Canon 1DC vs. 5DIII vs. C300 & Raw Video resolution comparison

I bought the C300 and C100 for what I paid?? Raw video che C 100!! CANON
Canon did not give me the raw video wc 100 oc 300 but the 5D II and III is tucked away for a long time ... bad Canoan
In the battle of the 1080p cameras, the game has changed. Here’s how the 5D Mark III in raw recording mode compares to the best 1080p output from the Canon C300 and 1D C.
The Canon C300 is a very good albeit highly priced $15,000 HD camera, producing an ultra clean and detailed image by oversampling from the same 4K sensor as the C500.
It is the current benchmark, so interesting to see how close the 5D Mark III raw gets in 1080p.
ue to the way the crop mode framing works in the current Magic Lantern build we couldn’t do a final 100% perfect chart test for the 1:1 mode so please treat that last image as a work in progress not a final result!
The Panasonic GH2 is third best on this test, certainly closer to the C300 and 5D Mark III raw than the other cameras, which is astonishing considering the price difference.
The 5D Mark III is slightly cleaner than the GH2, with less aliasing, especially horizontally but it’s still a good result for the GH2.
The Sony FS100 seems to have a soft default output and a strong anti-aliasing filter. The 7D and NEX 5N are a big step down with plenty of moire.
To summarise, I’d put the cameras in order of resolution at 1080p as follows:
Canon C300
Canon 5D Mark III Raw (1080p)
Panasonic GH2
Sony FS100
Canon 7D
Sony NEX 5N / VG20
I’d tentatively say the 5D Mark III in raw 1:1 crop mode has the Canon C300 beaten for resolution, but more development is needed with Magic Lantern before we can say for sure with any finality. For all I know they could have a Super 35mm 4K crop working eventually, it’s too premature to judge the final resolution of the crop mode. Exciting times ahead!
Canon 1D C
The 1D C uses a 1:1 crop (at APS-H) to achieve it’s 4K image, a huge 4096 x 2160. The aspect ratio is slightly narrower than 16:9 and the sensor area used quite a bit less than the 5D Mark III raw in full frame mode.
When you scale 4K on the 1D C down to 1080p you get cinema standard 2K (2048 x 1080) rather than the full HD TV standard 1920 x 1080.
Here’s how the field of view differs between the 5D Mark III in raw (full frame) and the 1D C in 4K MJPEG mode (APS-H). Shot with a Zeiss 25mm F2.0 Distagon.
You have to bear this in mind and how it affects your lenses. The 1.3x crop of the 1D C makes the Zeiss 25mm a rather less exciting 32mm, and the crop vertically is even more due to the narrower aspect ratio compared to 16:9 (or especially 3:2) on the 5D Mark III in raw.
The 1D C and 1D X can do a full frame 1080p image too of course, but the 5D Mark III raw is a lot nicer and more detailed for that.
So 4K is what the 1D C is all about for me.
We shot in 4K Canon LOG, 1080p raw on the 5D Mark III and noticed a few interesting pros and cons for both cameras
I feel the 5D Mark III in raw is both amazing and feature packed relative even to the professional $12k and $15k C-series offerings let alone other DSLRs. It is a dream for anamorphic shooters, offering very clean 2.5K anamorphic images with a 1280p vertical resolution. Various shooting aspect ratios such as 3:2 and 4:3 are not offered on the C-series cameras. To utilise the full height of a 3:2 full frame sensor is a genuinely new feature, as even the factory 5D Mark III crops the full sensor to 16:9 with the standard video mode. The Nikon D800 also crops the full frame sensor. With anamorphic on the 5D Mark III with raw you have a larger sensor recording area than any other DSLR on the market, and considerably different to Super 35mm, APS-C or the 1D C’s APS-H 4K MJPEG.
The 1D C is of course top dog for resolution but the image cannot be graded with the freedom of raw, even from Canon Log. Colour and gradation, especially when it comes to skin-tones are better on the 5D Mark III with raw.
The cleanness of the full frame 1080p mode is also excellent on the 5D Mark III in raw, ahead of any other DSLR on the market and so close to the $15,000 Canon C300 that in the real world it makes no difference. Only on the most demanding test chart could I tell.

