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Tried the latest native Mac version with new MLV footage I shot about a week ago. Now it works! The best standalone MLV/MLraw app I've ever used! Great work, thank you so much! 

Will keep using it and report here in case of any issues but so far (except for the known resizing UI bug) I didn't run into any further problems.

That's all right, I'll just try your app again when you've developed it further and report back with more intel in case the error still keeps happening. Thanks for all your work so far btw.! 

I always get a crash with "Segmentation fault: 11" mentioned in the Terminal window. No matter how often I try - it happens with all my MLVs (shot just a couple of month ago). Downloaded the Cocoa Mac app, using it on the latest Sierra 10.12.06.

Andy600 keeps contributing detailed input about color science, working with ML raw video in post production and shares his ideas for possible improvements of the MLV format. He doesn't only try to sell a product, he shares a hell lot of crucial technical input no one else figured out or at least shared to that degree and detail with the community. No matter if you bought or used any of his products or none, he's helped a lot of users in the past with color correction/grading workflow problems and understanding the concept of color spaces etc. - If you ask him "What's the best way to grade my MLV files without Cinelog", be sure Andy gives you the best answer possible no matter what. He has proven this time and time again on this forum.

Thanks, mate!  I actually only used the cheap Canon EF 50mm f/1.8 STM for this shoot. I didn't upscale or anything, the output was a regular 1080x818 high-bitrate h.264 file for Youtube. Secret to sharpness is using Neat Video OFX plugin with it's superb sharpness option and highest quality settings in the first node before color correction/grading in DaVinci Resolve. In my experience this is upgrading the look of the whole image, not just sharpness and noise reduction. Gives the image a smooth overall flavour finishing touch. Just make sure to deactivate the node while grading (for better performance) and turn it back on right before rendering the video. Not a cheap plugin - especially since I already had the FCPX version before - but it was totally worth buying another one for Resolve. The results are just so much better if you use Neat with sharpness activated on the original CDNG files before further compression.

This second video I made for another channel (CinecastTV) is from the same interview, but it contains different answers so it's a good addition to the main clip I've posted before.

I'm using ML raw on commercial shoots more and more often now. This is my (German) interview with actor Max Riemelt from the Netflix series Sense8.
I shot this on the Canon 5D Mark III with the famous Nifty-Fifty attached. No additional lighting, it was a very rushed setup with just about 10 Min.
to get into the room and shoot the interview in a hotel in Berlin. Corrected & graded in DaVinci Resolve Studio 12.5 (incl. Neat Video plugin) using MLVFS, edited in FCPX.
I also used the Free Ektar 100 LUT as a starting point for color grading.

Check out my huge collection of ongoing Berlinale interviews in this other topic here!

Thanks, mate! 

Here's the next one with filmmakers Vincent Toi & Ebby Angel Louis (Berlinale nominated short film "The Crying Conch") shot at the Canadian embassy to Germany in Berlin.

Shot with ML Raw on Canon 5D Mark III (Nifty-Fifty attached) & GoPro Hero 4 Black. Graded in DaVinci Resolve Studio 12.5 with the help of Cinelog + Free Ektar 100 LUT
and a little bit of extra touches with Color Finale & CoreMelt SliceX in FCPX (used for the GoPro material).

Nothing short but amazing! I'm gonna try this on my next short film, can't wait! Thanks for sharing the video as well as the specs!!! 

This LUT is the best I've ever tried with ML raw. Gonna use this a lot, thanks so much for sharing! 

Up close with director Gabriel Abrantes at Berlinale 2017! 

Shot with ML Raw on Canon 5D Mark III (Nifty-Fifty attached) & GoPro Hero 5 Session. Graded in DaVinci Resolve Studio 12.5 with the help of Cinelog
and a little bit of extra touches with Color Finale & Magic Bullet Looks in FCPX (used mostly for the GoPro material).

 

http://www.short-talks.com/2017/04/gabriel-abrantes-reality-is-just.html

I upgraded my hardware years ago for raw with the Mark III. Never looked back, still working with the setup, was totally worth ist. Keep in mind, not only your ML raw experience gets better with fast computer & RAID but also about every other rendering, post production etc. you're doing will benefit and be future proof for a while to come. Even if you switch to real cinema cameras or get footage from people who shot raw on likes of Alexa, Red, Blackmagic,... won't be a big deal for your upgraded machine & you also got the best practice by working with the ML raw footage. From my own experience, I'd stick with raw and upgrade the workstation.

All new Short Talks 2017 season starting now with this German language interview. Filmmaker Florian Kunert shares insight on his creative process behind the Berlinale nominated short film "O Brother Octopus". Lots of other talks from this year coming soon, most of them in English like the videos before.

