There is a thread similar to this already so I expect VK will close this , however , whether this will happen I'm unsure it would take a lot of work , and whether its technically possible ? - not sure , the ghx use sd cards so card speeds will limit them , then there's the cameras internals being up to spec ... Gh3 should be good , gh2 unsure , regardless this would take a huge undertaking I believe even if it was technically possible...

Mmm, yes, the RAW video 14-bit from ML moves Canon DSLRs few more huge steps ahead.

Actually, they've always been steps forward the GH1/GH2, even GH3 in contrary to some people here who think the hacked higher details will change something in GHs.

Again, a lot of efforts were spent (and wasted surely) for chasing higher bitrates which actually give nothing different to GHs at all. No profiles and parameters were modified, no even a try, the GHs still keep the definitely videoish image, no matter what some would say.

Eh, maybe it's time to replace Lumix after all the hesitations...

Sorry if my opinion and thoughts hurt some people here, nothing bad.

@producer A lot of people dropped their canon for a gh2/gh3 for a reason, they were not blind; sure hacked 5dmk3 RAW is in another league, as is the pricerange...

@producer Yep, we purposefully worked hard on developing stuff so you could produce your comment. See ya'

@BlackLegSanji Totally wrong. VK works continuously as and when he has the time. He has a family and a life too you know.

Reminder to all: this site is NOT just about Panasonic stuff. The fact that ML have found a way of extracting raw from the live view of the EOS range is an outstanding culmination of hard work and achievement from their team. Good things come in waves for all cameras. More support (yes, and donations) will only help VK improve this site, research and development. Get behind him, DON'T knock him.

I'm probably risking a ban here, but I don't think there will be anything meaningful to come from VK anymore. I have a feeling that these days he spends a lot more time following politics, administrating, posting and selling gear on this site than he does working on new tools and hacks. And he's probably making quite a bit more money selling stuff here than from donations for hacking cameras, so I can't really blame him (and he doesn't need to do a damn thing for us, either). Regardless, this is a great community so I'm thankful for that.

Now days vk is very busy running this site. Better income and all. but yea men, what a grate community. we wont ever see raw video on gh series from vk. too much hours on programming when its better to make deals and charge for it. Its business as usual. Nothing bad about it.

LOL.

Guys, issue here is big misunderstanding from your side.

My fault being that I could not spend such bif amount of hours on one task I used to.

But it does not mean that I am waxing my carrot and doing nothing.
Just in less than one month - updated NTool and also updated tool to decrypt Pentax cameras firmwares.
I am not counting things related to Sony hacks that also require time (and software originating from this work and from this talks will be used on Panasonic cameras also).

@stonebat Lol. We will always need hacks for big company's.

@Vitaliy_Kiselev Even if you were to never successfully hack another camera, you've already made (and continue to make) monumental contributions to the filmmaking community, which is more than most people can say.

@Brian202020 RAW is only more flexible, the image depends on you. Being 8bit does not stop you from making grate imagery. Yes it sucks on post cos its not so flexible. But what i know for a fact, today 2013 RAW does take you time, BIG TIME. Unless you have massive 3 racks of 16 core 1u servers and ultra raid tech on it. AVCHD is drag and drop. :)

@endotoxic

I agree with 8bit not stopping anyone from making great imagery. I will say it has on many occasions knowing a camera was 8bit forced me into shooting a certain way to limit banding as much as possible, which is limiting creativity. Also as a shooter I want the image delivered to the client to be as perfect as possible. This means 10bit or better with a log picture profile.

As for RAW being time consuming, it really isn't that bad. I've edited several RAW projects on my 2008 MacBook Pro. I'd say from ingest to final edit, it's at most a 15% increase in time over an H264 acquisition, and maybe a %30 increase in time over a ProRes acquisition. It's all about finding the most efficient workflow possible for the project.

@vicharris

5D RAW footage will be in the appropriate thread. This thread is about hopefully eventually getting RAW on the Panasonic camera's.

http://www.personal-view.com./talks/discussion/6823/raw-video-on-canon-5d-mark-3-and-other-cameras-using-liveview-framebuffer-#Item_263

The ML manipulation of the Canon firmware is laudable but in real world terms I'm just wondering how useful this would be in the broadcast world - the hysteria surrounding it is a bit of a chuckler to be honest.

The ML manipulation of the Canon firmware is laudable but in real world terms I'm just wondering how useful this would be in the broadcast world - the hysteria surrounding it is a bit of a chuckler to be honest.

It's likely not useful at all for the broadcast world, raw shooting, until storage and processing and bandwidth are at such a level that compression and techniques involving time and space savings create more work rather than less.

Big budget episodic network television isn't going to be shooting raw as a standard. Shows like NBC's Hannibal and FOX's The Following are shot on the Alexa but to ProRes. They shoot hours of footage for every hour broadcast. The ML-raw paradigm has even less to offer broadcasters than a well integrated raw paradigm.

It's for amateur shooters and independent filmmakers who like and can handle being bleeding edge, a different state entirely than cutting edge.

@BurnetRhoades my thoughts exactly - Red footage is the bane of post already, needing storage, time and dedicated hardware, and in the real world budgets are going South, daily (in the UK anyway) With no increase from Production managers in any of the above areas, i can't see RAW being utilised in mainstream TV in the near future without production re-thinking budgets. Offline budgets have been decimated and ingestion budgets haven't increased with the new codecs and storage requirements - leading to a bit of a dead end. In the end the camera operator doesn't decide the camera to use on a project the man with the £ does.