Similar Messages

Canon 5D Mark III RAW VIDEO vs. Blackmagic Cinema Camera RAW

Canon 5D Mark III RAW VIDEO
http://www.cinema5d.com/news/?p=17976
http://nofilmschool.com/2013/05/magic-lantern-cano n-DSLR-raw-video-sensor / # more-54032
http://www.dpreview.com/news/2013/05/13/canon-magi c-lantern-raw-video-canon-eos-5d-iii
CANON 5D II, 5D III RAW 14 bit RAW DNG )))
Why Canon does not help in the development of RAW VIDEO DMG 5DIII ???

How do the Canon engineers sleep at night? They are so thoroughly pwnd by ML

Canon 1Dc camera raw plugin

When can we expect to see a plugin for photoshop, to support camera raw for the canon 1Dc. We are in a disparate need ASAP

http://cinemaeos.usa.canon.com/products.php?type=Camera-1DC
That new Camera has been available for about a month, as far as I can tell.
The Camera Raw folks add new camera support about every 3 months. Quite likely they got a 1Dc before consumers could get it, and the current version, 7.3, was released in mid-December if I recall correctly, so... Do the math.
There's usually a beta version available somewhat sooner than the release. If you're lucky we should see that fairly soon now, I should think.
-Noel

Cannot get Canon 1dC Raw files to read in photoshop 6

Photoshop will not read my canon 1DC raw files in photoshop 6 can anyone help?

I have tried to do updates but still nothing has worked. so frustrating so please can anyone shed some light on my issues?

Cannot read canon 1DC raw files on CS5.1

any body know how i can get the canon 1DC camera to work on CS5.1? I can view the jpgs but not the raw files. Can any one help?

Refer identical discussion in Camera Raw forum
Cannot get canon 1DC raw files to work on CS5.1?

Canon EOS 50D Shoots RAW Video

Canon EOS 50D Cinema Camera!
Magic Lantern has made it possible to shoot RAW video on the 5 year old Canon EOS 50D. The forgotten 15mp APS-C predecessor to the EOS 60D.
The software is very early in development, but at least one person that has shot with the camera and firmware is quite impressed. EOSHD notes that the camera has hardly any moire or aliasing in early tests and the ISO performance is terrific. The larger pixels on the 15mp sensor really do make a positive difference over the 18mp sensor that we’ve had for years now.
Below is a bit of information of what works well with the current software on the EOS 50D.
Resolution & Performance.
Results (24 fps):
1592×1062 – frame skipping after about 50 frames (67.7MB/s)
1592×840 – frame skipping after about 480 frames (53.5MB/s)
1592×720 – no frame skipping (44.3MB/s)
1320×1062 – frame skipping after about 300 frames (56.1MB/s)
1320×960 – frame skipping after about 1200 frames (50.7MB/s)
1320×840 – no frame skipping (44.3MB/s)
1280×1062 – frame skipping after about 250 frames (54.4 MB/s)
1280×960 – no frame skipping (49.2MB/s)
EOS-1 Bodies
Canon doesn’t mention anything about EOS-1 bodies and third party firmware in the above story. However, I have been told Canon would take legal action against anyone publicly releasing unauthorized firmware for the EOS-1 bodies, so this is probably why we haven’t seen any development of such software.
You can read the entire article at DIY Photographer

Mark
Welcome to the Apple user discussion forums
Since this is just a user to user discussion forum no one here knows anything about when Apple will do anything - and if they happened to for some reason, could not say as that violates the TOS - you need to contact Apple for that information
You can request things from Apple - iPhoto menu ==> provide iPhoto feedback (at least in version 8)
here is the Apple list of RAW support - http://support.apple.com/kb/HT1475
LN

