Topics

Hi everyone,

I think I've made the most stupid mistake: I've shot videos in .MLV format, but instead of shooting white target and color chart in .MLV format too, I've shot them as stills in .CR2.
Now, I'm working on Davinci: if I try to use .CR2 with color chart correction, and then I copy&paste the grade to cDNG file (that comes from .MLV), the result is... funny!
Same thing when I try to use .CR2 with white target for correcting white balance of cDNG file (from .MLV).

Is there a way to use those color and white .CR2 for correction cDNG in Davinci? Or those stills are simply unuseful?
Many thanks

Hi everyone,
inserting a brand new CF card into my 5D3 I noticed it was somehow hard/tight to put it into the camera-card-slot.
After removing the card, I noticed that one pin (in the camera-card-slot) was a bit shorter than the others. Probably it was caused by inserting the card in.
Now, my question: is that shortened pin an issue for RAW recording? And most important: is there a method/software to verify if pins working properly? (since by eyes I don't notice anything wrong in the footage...)
Thanks really a lot.

Hi everyone,

I need to make some shots of trees, houses, etc. with a 4-axis gimbal, through the side window of a car running at 30-35 Km/h.
I made some test and I noticed that at T/50 the motion blur is really disturbing. I also tried T/84 and even T/100 and obviously this reduced the motion blur, but added the typical jerkiness of rapid shutter times.
Then I tried T/64 and I must say that to me this is the best compromise out of the camera.

Anyway, I also tried to handle the T/100 footage in Davinci: slowing it down a bit (20 fps), adding optical flow and just a little bit of motion blur. And the result seemed good to me.

My question: which one in your opinion gives the best result? Shooting at T/64 without touching it in post, or shooting at T/100 and then re-touching it in post?

Thanks a lot.

Hi everyone,

I tried to change both aperture and ISO during a single shot. Changing aperture with the Quick Control Dial seems to be accepted: MagicLantern continues recording. Changing ISO with ISO button and Main Dial seems to give some little problem to MagicLantern.

Question: is it "safe" (for the file) changing aperture or ISO during the shot?

Thanks a lot.

Hi everyone, newbie here.
I'm facing the common problem of storage limits for MLV and cDNG files.
I read some topics in this forum about different methods/softwares, but there are a lot of informations all together and I can't understand which one matches my workflow better (that is strictly based on Davinci for color grading).
Up to now I converted all my 14-bit MLVs to 16-bit cDNGs with Switch, and then Davinci. I storaged MLVs for safety reason, and also cDNG for Davinci projects, and this means a LOT of storage... Too much for me.

Now, I've seen at least 3 different solutions for my storage problem:

1. MLVs to compressed MLVs via Switch (LJ92 option), then deleting original MLVs, then compressed MLVs to Davinci via MLVFS.

• Q1: What do I actually lose compressing MLVs? Grading quality in Davinci somehow? Speed performance in Davinci?
• Q2: Is it "safe" keeping only compressed MLVs? Could it happen that Switch introduces some error or similar?

2. MLVs to compressed DNGs via SlimRAW, then deleting original MLV, then Davinci.

• Q3: What do I lose with "lossless compressed" DNGs against "full" DNGs? Again, grading quality or speed performance in Davinci?
• Q4: Nobody in this forum recommend keeping only DNGs and deleting original MLVs, why?

3. Simply keeping original MLVs, then on-the-fly to Davinci via MLVFS.

• Q5: MLVFS is on-the-fly, does it mean a slowdown in Davinci? And the grading is really as accurate as with rendered DNGs?
• Q6: Is there some feature in MLVFS that is unaccurate in comparison with Switch?

Which is in your opinion the most "safe" and "high quality" solution? (Because – as someone else wrote in this forum – I have OCD for quality loss and the word "lossless" is not reassuring to me...)

Thanks a lot for your help.

Hi everyone,

is there any benefit (or disadvantage) in keeping FPS Override activated even when it's set at the same frame rate of the Canon menu?

For example: in Canon menu I have 25 FPS, and also FPS Override is at 25 FPS (exact). In this case, is there any benefit/disadvantage in keeping FPS Override activated?

Thanks

Hi everybody,
newbie question here: I'm going to take a night shot with 5D3 + ML (the scene is a lady walking on a sidewalk, the camera is moveless on tripod, the only lights are a street lamp and the moon).
I made a test with Sigma 35mm at f/1.4, T/30 and ISO 3200. The result was a very noisy shot because the high ISO, but even setting ISO 1600 doesn't help because image is darker so noise appears anyway.
I'm a bit frustrated...

