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Dispelling the myths – optimising performance – never read another endless forum post again!

Payment via PayPal, just $19.99 (usual price $29.99)

My third book launches today. It is available to download immediately and for the first week you can get 33% off the usual price making it just $19.99.

It is an enormous 12 chapters and 106 pages.

The 5D Mark III raw recording capability has completely changed the way I shoot, the camera I shoot on and the software used in my workflow. The 5D Mark III has come back like a phoenix from the flames with the latest Magic Lantern firmware – they are saviours!

In the book I aim to make it easy to get up to speed and shooting raw on the 5D Mark III immediately within minutes, before delving deep into what you can actually do with it.

I think even if you don’t yet own a 5D Mark III and are wondering what all the fuss is about the book is very helpful as it allows you to make a better informed choice of whether raw is for you and whether you should sell your current camera.

If you have noticed a lack of blog posts recently on EOSHD this book is why! I have poured my blood, sweat and tears into it.

By the way – the mystery rig shown in the book will be revealed later this week.

The full contents listing of the book is below.

Chapter 1 – Introduction

An introduction to the world of raw recording with Magic Lantern and the 5D Mark III.

Welcome to the book
New 5D Mark III specifications with raw enabled
Magic Lantern: liberators
Advantages of raw
Types of filmmaking suited to raw
Understanding raw

Chapter 2 – Enabling Raw Video

Practical advice so you can begin shooting raw video on the 5D Mark III immediately.

Preparing your 5D Mark III
Preparing your Compact Flash card for raw recording
Installing Magic Lantern – Step 1
Installing Magic Lantern – Step 2
Installing Magic Lantern – Step 3
Activating the raw recording module

Chapter 3 – Recording Raw Video

A guide to making use of raw video and exploiting the full extent of the feature.

Changing resolutions and frame rates
Aspect ratios
Higher resolutions than 1080p (2k to 3.5k)
What are the maximum continuous recording times?
Understanding data rates
What is crop mode?
Playback and file manager

Chapter 4 – Recommended settings

This chapter contains my most frequently used reliable and interesting settings for shooting raw video on the 5D Mark III.

Introduction
Recommended settings
Optimizing performance
Slow-motion 48p / 50p / 60p
1:1 crop mode
Anamorphic aspect ratios
Movie tweaks menu

Chapter 5 – Recommended software and editing codecs

Canon raw video files usually require converting to an editable raw format. Here’s an introduction to which formats you can use to edit raw.

Summary of software requirements
List of recommended software
Standard DNG uncompressed raw
Cinema DNG uncompressed raw
CineForm compressed raw
Compatibility with editing software

Chapter 6 – CineForm raw workflow

CineForm saves huge amounts of storage space but maintains the advantages of a raw workflow. This chapter deals with how to use it.

Introduction / advantages
System and software requirements
Converting to CineForm

Chapter 7 – Uncompressed Cinema DNG raw workflow

For maximum image quality you can edit uncompressed raw in DaVinci Resolve and other applications (such as Adobe After Effects) which support Cinema DNG (but not Adobe Premiere).

Introduction / advantages
System and software requirements
Converting to Cinema DNG on a Mac
Converting to Cinema DNG on a PC
Getting started with Cinema DNG in DaVinci Resolve

Meditation music video free download. Chapter 8 – ProRes / Ginger / After Effects

For alternative ways of processing your raw footage – conversion to ProRes does not allow grading of raw on-the-fly but maintains a high level of image quality and a codec which is compatible with almost any editing software. Ginger allows direct editing of 5D Mark III raw clips in Premiere via a plugin but it is in the early stages of development.

Convert to ProRes in After Effects
Ginger for native raw clip editing in Premiere and After Effects

Chapter 9 – Kodak, Fuji and Alexa film looks for Resolve

LUTs are common film industry tools for giving raw footage a certain look and feel. Along with a selection of carefully crafted cinematic looks, this chapter deals with how to use them in DaVinci Resolve.