Support for RAW Video and Image Sequences

Being a stills photographer who moved into video some years back, I'm very interested in the direction Lightroom is going with regards to video support. I haven't tried it yet but I wondered if LR4 supports Red R3D files? And would it perhaps support other future RAW video formats from the likes of Canon and Sony? It would seem like the perfect application, perhaps intergrating with Premiere in a similar way to RedCine with FCP. Be great to be able to log footage, orginize it into bins and do basic colour correction in LR, edit the project in Premiere and re-touch in After Effects.
Another task LR would seem ideally suited to is combining image sequences into timelapse video. Shooting timelapse as an image sequence on a DSLR is pretty much standard practice these days; and I've used LR to colour correct, crop and scale my sequences (before fitting them together in Quicktime) for years now. It would be fantastic to be able to preview the clip and export the video (as DPX, ProRes or DNxHD) from within Lightroom.
These are obviously fairly long term wishes. In the short term though, the video features are pretty much useless to me without support for exporting ProRes and DNxHD files. With this LR becomes a powerful asset manager that could be used to collect together footage from multiple sources/codecs and transcode it all for editing. As mentioned in a previous thred, XML support would make it even more useful in this context. There is definitly a gap in the market for an application than can handle this kind of task well.
With other manufactures floundering or neglecting their professional user base, Adobe would seem poised to take the video post crown. I wonder if Lightroom could be part of the takeover?

As I understand it Andy, its intention is to remain a photographers program, not a videographers program. The basic video features are available for lightweight management of videos coming from digital cameras, but it's not going too much further than that at this point in time. Of course that may change in the future, but we'll all have to wait and see on that one.

Can I use a G4 to get raw video footage to a no-firewire aluminum MacBook?

Hi -
I recently purchased a new aluminum MacBook 2.4Ghz and was shocked to discover the lack of a firewire port. Ok, I should have read the specs more closely before ordering, but I never would have imagined this port being removed (other than from the specialized MacBook Air). As others on this board have said, what were they thinking?!
So I have some questions about downloading raw video footage from a firewire camcorder (forgive any ignorance on my part, I'm new to camcorders and digital movie editing--I've never used iMovie). My goal is basically editing home movies.
I have an old G4 tower (1.5Ghz, 1GB RAM). I also have an external firewire/USB drive. The tower will not run iMovie '08 because the processor is too slow. The iLife 08 disc refuses to even load iMovie on this machine.
I haven't purchased a camcorder yet. I spent a lot of time researching affordable camcorders and had settled on a well-reviewed Canon miniDV, which of course, is firewire. This camera does not come with any software.
Would it work to connect the camera to my G4 via firewire, download the raw footage to my external drive connected to the G4, then move the external drive over to the MacBook, connect it to the MacBook via USB, then import the raw footage to iMovie for editing? I realize the copying over USB would be very slow. I assume I need some type of software for downloading the raw footage to the G4. Since iMovie won't run and the camera has no software, is there some type of utility or shareware that lets you capture raw footage?
Is there a better way I can use my G4 to get raw footage from a firewire camera, and then on to my MacBook? Or will this work at all?
I see that there are a few USB camcorders out there, but they seem to be expensive or don't receive very good reviews, so I'd like to go with the firewire Canon.
Thanks very much for the help with this frustrating issue

Well, never mind. I'm returning the MacBook and buying a previous generation MacBook Pro, which ends up being about $200 more.
Solves my problem, but many folks can't afford the Pro. I'll be commenting at Apple customer feedback about the lack of firewire on the new MacBook.
Thanks for reading the post.

How do I archive the raw video files from my camcorder to ext hd?

I have a couple hours of video sitting on my Canon Vixia HF S10 HD camcorder. I don't need to edit them in iMovie (at least for now) but I would like to keep those raw video files for use at a later date and get them off my camcorder. I want to put them on my external HD if that's the best thing to do. Does anybody know the best way forward with this task?
Many thanks.

Open iMovie. Attach your camera via USB. The iMovie Import Screen will come up. Do NOT click Import All. But at the bottom of the import screen, you will see a button that says ARCHIVE ALL. Push this button with your mouse and select a folder on your external drive to store the Archive. (and give it a name). [See here for a picture from Ken Stone's Tutorial|http://www.kenstone.net/fcphomepage/imovie_09stone.html#acquiring]
Later on, when you want to edit your movie, you can open iMovie and select FILE/IMPORT...FROM ARCHIVE, and import this into iMovie just as if your camera is attached.
The first time you do it, I would recommend going through the whole procedure and importing a least some of the archive into an iMovie Event. Once you are sure it is working for you, you can delete the files on the camera.

Workflow for Post Processing Magic Lantern RAW Video?