I've thought a couple of solutions:

1. I could try to shoot not-yet-in-night, when the sky just start to be darker but is not black, and then lowering brightness in post to obtain "night effect". But the truth is that all the shadows created by the street lamp are visible only when sky is "noisily" black;

2. I could take a shot of the walking lady when the sky is not-so-black, and later I could take a "clean" timelapse of the street during night, and then masking the walking lady in post in order to add her over the "clean" street in timelapse. Interesting effect perhaps, but again the lady will not have consisten lights and shadows on her in coparison with the night street.

So, how could I solve it?

Thanks a lot

Hi everyone,

I'm trying to make a sort of low-key video shot: in a dark room there's a woman watching at the window that should be the only light source.
If I make the shot as I described, directly with the "final" low-brightness I desire, the histogram is very low, and my shot is full of noise.
I tried to raise up the ISO, but the few highlights (the woman's face) starts clipping.
A solution could be using a soft light in the room in order to reduce the difference between the highlights and the shadows. In this way my shot should be less noisy, but it will loose the "final" low-brightness I want. Anyway I should be able to correct this in PP (lowering the brightness-under-a-certain-value to "bring back" the shadows to their darkness).

Do you think this is a good method, or it's better shooting in the desired "final" light + using a de-noise in PP?

Thanks in advance.

Hi everyone,

sorry in advance if this question has yet a well known solution. My problem is that I have Dual-ISO footage (5D3 with ML) and I converted my MLV files with Switch.
I obtained a DNG video with a visible strobo effect (in Davinci).

In THIS page there is a video that shows the solution: fixing the black point with ExiftoolGUI, but this software is for Windows only. I use Mac, which is the procedure to fix this problem in Mac? I tried pyExifToolGUI, but without success. Same thing for ExifToolGUI via Wine.

One solution could be using Exiftool from the terminal, and knowing which is the command line for finding the black level of the first DNG image, and the command line to set that level for all the other DNGs of the folder.

Please, someone can help me?

Thanks a lot.

Hi everyone,

I've just noticed a strange black little soft-spot on my recent shots (see attached image). I say "strange" because it's always on the same position in the frame, but NOT on every shots!
Naturally I thought it was same dirt on one lens, but it's not, because it's visible on shots made with different lenses.
So I thought it was dirt on sensor, instead, but - as I said - it is visible NOT on every shots.
The only one solution I can give (but I'm NOT an expert) is that it's a little grain of something (dirt, ash...) in short something "three-dimensional", and sometimes, when light has a peculiar angle, I can see its shadow...

Just 2 questions:
1. What is it in your opinion?
2. How can I solve? (Service?)

Thanks a lot.

Hi, I'm a ML user on 5D3. I've always used CF cards (SanDisk Extreme Pro CompactFlash 256 GB) for shooting RAW, and the CF gives me about 90MB/s that is sufficient for few minutes in 5:3 or continuous 16:9.
Now, Sony made a super-fast card: SF-G64 and SFG1g. It's not a CF card, but only a SDXC that declares W:299MB/s.
My question is: can the 5D3-ML take advantage from this new card? Could I obtain better performance with the Sony SDXC than with the SanDisk CF? Could I shoot continuous 3:2?

Thanks

Hi, my question is which 24-70 for video with 5D3 (Magic Lantern).
First of all, I don't use stabilization so much (almost always on tripod or gimbal), so I'm interested into image-quality comparison.
And the comparison is between Canon (2.8L II) and Tamron (old 2.8 G1 VC). (Not new G2 because it's too heavy for my gimbal.)
From many tests I've seen on the web, it seems that Canon 24-70 2.8L II is sharp on all the frame (borders included) while old Tam.G1 is sharp only in central region, while smoother towards the corners of the frame.
This is obviously an "theoretical" photographic comparison, but in video mode (full-frame) we should also consider the "binning effect".
My quesiton is: considering the binning, the difference between sharpnesses (in the center vs on the borders of the frame) is still noticeable? Or the difference is reduced? (In this case, the Tamron would be the best choice for the buck!)
So the question is translated into: which 24-70 do you recommend, as ML users?

Thanks SO much.

Hi everyone,
Let say a CF card falls to the ground (on an edge...) Now I am in doubt if the card is damaged (perhaps in one sector, or something similar, perhaps a damage that is not immediately evident).
Is there a method/analysis to surely check if the card is FULLY ok?

Thanks

Hi everyone,
I've just bought a brand new 5D3, and the first thing I did was a sensor check (to verify dead pixels). I used Film Nurture method.
In my 4-shots test (HERE) I can see 20 or 30 dead pixels yet at ISO 100, and many more at ISO 800. Anyway, I can see all these dead pixels ONLY in Bridge, while they disappear in ACR. I tried to explain this difference remembering that ACR should have a sort of dead pixels fixer (even if I didn't suppose it was automatic).
So probably Bridge shows the "truth".