What is a LUT?
Recommended software and format requirements
Kodak & Fuji film looks
Rec.709 to Canon LOG
Alexa film look
Applying a LUT in Resolve

Chapter 10 – Suitable Compact Flash cards

Raw recording on the 5D Mark III is extremely demanding on Compact Flash card performance and capacities. In this buyer’s guide I look at which ones work, and which don’t.

Benchmarking your card
Card buyer’s guide

Chapter 11 – Raw shooting advice by Andrew Reid

With raw shooting the DSLR video rulebook has changed. Here I look at shooting techniques and how to shoot better looking raw footage.

Be economical with your footage and ‘edit in camera’ like John Ford
Prioritize shadow or highlight areas
Avoid too much highlight recovery in post
Ignore the native ISO
Shoot at these ISOs for best results…
Experiment with crop-mode framing before selecting another lens
Don’t be shy about investing in Compact Flash cards and spare batteries
Stop down the lens when necessary
Try to avoid shooting handheld without a rig, avoid a complex rig

Chapter 12 – Cinematography advice by Andrew Reid

Drama in simplicity
Rule of thirds
Composition
Natural light
Tips from the Tree of Life cinematographer Emmanuel Lubezki, ASC, AMC
Dead space
Color
Focus and depth of field
Location – not just a backdrop

Appendix A – EOSHD articles and sample videos
Appendix B – Technical glossary
Appendix C – Troubleshooting and FAQ
Appendix D – Disclaimers

In a surprise move, the affordable G9 will be getting a huge video upgrade. The new firmware bumps the 8bit 4K mode of the G9 up to 10bit 4:2:2 internal. There are also further AF improvements for the GH5 and G9, along with manual exposure control in high-speed movie mode on the S1, improvements to highlight rolloff in V-LOG and CFExpress card support – these cards offer up to 2000Mbps data rates, 300% faster than even XQD… Perfect for internal 4K RAW should Panasonic choose to implement this next.

These firmware updates will be available to download from November 19th 2019, according to Panasonic. Play sonic exe 1freaksever.

The Panasonic G9 getting 10bit 4:2:2 is a big surprise for me, as it’s quite an old camera. It is on sale for $1197 at B&H which makes it the same price as the more recent G95. The more recent camera only shoots 8bit, although it does have V-LOG L pre-installed. This can nevertheless be added to the older G9 with an upgrade key.

In the UK I have seen the G9 go for as little as £650 used, which is a total bargain for 10bit 4K recording.

Here’s everything Panasonic have planned for the 19th:

LUMIX Full Frame Mirrorless

S1 and S1R firmware version 1.3

Expanded media compatibility

CFexpress Type B card can be used. A CFexpress Type B card boasts a theoretical performance of a maximum of 2,000 Mbps. Realizing an approximately 300% higher transfer speed than that of a conventional XQD card, it supports large-volume photos and videos.

Expanded compatibility with Profoto wireless transmitters

Profoto wireless transmitters “Air Remote TTL-O/P” and “Profoto Connect-O/P” can be used, enabling wireless connection and control of external strobes for professional shooting.*

Improved compatibility with Sigma interchangeable lenses and mount converter

It is now possible to assign functions to the Fn buttons of Sigma L-Mount interchangeable lenses. The performance of Body I.S. (Image Stabilizer) when attaching a lens using the Sigma MC-21 mount converter has also been enhanced and suppresses roll movement.

Improved compatibility with Panasonic interchangeable lenses

It is now possible to assign functions to the lens Fn buttons when the Panasonic LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) is mounted.

Improved AF performance

[AF+MF] can be used in AFC mode, and it is now possible to set continuous AF on the live view screen in Creative Video mode or in other video recording modes when the video recording area is displayed.

Improved performance of High-Speed Video

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It is now possible to manually set the exposure according to the video exposure mode (P/A/S/M) in High- Speed Video mode.