Dear Adobe Community,
I am interested in learning what steps/workflow fellow DSLR, Magic Lantern users take to Edit, Color Grade and add FX to their RAW video? Here is my untested thought process so far:
Adjust the Exposure, White Balance, Lens Distortion, Etc of DNGs in Adobe Camera Raw.
Import DNG image sequence into Premiere Pro for Editing
Use Dynamic Link to Color Grade in Speed Grade
Use Dynamic Link to add effects in After Effects
Render out in Premiere Pro
One of the concerns I have is that I've read on the Magic Lantern Forums that Premiere Pro will reduce 14 Bit DNG to 8 Bit. Is this something you've encountered? Is there a workaround?
I am fairly new to all of this and would greatly appreciate any feedback to point me in the right direction for Post Processing Magic Lantern Raw Video files. I have a subscription to Lynda.com as well if you have any suggestions for courses to look at.
Thank-you for your time.

Nothing Adobe makes can read MLV or RAW video files, so you have to use something else to convert them into CinemaDNG (a folder of images) or a high bit depth movie file (ProRes etc.) - there are many tools listed in the ML forum which can do that.
Premiere Pro can import cDNG footage but it struggles to play back in real time, and will not allow you to grade it using Camera Raw. To do that you have to use After Effects. The workflow is supposed to be "ingest in Prelude, edit in Premiere Pro, color in SpeedGrade", but quite frankly the learning curve for SG is massive. Adobe's attitude to CinemaDNG is strange; although the standard is open, support is only coded for very specific models of camera and the CC suite assumes a Hollywood workflow where professional colorists (who spend years learning how to use the software) operate offline from the rest of the edit, usually after all the cuts are made. It's not set up for a typical lone DSLR filmmaker, which is quite frankly why a lot of ML users prefer another well-known way to resolve the problem.
The 'fast and dirty' approach to getting a cinematic grade in Premiere would be to apply LUT files to the footage using the Lumetri effect (basically running SpeedGrade presets), or you can hand-grade it using the inbuilt Color Corrector tools - but that doesn't cover the other important stuff that ACR can do, such as lens correction, alignment, noise reduction, camera calibration profiles, etc. - for that, you should import the cDNG footage into After Effects (which does support ACR), correct and calibrate the frames, then export back to something high quality that Premiere can work with (such as DNxHD or ProRes 444). You won't notice any visual loss in quality, and Premiere then will play the timeline without struggling, but it takes a loooong time to chew through every clip.
As to if Adobe applications will ever support MLV files natively - well, since Adobe relies on close partnerships with camera manufacturers including Canon, you can guess what would happen if Adobe ever endorsed it. The only scenario I can imagine is if MLV is adopted in-camera by a major DC manufacturer (Alexa, etc) so vendors can support it without slapping Canon in the face. Flying pigs come to mind.

Heads up: I have started to use CR 7 for RAW video

Just a heads up. Interesting times over at Magic Lantern, where they've cracked the Canon DSLR's to deliver RAW video. The resulting .RAW file is converted to a DNG sequence of custom dimensions. The way I develop these is just like I do my photos: I use Bridge to browse, open up a representative frame in CR, do my settings, and sync up the rest in Bridge. Then I use Image Processor to output a JPG sequence for final rendering in Premiere (I use premiere 5, but Photoshop CS6, that is why I dont import the DNG sequence directly in, say after effects or Premiere).
Anyway, lots of people have suddenly started using Camera RAW for grading RAW video over the past week or so.
Just wanted to let you know. Its pretty big news. Here's my first tests: https://vimeo.com/66414746

It's much better to use After Effects to grade Canon RAW/DNG footage, as you can maintain a 100% nondestructive workflow.
You can import a DNG frame sequence into After Effects (and it will display the ACR interface automatically, as if you were opening a single image in Photoshop). Whatever you 'develop' in ACR is applied identically to every frame, so yes there are problems if you do something like add grain as it'll produce a static pattern. That doesn't matter for stills, so nobody in the ACR team bothered to add a random seed to the grain function. Maybe if this workflow catches on we'll see it added to future versions, but right now you should add grain later with AE's effects.
The DNG 'footage' always imports in 32-bit space even though the data from Canon's sensor isn't that deep. If you put it onto a 16-bit comp in AE you can adjust tone/exposure with the same effectiveness as the sliders in ACR, and the non-32 effects such as Add Grain will be happier. There's no real point working in 32-bit comps for these files unless you're doing something extreme. Replicating the shadow/highlight/clarity sliders with curves requires some skill, but you can get some amazing one-click effects on these DNG sequences from plugins such as MB Looks.
Personally I would make the overall pre-grade in ACR (white balance, approximate exposure, lens correction) but I'd do everything else (denoise/curves/grade/grain) in AE once the footage is on the timeline (I'd apply a little bit of MB Denoiser II, then Colorista or Looks, then AE's Add Grain or MB MisFire). Note that you need to set the lens correction manually, as the DNGs from Raw2dng don't include the EXIF tags.
One thing I've been asked is how to get the ACR dialog open again once the footage is imported to AE. You do that by right-clicking the footage in the project bin and choosing Interpret Footage > Main (Ctrl+Alt+G). On the dialog that appears, press the More Options button on the bottom left.
btw - Premiere Pro CS6 does not import DNGs. A previous version did, but Adobe reduced their activities on the emerging CinemaDNG standard and removed the plugin.

