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Canon 50D Shines with Raw Magic Lantern..
  • Just Wrapped-up a music video using solely the Canon 50D with Magic Lantern RAW just to see how far I can push the camera. The images out of the camera amazed me, and my team & I were very glad we shot the whole Video on it. A couple week points the aliasing & the high noise @ High ISO other than that very nice camera.

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  • he sound like a tone-deaf Drake.

    but it looks nice.

  • @detlef_shrimp Lol.. I'm the tone-deaf Drake, but thanks for your comment appreciate you checking it out.

  • @TrackZillas, may I ask what you're using to convert MLV to CDNG or if that's even what you're doing? In fact i'd be curious what your full workflow is to be honest. I'm trying to decide on a path myself. I have FCP, Adobe and Resolve Lite but i'm not committed to any program yet. Thanks.

    By the way the 50D is a very underrated camera. I paid $400 for mine and it's worth every penny.

  • @TrackZillas Very cool video. Ignore previous comment - you've got a great voice. Good hops on the court too. It occurred to me that the song would really pop if you increased the volume of the keyboards. The beats volume seems to overpower keyboards too much. But a nice song all in all. Congrats on putting it all together.

  • @Aria To convert I still use the old version of RawMagic to be exact RawMagic Beta 7 but it's only for mac I believe. Personally I don't really have any interest in the MLV workflow because there are way too many steps involve & not really any image quality upgrade. After I convert to CDNG I import to Davinci resolve and do all my color grading first, occasionally I use After Effects depends on what look I'm after. From my experience After Effects gives you a cleaner look and milker look with the right settings checked, on the other hand Davinci is more rough and dirty which I love. After I do my color grading in Davinci I export to Apple ProRes 4444 - 1920 X 1080, with the Full Unscaled option checked & very very important always check the output at maximum quality box and Resizes to Maximum quality Box those are extremely important they should be all the way @ the bottom of the deliver page. From there I import all footages into premiere pro cs6 and do all my edits.. after all edits are final than export once more the Apple Proress 4444 - 1920 X 1080 the whole timeline I consider that ProRes file as my master. Than I reimport into davinci and do my 2 pass sharpening, basically it's a process I use the seperate the Luma Channel & the Color Channel to get a smoother sharpening.. only sharpen the Luma Channel a tad bit nothing major and leave the Color as is. My preferred setting is 45 But @ the end of the day it's all up to how much you wanna put & if you wanna to any. I re-export to Apple ProRes 4444 but this time @ 3840 X 2160 it should be the very first option the resolution 4K UHD. With the little bit of sharpening and the 4K Rez-up you get this Milky, rounded edges soft but still sharp image. Final step I re-Import into premiere pro cs6 as a 4K image also make sure you create a 4K timeline, add a 3 way color corrector the stock one that come in premiere than add about 25-50% more saturation. The reason why I do this step I found that when I export to H.264 I loose a lot of my colors, they just don't pop anymore so it's sort of an insurance policy lol.. Lastly I export from Premiere in 4K Codec H.264 @ the exact same resolution 3840 X 2160 you will need to customize the sizing, if you get an error it's fine just scroll-down and change your profile to 5.1 that should take care of it. That's it.. Yeah the 50D is very underrated I'll take it over a 5DIII any day, the images from the sensor are more pleasing and organic.

  • @matt_gh2 Appreciate it man.. lol.. Still got the Hops from my Uconn Basketball days. I wanted the balance to be like that so the kick can knock in smaller laptop speakers, but in larger club systems it all seems balanced.

  • @TrackZillas Forgot to mention...imaging just kill here. Well f-ing done. (Yeah, I hear you on prepping stuff for different speakers, screens etc.). (Curious - what lenses did you use?) Great stuff - rock on.

  • very nice

  • @matt_gh2 Thank you man really appreciate it. That might shock you a bit only one lens used (Super-Multi-Coated Takumar f3.5 / 28mm - Asahi opt. co That's my goto lens right there I also have the 50mm version which is a sweet lens.

  • @sammy Thank you man..

  • Love the authenticity of this. My wife and I were singing it to each other all day yesterday. Please take a look at this video as I think it may be a good creative reference if you aren't familiar with it. Roots Manuva - "witness the fitness"

  • You have some heavy moiré on the basketball scene! One simple way to get rid of it is to apply a chroma blur on the image. Saves the details and if you re-saturate you keep a really pleasing image!

