf cards are getter longer results especially using 720P which the mkII cannot do.

Amazing stuff. I can think of no other word for it, just amazing. Thanks for the report, Ted!

Your welcome Chris,

I edited my previous post. My frames captured is not 36 frames but 51 frames DNG per burst!
:) I missed setting the end trigger in the burst settings. That's more than 4 seconds in 24fps.

And in order that we can really be objective about the quality of this progress I am currently doing chart tests to see its impact on the charts. I will compare it also with and without a mosaic filter.

It's great to hear of what these Canon cameras can do. They have made significant discoveries trying to enable full uncompressed HDMI. Not only do we have RAW still images from the liveview video stream. They have also managed to get RAW video working on Mark III.

After checking the footage, the 133x cf card I have only does 51 frames consistently on the 5D mk2 using april 30 build. Thats roughly 2+ seconds at 24fps.

I changed my previous posts of 102. I missed the break between 2 51 frame clips as the test I did was locked down and there was no difference. The frame count just continued to the next take.

Now the ML team say they have 400+ frames raw at 720p on the mkIII using a fast card.

For the 5D mk2 the raw dng hack will not improve moire and aliasing. The mosaic filter will still be needed. Maybe the mkIII's softness will be improved.

Res chart I did on the mkII also with and without mosaic filter.

Remember though that this is the early stages and this is just from the nightly builds. For this test I used the April 30 build

5D MKII Magic Lantern raw dng chart test - YouTube

This development is going to get exciting in the next couple of days. Hopefully. :)

ML team have now found a way to do continuous raw video recording via lv_rec. Unlike the burst mode.

The last build I used with burst mode already upped the number of raw dng frames recorded from 51 to 57 using my mk2 and a slow cf card.

They are going via a different route instead of burst mode.

The ML developers now can record several seconds of raw video. There is video going around showing a dog at 12 seconds but I won't link it here since I can't personally verify it it.

Ok. I think the GUI is now up for 5DmkIII and here are samples.

Canon 5D Mark III Continuous Raw Video with Magic Lantern (1920x1280 24p) on Vimeo

Also:

Magic Lantern 1920 x 1080 full 1080P raw test Canon 5D Mark III - YouTube (http://www.youtube.com/watch?feature=player_embedded&v=9HR92jzWUd4)

compared with iFrame

Canon 5D Mark III i-frame video test - YouTube (http://www.youtube.com/watch?feature=player_embedded&v=PvCRQ-haYYc)

A 5d MKIII stops recordng at about three sequential 30minute segments. This will run hotter, so do not expect to record events or docs with this, but for narratives it will be YUBBA DUBBA DOO!

Based on CF read/write speed benchmarking developer a1ex says that the following resolutions are possible on the 5D II at 24fps

- 1880x840 in full-frame mode (with line skipping)
- 1920x840 or 2152x720 in 1:1 crop mode (zero moire)

The 5D III seems to be capable of higher read write speeds and therefore higher resolutions/frame rates. As exciting as all this is I think we should all keep in mind that none of this is really official until we see some high quality cat videos.

Just got the repo/compile for MarkII raw video. My card is currently very slow so doing some familiarity tests for now. Still trying to let it sink in my head to see the words "RAW VIDEO ENABLE" in an old 5D mkII menu. ;)

Shame it's raw as your going to need at least 2.3K to get full HD resolution after the de-bayer. The crop mode might be interesting. Use the MTF B4 adapter to put a 2/3" HD zoom on a 5D MkII and you have a very compact ENG camera.

Very clever reverse engineering that's for sure, but you would still be better off with the BMCC. There are very good reasons why all the current makers of dedicated raw cameras are using faster recording media.

It would be interesting to see if a CF to SSD bridge product could be made sort of like the EF Films products for the EX-1. The card door would be the issue with the 5D as it shuts the camera down when the door is opened.

But, if the door could be replaced with a new door having a window, maybe data flow would not be an issue? This is really early but if the video output is real then I can see all sorts of stuff popping up.

A good test video done by cinema 5d.

Being in alpha stage it still has some minor glitches. Cinema 5D included a shot with one.

A RAW in the park. (Canon 5D mark III with Magic Lantern RAW module - short test) on Vimeo

Another beautiful one by neumann films:

Raw Video on the Canon 5D Mark III (Magic Lantern) - "Smith Rock" - YouTube

They even let you download some DNGs to play around with in their site:

Camera Reviews | Neumann Films (http://neumannfilms.net/)


Great detail in the footage!

