Forgive the wobbling - noob Glidecam operator at work. I tried the workflow out on a trip to Yosemite National Park a few years ago to ship this travel montage. Since both support Final Cut Pro XML, you can use them together! The tutorial shows an older version of DaVinci Resolve and Premiere, but the controls are still in roughly the same places in the latest versions. Around 4MB per frame for 1920×1280 (great aspect ratio for anamorphic lenses, utilising a higher than full HD vertical res) or a much more space efficient 2MB for 1920×720 (2.66:1).
DaVinci Resolve has amazing color controls, but I’m more comfortable editing in Premiere. The 1080p raw file sizes are similar to 2.5K on the Blackmagic Cinema Camera. This tutorial walks through a round-tripping workflow for quickly wrangling hours of Magic Lantern footage. Magic Lantern will soon bring a new firmware update for Canon 5D Mark III to enable RAW video output is now available, With canon usual firmware loaded in the. Anecdotally, I’ve been using Magic Lantern for over four years now with some crashes here and there, but no bricking. At worst, it could brick your camera and you’ll have an expensive decor piece for your studio. It goes without saying that using Magic Lantern is at your own risk. If you’re new to shooting raw, here’s a separate tutorial on getting started with 3K raw on a 5D Mark III. So if you still have a 5D Mark III and wouldn’t mind shooting some great footage, it might be time to freshen up those Magic Lantern raw skills.
But the results are impressive for a camera that wasn’t designed to shoot raw footage! Historically, the most difficult part about Magic Lantern raw has been the workflow: when shooting, the monitor barely works, and in post production, you have a tedious coloring and editing workflow. But earlier this year, Magic Lantern enabled new 10-bit and 14-bit lossless modes to shoot 3.5K raw. Sadly, continuous recording was iffy at best.
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