  • @bannedindv Ooh Wow thank you man.. that made my day, Wish you guy's would of recorded it on video.. than I dould of used it for my upcoming BeastMode compilation music video. Definitely gonna check that out thanks for the reference video GOD Bless

  • @Adam_Mercier Yeah tell me about it that scene is moire city lol.. I'll definitely try take trick next time thanks for reminding me.

  • @TrackZillas, I forgot to ask if you used Crop Mode on any of the shots in your Video. I've been thinking of trying an 8mm lens in Crop Mode to see if I can use it effectively as a 30mm lens on the 50D or even a 10mm at about a 40mm in crop.

  • @Aria I didn't use Crop Mode @ all.. I tried it before and didn't really like it, to me it takes out the character, & magic of the 50D Raw some may have, or not notice the cadence on Crop Mode is not as filmic as full Res.. I'm learning with the 50D to have a little soft out of focus background on every shot, just a little to avoid lots of aliasing, but to my surprise some shots it does not show @ all. A 28mm lens to me is the perfect companion for the 50D sensor.

  • @Trackzillas, that's very interesting. You know the Moire is only going to actually be an issue at a given level of detail. The entire effect is something you can change by simply moving forward so that the detail in the image isn't higher than the camera has the ability to cleanly render without color moire.

    Now the idea of using blur in your NLE on the chroma to help reduce moire is a good idea. I've heard that it has helped some people tamp down the colored moire patterns in their shots. Of course the other option is to spring for a Mosaic VAF but that's another cost. I may just do that, but for now i'm trying to learn the camera and how best to avoid the moire with how I shoot. As you said background blur can be your friend.

    Another thing I was looking at doing is limiting my shots with the 50D to Close ups and mid shots and using another camera for the wide shots where details in the background would be sharp and cause moire.

  • I can't see much moire from footage i've watched on vimeo. Very interesting cheap solution to try Raw, maybe i will take one.

    I just don't want alwaysthesameh264cameras anymore (yeah, photo is about light, you're more important than the camera bla bla bla. But i can see the difference with my eye in just a second).

  • @Aria Your right about that it's all about the detail, a little bit of moire won't hurt nobody. The NLE Blur is very effective I tried it before but the only I noticed on the color channel you start loosing color density & presence when pushed slightly, if you look @ your vectorscope you'll see what I'm talking about. Getting a VAF is like getting another 50D but it sure will help, but the downside is that it softens your image a bit. 50D for close ups and another camera for wide shots that's a great idea.

  • @Renovatio All depends on the Scene, you should definitely get one you'll love it. The difference is very apparent the color depth is all there. The Only thing you'll need to get ready for is large amounts of Data.. Terabytes of data you will need a lot of hardrives.

  • just got my 50d and learned alot just reading your posts on 50d raw editing,,the images look great,,kinda like 16mm film,,ive shot 16mil and this looks great.cant wait for your next project with the a fan,thnx,,

  • @gh2shooter1 Congrats your gonna love that camera.. I'm glad that my post ironed-out some of your concerns & you learned a few tricks. Yep your right 16mm film look mixed with a little bit of 35mm look as well I think. If you have any questions feel free to PM. I'll definitely keep you updated on my next Project, Individuals like yourself keeps me shooting more & more content thank you.

  • Sooo.... who is still interested in this camera in what is now (nearly) 2016!! :-o Long way since early 2013 when 50D hit the headlines with its awesome raw video capabilities. But is it still relevant all these years later??

    Because now that the 50D is going cheaper than ever (seeing a few on eBay have sold in the US$150ish region recently!), I've jumped on board as well & have purchased my own 50D for filming with.

    Based on this Google Doc I don't think I need to buy the latest and greatest (and more expensive!!) CF Cards that others are using:

    As it seems most of the discussion about which cards to use that I've been seeing is around the 5D mk3 raw video, which can use up to a more demanding 100MB/s requirement.

    But the impression I get, is with the 50D anything that is more than 70MB/s is a bit of a waste as the 50D isn't faster enough to use that extra speed.

    So I could settle for a slower (and cheaper!) card than what the 5D mk3 guys are using?

    Thus I should go for the Komputerbay 128gig 800x cards, which handle a minimum of 75MB/s:

  • I got toshiba exceria 1066 cards and get 77-80MB/sec speed.. that seems to be about the best you're going to get.. I can get maybe 1.5 minutes at 1080P in crop mode..

  • Why does it stop after only 1.5 minutes?