Since I don't have a fast 1000x CF yet, I coaxed my poor 133x card to capture what it could just so I could get familiar with the workflow and the image.
Here's a video of things around my house, shiny utensils to test for highlight recovery, detailed stuff like flowers, etc. Mostly at 1280x720 upscaled to 1920x1080.
Towards the end are various res chart tests for those interested on the resolution,moire and aliasing as compared to native h.264 and also showing how the Mosaic filter still
is needed even with raw dng recording.

Video shot with 5D mkII + Magic Lantern Raw DNG Alpha version - YouTube

Vimeo:
5D mkII + Magic Lantern Raw DNG Alpha version test video on Vimeo

Its not an April fools ;). I'm careful in stating "raw in liveview" and not "raw video" as its still in the early stages.
However, the developers say it passed the biggest hurdle. They currently can do 10fps of compressed raw. They say "raw video" meaning at at least 24fps is potentially possible.
My understanding is that "RAW" is normally used to mean the digitised data straight from the sensor, so in the case of the 5DMk3 I'd expect 5616 x 3744 (the sensor resolution) words of 14 bits? (More likely to be 5616x3159 - the 16:9 crop)

But references to "in liveview mode" and 720p resolution seem to indicate that's not what is on offer here?

"Liveview" is normally obtained by ignoring or grouping a percentage of the total photosites - typically as many as 75%. ("Pixel skipping", "line skipping" or "pixel binning" are various methods used.) It's the only way the sensor can be read at rates fast enough for video.

I suspect what's being done is obtaining the liveview stream pre the processing which gives normal video, obtaining the 14 bit samples, but not from the whole number of photosites of the chip. This may give some benefits in that there will be more controllability in post - but resolution, aliasing etc will be the same as in normal mode. It will give benefits over the normal recorded signal - in terms of post manipulation - though probably less than many may be hoping for. The question is whether the improvement is worth the far greater data rate that needs recording....?

The real issue is that more photosites is not necessarily a good thing, certainly for video. It's far better to have the optimum number and make use of them all, than too many and have to ignore a percentage of them. If the 5D has 20MP and uses 25% of them in video mode, it can never be as good as using a 5MP chip and fully using all of them.

Which is why chips and cameras are designed to have optimal performance for stills OR video. It's unrealistic to expect a camera primarily designed to take high quality still images to have comparable performance to one in the same price class designed specifically for video.

For the raw hack you can choose either a line/pixel skipped output that uses the full sensor but pixel skips to achieve different output sizes or a crop mode which does not pixel skip but only uses a much smaller part of the sensor.

For the raw hack you can choose either a line/pixel skipped output that uses the full sensor but pixel skips to achieve different output sizes or a crop mode which does not pixel skip but only uses a much smaller part of the sensor.
......Which makes perfect engineering sense!

The problem comes that if pixel skipping, the sense of the Bayer pattern is lost, and if the gaps (unread photosites) in the pattern are large, then expect high aliasing/moire levels, or significant softening if this is controlled via a low pass filter. This seems to be held up by a quick look at the resolution charts posted.

Do you have figures for how big the area is in crop mode, Alister? It's reasonable to expect a readout of about 5MP (a quarter of the total), which I'd reckon to be about 2808x1580, and here could be a true Bayer pattern. That should deBayer down well to full 1080 resolution, with little aliasing etc - but in terms of lens angle/crop/dof will mean it's only operating as a 4/3 (approx.) size sensor camera. Which rather defeats the point of having a ff 35mm camera in the first place....? :-)

I don't deny this is a clever technical achievement, but don't anybody get too carried away. It may have benefits over the normal video modes in some respects (at the cost of far larger file sizes, and much faster - hence expensive - memory) but don't expect it will ever mean you'll be getting F5 class results at bargain prices.

If you want optimum video quality, buy a video camera, period. And marvel that it's possible to get decent video from a stills camera at all........

I read somewhere that currently it's only possible to record for about 40 seconds in raw before the camera stops, is that right and if so, has it to do with a fat32 file size limit that makes the camera stop when it reaches a certain filesize?

It all looks beautiful but I also have seen some footage with errors in it like vertical lines and other artifacts but I guess that over time this should be eliminated as well. Currently it doesn't seem like anything usable in a paid production.

