The noise from the BMCC is also apparent when raising the blacks in a shot. The 5D mark III can shoot indoors at ISO 1600 and there's almost no noise while the Blackmagic starts to get ugly at this point. Where the cameras differ in terms of RAW is one big thing: Noise. The 5D is just as strong as the BMCC, providing maybe a bit more dynamic range. Color temperature, tint, dynamic range, no problem. You can get similar details out of the sky and set all you like in post. You can adjust everything and everything is possible. What became clear is that both cameras provide very similarly capable RAW files. We didn't do a very sophisticated grade, working with RAW files like that is time consuming. Wrongly interpreted zebra indicators had me fooled several times and the internal battery almost died.Īfter a lengthy process of getting the RAW files converted into something usable we graded both to match more or less. It's not so easy, in fact it was easier to get the shots on the 5D as the Blackmagic is just not a very easy to use camera in many regards. Native ISO on the Blackmagic is 800 so we used that. We used the Canon 24-105mm lens on the 5D while we used the Tokina 16-50mm on the Blackmagic. We went out with a Canon 5D mark III that had the Magic Lantern RAW module hack on it and shot with the Blackmagic Cinema Camera in RAW mode alongside. Here's a side by side comparison of the 5D mark III with 14bit RAW 1080p together with the Blackmagic Cinema Camera with 2.5K RAW so you can see how the two cameras differ. Today we already published a test video of the impressive Canon 5D mark III RAW module enabled by the Magic Lantern hack and a guide to get it working yourself.

Magic lantern canon 5d mark ii raw size