Shot with ML Raw on Canon 5D Mark III (Nifty-Fifty attached) & GoPro Hero 5 Session. Graded in DaVinci Resolve Studio 12.5 with the help of Cinelog
and a little bit of extra touches with Color Finale & Magic Bullet Looks in FCPX (used mostly for the GoPro material).

 

Enjoy! 

[UPDATE]

UPDATE - All my 2016 interviews shot with ML Raw on Canon 5D Mark III (Nifty-Fifty attached) & GoPro Hero 4 Black. Graded in DaVinci Resolve Studio 12.5 with the help of Cinelog
and a little bit of extra touches with Color Finale & Magic Bullet Looks in FCPX.

I have a huge selection of new talks from Berlinale 2017 coming up. Should be interesting for every aspiring filmmaker to check out!

For more information on the individual interviews visit http://www.short-talks.com.
Some of the short films mentioned in the interviews are available free to watch online. For links to these also
check my blog or just use Google.

 

Scroll down on their website. They recently added the old stuff back there because so many people have been asking. http://www.vision-color.com/

Update: I just saw the LUT you're looking for might not be there at all. Send their support an email, maybe?

Wondering which "Sharpness" settings you guys prefer to use in the raw tab within DaVinci Resolve. Is there a proven best range for ML footage processed with Cinelog (or the DaVinci Color Managed equivalent) to get a clear image without overdoing it? Depends on taste, I guess, just interested in what you're all generally using.

Just talking about the raw panel in particular, not whatever other technique used in the grading process afterwards.  I'm just struggling whether to rely more heavily on the raw tab or do my major sharpening later on with other tools.

Sorry for quoting myself, won't do it again.  Would reeeeally love to know your sharpening workflow and general sharpen settings with Cinelog in DaVinci Resolve. 

Wondering which "Sharpness" settings you guys prefer to use in the raw tab within DaVinci Resolve. Is there a proven best range for ML footage processed with Cinelog (or the DaVinci Color Managed equivalent) to get a clear image without overdoing it? Depends on taste, I guess, just interested in what you're all generally using.

Just talking about the raw panel in particular, not whatever other technique used in the grading process afterwards.  I'm just struggling whether to rely more heavily on the raw tab or do my major sharpening later on with other tools.

Thanks so far, your amazing work helps me a lot. I don't really use your whole workflow or the LUTs right now, as I'm going for different looks with my current project. I already use a whole lot of information and individual techniques shown in this thread, though, so it's incredibly useful regardless if you work with LUTs or not.     

BTW: I love the idea of trying to come up with individual LUTs and Power Grades to mimic certain film's or series' looks with ML raw footage! Very interesting, I hope there's more to come and others join the party!

Wow, this is amazing indeed. Good work!!!

I love grain on my master files but have never been pleased with how it turned out after uploading to Vimeo or Youtube. Tried the dedicated x264 settings as well as all kinds of ProRes versions or whatever else was suggested online for web compression. It just never worked for me as soon as I put it on an online platform but in it's original state in my uncompressed master files I wouldn't wanna live without it. 

In case you're going to color correct & grade within FCPX I'd highly recommend Denver Riddle's "Color Finale" plugin. It has integrated LUT support among other useful features and is simply the standout all-in-one color plugin for FCPX. Not for free but in my opinion this is an essential tool anyways and has an integrated LUT loader so you won't have to use this other one any more. // Nonetheless - nice hint for everybody who can't afford this paid plugin for sure, PixelFilmStudio's LUT Loader does a good job indeed.

Working on an experimental feature film project that's been in development for a while and still shooting until next year or so. Just finished a huge part of the first chapter, here's a teaser for that intro sequence. Some GoPro footage in there, for obvious reasons, all the rest is Canon 5D Mark III with Magic Lantern raw and all natural lighting. Hartzday is a movie which starts off as some kind of audio visual poetry, developing into a full cinematic story experience later on. I'll probably post more teasers along further development, still way to go until the whole thing is finished...

Right on, I've been looking forward to your LUT ever since you've announced working on it! Best thing I've found online so far is this ProTune -> BMD conversion LUT and even though it doesn't often quite work as intended it gives my GoPro footage an overall better look. Have high hopes for your take on it, Andy! Much needed addition!!! 

A bit off-topic: What input would you suggest for GoPro-Cineform (shot Protune / native white balance)? I shoot a lot of interviews with ML raw and GoPro. Just figured out one can select different color inputs for individual clips/timelines etc. so I could set a different one for each camera.

Mucho thanks, pointed me in the right direction!