You can choose various H and V sizes, they are all multiples of 4, so all bayer compatible. Some of the frame sizes currently enabled are:

Full Frame or near full frame with line/pixel skipping
3592 ×1320 - Reported as very glitchy and dropping frames, not surprising as it is over 150MB/s
1920 x 1280 (3:2) Approx 70 MB/s
1920 x 1080 (16:9) Approx 60 MB/s
1280 x 720 (16:9) Approx 30 MB/s
1280 x 1280 (1:1)


1:1 crop modes -

3592 x 1320 Very glitchy as above.
2880 x 1320 Approx 110 MB/s
2560 x 1080 Approx 90 MB/s
1920 x 1080

The raw format is 14bit linear uncompressed RGGB raw and you then use a command line utility called raw2dng to convert the raw data to Cinema DNG.

X1000 CF cards are said to be able to hit about 140MB/s, so being realistic for video that means a useable speed of half that so I would suggest the real speed limit is 75MB/s, so you might be able to do 1920 x 1280 or 1920 x 1080 reliably but your really going to want 2880 x 1320 to get full resolution and that needs around 100MB/s so it's seriously pushing the technology even if it was actually designed to do it.

But the pixel/line skipping will kill any real advantages full frame, you will still suffer all the 5D artefacts that have always been there.

Crop mode should eliminate the artefacts, but the BM pocket camera or BMCC make more sense if you want a smaller sensor. A 64GB card will give 10 mins, 128GB card will give about 20 mins of record time, but with FAT you'll only be able to shoot for 40 seconds unless they can figure out a way to do split files. At $700 for 128GB or $450 for 32GB per card that's more expensive per minute than AXS, SSD or Red media.

Here is Macgregor's video he shot with raw. I helped him out getting some of the files needed to do the module install and file extract.

He currently has a slow card so he only shot with 1920x720.

We've seen lotsa trees and rocks, this is docu style showing a craftsman doing his trade.

Timple - 5Dmk3 RAW video test - on Vimeo

At $700 for 128GB or $450 for 32GB per card that's more expensive per minute than AXS, SSD or Red media.

Actually, a 128GB RED-mag cost $1,250.-

-- peer

X1000 CF cards are said to be able to hit about 140MB/s, so being realistic for video that means a useable speed of half that so I would suggest the real speed limit is 75MB/s, so you might be able to do 1920 x 1280 or 1920 x 1080 reliably but your really going to want 2880 x 1320 to get full resolution and that needs around 100MB/s so it's seriously pushing the technology even if it was actually designed to do it.
Thanks for the information. As far as speed goes, then it's likely there will be an element of in camera buffering, so even a slow card would be able to record a high bitrate stream - just not for very long!!! :-) Faster the card, the longer it will take for the camera buffer to fill, hence why a faster card will record for longer before cutting out. (And why a card will manage to record a bitrate much faster than it's rated for - if not for very long.)
But the pixel/line skipping will kill any real advantages full frame, you will still suffer all the 5D artefacts that have always been there.
Fundamentally agreed. This "liveview RAW" mode may give more post manipulation possibilities, and avoid the basic compression - but since the drawbacks will be still be more significant, is it worth it?
Crop mode should eliminate the artefacts, but the BM pocket camera or BMCC make more sense if you want a smaller sensor.
Again, agreed. It's clever, and may have niche applications, but fundamentally if you want a camera to shoot general video, something like a BMCC makes far more sense, far better value for money.

From the few videos I have seen, the ML software is doing some truly amazing things. The RAW capture is impressive but the video sharpness they are getting from a sensor like that just knocks me out. Aside from bypassing the internal codec, how are they doing it? Have they changed the sensor scanning read out order? It doesn’t appear to have “typical” line skipping artifacts that we always see. Are they pixel binning? (is that even possible?)

Bigger industry questions:

How will this affect Canon’s upper model sales? (C 100/300)

How will this affect BlackMagic Design? (BMD is no longer the only player in the sub $4000 RAW recording anymore. (I’m sure there are many, MANY Canon folks rethinking their BMC pre-orders)

How will this affect Sony, Canon and Panny in the long term? RAW recording in $1,000 to $4,000 cameras is going to be extremely popular moving forward. (once you go RAW, you never go back)

How will this affect future designs and will it pressure the “big three” to build RAW into new lower tier models? (Until recently, RAW has been reserved for top end customers only)

It seems to me that BlackMagic and Magic Lantern have created a watershed moment in the industry. We might look back on all this years from now and say they were the “rule-breakers” that forced a big industry marketing model change. (Compression-free, RAW recording for the “little guys”)

. . . once you go RAW, you never go back . . .
I can see not wanting to have to deal with the compromises of compressed codecs, but most pros will use the format best suited to the situation, and that may not always be raw.