Is Photoshop capable of turning RAW videos into videos? [was:RAW]

Is Photoshop capable of turning RAW videos into videos? There is such thing as RAW video. Cameras that can shoot 4K such as Canon 7D, Blackmagic, and other 4K cameras are capable of shooting videos in RAW.

How are you doing the save? Just choosing File - Save?
Photoshop remembers the last "master file" format you saved something in. If the current document is capable of being saved in that format, it will default to that format for the next save.
What happens if you do the following:
1. Open your raw file, and edit it.
2. File - Save As, and in the Save as type field choose Photoshop (*.PSD;*.PDD).
3. Complete the save operation.
I'm betting that will result in your having saved a PSD format file.
In summary, change your habit to use File - Save As to save your master document and you can't go wrong.
-Noel

I have a new Mac Mini, and I want to send raw video...

I have a new Mac Mini (Lion), and I want to send raw video to the Internet, using Ustream, Skype or other services. I don't need cameras, microphones, or other periphrals. My video consists of 1 volt composite (from a video switcher), and the audio is full stereo at 600 ohm line level on each channel. What do I need?
I have a video capture card on my Windows machine; but the results have been crappy at best. And the so-called "Geek Squad" at Best Buy (where I bought the Mac Mini) have been less than helpfull. Further, the on-line Apple Store shows nothing. Maybe someone here has an idea.

You are going to need a video capture device of some sort and I believe the following will be suitable.
http://www.elgato.com/elgato/int/mainmenu/products/Video-Capture/product1.en.htm l
It is available in the US as well http://www.elgato.com/elgato/na/mainmenu/products/Video-Capture/product1.en.html

I have an iMac about a year old. It has OSX 10.8.3 with iMovie 9.0.8. Is there a way to get iMovie to store and use iMovie Events on an external drive? Raw video is eating up my 1TB internal drive.

I have an iMac about a year old. It has OSX 10.8.3 with iMovie 9.0.8. Is there a way to get iMovie to store and use iMovie Events on an external drive? Raw video is eating up my 1TB internal drive.

Yes, you can import to an external drive by choosing it from the Import Screen.
Once an Event or Project is in iMovie, it is best to move it to the external using iMovie, so the Project does not lose links to the Event.
For full instructions on how to do this, see this link.
https://discussions.apple.com/docs/DOC-4141

Once I finish an iMovie project and I publish it to various destinations (Dropbox iTunes YouTube etc) do I need to keep the original raw video on my MacBook or can I archive it to an external hard drive.

I have now finished 3 iMovie projects and have learned how to prepare them for sharing through various media like Dropbox, iDVD YouTube iTunes etc. but I now have produced a huge number of related files which are filling up my hard drive to the point that I can't import any further raw video until I archive or delete many of these files.
What files do I need to keep on my MacBook in order to be able to keep these various shared locations functioning, and what should I delete or archive?

iMovie works best with uncompressed audio. If your track is MP3 or AAC, you may get better results by converting your track to the AIFF format and then using that in iMovie.
You can do this in iTunes. Go to iTunes/Preferences and click the General button. On the General page, click the Import Settings button. Choose IMPORT USING: AIFF ENCODER.
(note: remember what you changed it from so you can change it back later, before you import another CD)
Now, in iTunes, select your track. Then click FILE/CREATE NEW VERSION/AIFF VERSION.

Canon 1DC vs. 5DIII vs. C300 & Raw Video resolution comparison

Similar Messages

Maybe you are looking for