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Other major improvements

• It is now possible to select the card slot to save the JPEG images developed by in-camera RAW processing.
• An Fn button can be used for checking the aperture effect while the button is pressed.
• Disabling any physical operation can be assigned to an Fn button
• AF Assist Light has been added to the Focus tab of the Video menu
• The luminance level of photos (including 6K/4K Photo and Post Focus images) can be set when playing back them over HDMI output.
• AE can be locked with the [AF/AE LOCK] button when ISO Auto is set in M mode.
• S1 There were cases where a blue clipping effect occurred in V-Log recording. This problem has been improved.
• S1 There were cases where afterimages occurred in V-Log recording. This problem has been improved.

LUMIX Micro Four Thirds Mirrorless Camera

GH5 Firmware Version 2.6 / GH5S Firmware Version 1.4 /G9 Firmware Version 2.0

Expanded compatibility with Profoto wireless transmitters

Profoto wireless transmitters “Air Remote TTL-O/P” and “Profoto Connect-O/P” can be used.*

Improved AF performance

• [AF-ON: Near Shift] and [AF-ON: Far Shift] functions have been added. [AF-ON: Near Shift] preferably focuses on a subject nearby while [AF-ON: Far Shift] preferably focuses on a subject far away.
• A Focus Peaking function is available not only in MF mode but also in any AF mode.
• It is possible to set continuous AF on the live view screen in Creative Video mode or in other video recording modes when the video recording area is displayed.
• GH5S G9 Animal Detect has been added to AF mode. Utilizing Advanced AI Technology, animals, including canines, felines and birds, can be detected in addition to humans. The focus frame is automatically set on the target subject by analyzing the size and position of the target subject in the viewing image. The camera keeps tracking these subjects even when they turn their back to the camera.
• GH5S G9 It is possible to switch the subject to focus on by pressing the joystick in [Face/Eye/Body/Animal Detect.] mode.

Enhanced video functions G9

• 4K 30p/25p 4:2:2 10-bit internal recording is supported.
• 4K 60p/50p 4:2:2 10-bit HDMI output is supported.
• Luminance level for 10-bit video is supported.
• VFR (Variable Frame Rate) shooting is supported (FHD 2-180 fps/4K 2-60 fps).
• HDR video recording is supported.
• V-Log L recording and Waveform Monitor (WFM) are available with the Upgrade Software Key DMW-SFU1 (sold separately).

Other major improvements

• [AWBw]has been added to WB mode.
• [Highlight Weighted] has been added to [Metering mode].
• [Exposure Offset Adjust.] has been added to the Custom menu, which enables adjustment of the standard exposure value for all metering modes.
• [0.5SEC] has been added for an option of [Duration Time (photo)] in [Auto Review].
• AE can be locked with the [AF/AE LOCK] button when ISO Auto is set in M mode.
• [MODE1] has been added to the Live View Boost function, which increases the frame rate for smooth image displays to enable easier manual focusing.
• G9 [MODE2] has been added to High Resolution mode, which reduced subject’s motion blur.

.LUMIX Sync Ver1.0.4

・Wireless connection(operation) with GH5/GH5S/G9 is supported.

[Source – Panasonic]

The AF near-shift and far-shift looks like a positive move in particular on the GH5, GH5S and G9.

I believe the way this works is you now have two AF back buttons (on function keys).

If it’s obvious you would like the camera to pick up a subject far away, press the far-shift AF key. If you want a closer subject to be the priority, hit the other key.

I think this is a very good idea, especially if shooting a subject surrounded by a complex foreground or through a window, which could so often be selected by accident by the AF system.

The issue of some clipping in highlights (in the blue channel) has been improved upon for V-LOG on the S1 and S1R. When you get a bright artificial blue light in the shot, it’s very common to see it turn green or begin to clip. Good to see Panasonic take the issue seriously and reduce the effect.

Full manual control in high speed video mode on the S1 and S1R is something quite a few users asked for.

Speaking of high frame rates, not only does the G9 get 10bit, it appears to have picked up the GH5’s 2-180fps VFR mode as well, along with a similar VFR mode in 4K up to 60fps.

Bargain of the year?