It has to come sometime. When you shoot a RAW still with the 5D you can see the detail the sensor can make. Greater than most will ever need at this point in time for video. Since HD video is mostly progressive in this space it is logical that it is just down to transferring the bits quick enough. And having the marketing will to break new ground.

Not to say Canon is evil here because they have to represent a professional working product, not a few seconds here and there with a special uber CF card. Make me think of the famous Steve Jobs quote about needing to innovate or your competitors will do it for you.

It will happen, but is it time now? We will see over the next few weeks.

About RAW. Image quality or more precisely dynamic range is a matter of the RAW processing software as much as the captured data. This update is in the early stages but to make it work one needs a way to process the video like Adobe Lightroom or Red's free program. The image quality improvements outside of detail will come from the ability to process the footage.

When I shoot landscape photos I have learned over the years to completely expose for the highlights. This results in a very dark terrain at times. But from experience I know I can lift the mids & shadows to equal the highlight exposure without much penalty because the image started in RAW format. Only after this lift does the image come to life and appear to have great dynamic range. The sensor captured the information, it just needs to accessed. This two stage process is not the usual video processing approach but will be adapted with the right software. I can see Adobe adding a module to Lightroom for this very purpose.

This is clearly early days but I think we only go up from here.

It has to come sometime. When you shoot a RAW still with the 5D you can see the detail the sensor can make. Greater than most will ever need at this point in time for video.
And this is where the confusion is. What this hack gives you is *NOT* the same as RAW stills at video rate. With a RAW still you have about 20 million 14 bit words (one for each photosite). It's impossible to read that many 30 times every second, let alone 50 or 60. Read Alisters description earlier, and you see that what we're talking about is omitting most of the 20 million.
Since HD video is mostly progressive in this space it is logical that it is just down to transferring the bits quick enough. And having the marketing will to break new ground.
Don't underestimate the task of "just" transferring the bits fast enough. If you really were to be reading the full sensor at 60fps, at 14 bit depth, we're talking for 16:9 of 5616x3160x60x14 bits per second. That's about 15BILLIONbits every second. Hence the need to only read a fraction of the total each frame. It's vital to draw the difference between "true" RAW and "liveview RAW", and that's not coming through clearly.
Not to say Canon is evil here because they have to represent a professional working product, not a few seconds here and there with a special uber CF card. Make me think of the famous Steve Jobs quote about needing to innovate or your competitors will do it for you.
Well, it would have to be a very special "uber CF card" to record the datarate above, if your assumption about the entire sensor being read every frame was correct! It's nothing to do with "Canon being evil", full sensor read out at video rate would likely melt the chip very quickly, let alone the bit rate being unrealistic.

Although Canon do provide the facility to read out continuous frames at full resolution - but just at 3.9fps! And expect that to be a technology limit. Either read full sensor resolution at up to 3.9fps - or a pixel skipped or cropped mode at video rate. Either about 20 MP at 3.9fps - or 2MP at 30fps. Same data in each case, yes?
It will happen, but is it time now? We will see over the next few weeks.
If you're referring to recording true full resolution RAW images from a DSLR, at normal video frame rates, then don't hold your breath. That's misunderstanding what this is about. "RAW liveview" is a different matter. It may well be an improvement over basic DSLR video, it won't rival a true digital cinema camera, even something at the lower end like a C100

Thanks for the numbers David. I did not know the facts behind the data. This is important info to get out there as the term RAW is such a buzzword right now. Looks like "RAW" will turn into a term just like "HD" which changes based upon how the person or entity wants it to be.

It sounds like the 5D will be using way less information than true RAW output, but if it improves the images compared to the H.264 images then it is a step forward. If anything, the detail improvement is most welcomed as it is such a shame to take sharp stills but have soft video from the same camera.

I am sure this will be a hot topic for quite some time into the future.

This is important info to get out there as the term RAW is such a buzzword right now.
Very true! :-)
Looks like "RAW" will turn into a term just like "HD" which changes based upon how the person or entity wants it to be.
And again, very true. There's a certain inevitability there, as a highend, low noise camera will benefit far more from a greater bitdepth than a noisier one. But I'm sure we'll see the marketing people wanting "16 bit RAW!!!" as a sales point, even if it makes no advantage in the case of a cheaper camera. Or is that too cynical?

To be fair, the title here is "shoot 14 bit raw via liveview". Unfortunately, people are seeing "RAW" and not realising the significance of the liveview part.
It sounds like the 5D will be using way less information than true RAW output, but if it improves the images compared to the H.264 images then it is a step forward. If anything, the detail improvement is most welcomed as it is such a shame to take sharp stills but have soft video from the same camera.
Yeeess.... but the question starts to become "is it worth it.....?" You can end up spending so much on a DSLR that maybe the same money would just be better spent on something like a C100. And as I understand it, the impetus behind using DSLRs was driven by dof and a large sensor. The best results here seem to be using the technique in crop mode (not pixel skipping the whole sensor area) - so you're effectively losing the whole point.

To put some numbers behind that, then in ff mode, it's 36mmx24mm and 5616 x 3744 photosites. Going into 1920x1080 crop mode, that means the used area becomes about 12.3x6.9mm - so smaller than super16 film, let alone the Black Magic and 4/3" cameras. Heck, it's only about a quarter the area of a s35 sensor!

And even in 1920x1080 crop mode, that won't be true 1080 resolution. The deBayering will knock it down to something like 80%, about 850 lines for luminance. Better than a native DSLR - but dof etc no longer anything like a ff chip!

Go to ff mode and the inevitable pixel skipping will mean it will fundamentally be unlikely to be any sharper than native DSLR. (Though the RAW nature will give far greater control over things like detail enhancement. There will be an improvement - but it won't be anything like as much as a lot of people are hoping.)

Shooting 2880 x 1320 in crop mode looks like it would have few downsides. Yes, it's not full frame, but it will lack aliasing and be well oversampled and sharp. The Tokina 11-16 gives you a 22-36 mm equivalent view, using the strong part of the glass.

And for full frame shooting, there is the Mosaic Engineering anti-aliasing filter.

It wouldn't make sense for a lot of projects, but when shooting green screen effects work (which doesn't only need clean keys but also requires subtle grading) and for anything with smooth gradients and the need for strong grading, this gives the DSLR shooter new powers.

Has anybody been able to shoot a resolution chart with thie new Magic Lantern release?

I'm dying to see what is happening with the resolution this thing produces and how it's scaled for 1080 video. Has any of the Magic Lantern folks discussed what tecnique they are using? (simple line skipping or some other pattern?)

did you watch my video I posted?

Didn't see it earlier, was browsing forum on my phone. Thank you for that post, very interesting!

It's going to be fascinating to see how ML develops this further. I'm particularly interested in how the entire industry reacts to this a year from now.

Thanks!

To quote Stu Maschwitz in his article;

IT’S NO LONGER OK FOR CAMERAS NOT TO GIVE US EVERYTHING THEY’VE GOT.

An interesting read.
Prolost - Blog - Space Monkeys, Raw Video, and Giving Us All You'veGot (http://prolost.com/blog/2013/5/15/space-monkeys-raw-video-and-giving-us-all-youve-got.html)


..

To those wondering about work flow, with Ted's help in getting mounted up with the software, and running in on my trusty 5D Mark II, I have been able to shoot in short bursts that I subsequently processed to DNGs using the converter provided by Magic Lantern. From there, I tried proceesing the file through Resolve 9 (came with my Black Magic Cinema Camera), and at least initially I was unable to get a clean process. Essentially, I think Resolve was not reading the pixel aspect ratio properly

However, when I processed throught Cineform's Studio, Premium version, I was able to produce a clean editable Cineform .avi that I believe would be acceptable.

I am just in early minutes of trying this out. It is clear that with my 5D Mark II, that I will still need a faster card. Using my old 133 x Kingston Elite Pro chips that I have used successfully for years to capture footage on the 5D II, I could only get about 4 seconds of footage before Magic Lantern started skipping frames. I definitely will need a faster card to test this further.

Second thing I am unclear about is if we can vary frame rate. It appears that the individual frames are being captured at 29.97 fps. Can anyone confirm that ?