At this point I can choose: "mapping" the sensor's dead pixels with the in-camera manual sensor cleaning method (so keeping the camera with its patchy sensor), or returning the camera to Amazon asking for a replacement.

Before taking a decision, I'd like to know your opinions. Is it normal that a brand new camera has that amount of dead pixels? (Moreover, ACR is not in my workflow, so I can't eventually take advantage of its "corrections".)

Thanks in advance for your help.

Hi everyone,
I've a 5D3 since a couple of years. Since last month, I noticed a big vignetting in all the new photos (never noticed before). A comparison between "old" photos made with Tamron 24-70 + filter, with new photos made with the same lens + filter, reveals evident vignetting only in the most recent photos.
What's the reason?

I started noting this issue after a backlight (landscape with sun in the frame) shooting session.

I also started noting that the camera's LCD seems darker (I have to set the brightness on max level in menu settings!)
Which is, in your opinion, the problem?
HERE are an example: 3 photos: the first 2 photos are "old" (24-70 at 35mm and 24mm) and there isn't vignatting, while the 3rd is "new" (24-70 at 36mm) revealing an evident vignetting.


Many thanks in advance for your help.

Hi everyone,

perhaps my question was covered in this forum (if so, sorry). This is the question:

I use a 5D3. In ML you can choose different ratios such 3:2, or 5:3, or 16:9 and so on.
I'd like to know "how" this ratios are obtained: i.e. I've read somewhere that 16:9 1920*1080 was obtained binning the entire sensor for an integer number. And this is good for me: using the entire sensor, and havig a "clean" integer binning.
So, my question is: which is the method (dividing for which number) to obtain all the other ratios? The sensor is still used entirely?

Thanks a lot.

Hi everyone,

As I wrote many times, I'm a self-taught newbie, and I "use" forums to clarify my messy ideas. So, sorry for my basic a chaotic quesions, but I think that probably other guys could be in my condition and could find useful clarifying this topic:

Since I'm an happy user of Magic Lantern's RAW video, I'd like to understand better the concepts of wide gamut and HDR footage. What I hope to have understood is that HDR refers to light, while gamut refers to color: two different things, but I'm interested into how they are related.

Now, my camera (5D3) is set on AdobeRGB, and I shoot videos in RAW. I've read (in this forum) that RAW footage captures more infos even than AdobeRGB, so it should mean that RAW footage has yet wide gamut (perhaps not Rec.2020, but it should be at least as wide as DCI-P3 or even more). So, simply shooting in RAW should let me work in wide gamut workflow. (Right?)

Now, in order to obtain a wider dynamic range, Magic Lantern offers at least 3 tools: HDR, DualISO, and Auto ETTR. More or less, I should have understood that HDR is a tripled-frame capturing to obtain high dynamic frames to both raise shadows and prevent highlights clipping at the same time (right?), while DualISO should do the same thing but this time through a dual-frame capturing and reducing vertical definition (right?), while Auto ETTR should maintain the "distance" between shadows and highlights, raising the shadows and clipping a bit the highlights that are still recoverable thanks to Davinci "recover highlights" button (right?)
Now, these three methods are different, but it seems to me they are oriented to a similar purpose: obtaining the widest dynamic range.

What I hope to have understood is that both HDR RAW and non-HDR RAW videos are good for wide gamut workflow. (right?)

Now, can we consider DCI-P3 a wide gamut color space? I'm interested into this because I'm going to try coloring a video work for a theatrical premiere. Anyway, to handle a DCI-P3 10bit work, I should have a 10bit P3 compatible monitor: for example Eizo CG2730 declares true 10bit and 98% P3. But if I want to use Eizo as preview monitor, and work at 10bit, I have to use a PCI Decklink Mini Monitor, and this brings me to a problem: Decklink can handle only Rec.709 color space. So my question is: how can I take advantage of Eizo's many profiles if Decklink can handle only Rec.709? The same thing for AdobeRGB: my camera is set to AdobeRGB, and Eizo can handle it at 99%, but again Decklink can't handle it, so if I would like to have a correct preview of my footage in its native color space, what should I do? (A Quadro card? I'd hope there is a much more cheap solution... because it should mean using my Titan X fog GUI monitoring, and a Quadro for preview monitoring? Possible something cheaper?)

Thanks a lot.

Hi guys,
perhaps this is not really a specific ML-forum-question... but you are Canon experts, and I'm worried:
Yesterday I shooted a very nice sunset (actually the sun was still high, let say late afternoon) and I wanted the sun in frame. Obviously zebra clipped on the little sun disc even with the ND filter and ISO 100, but anyway I decided to try Dual-ISO (100/800). After about 60 minus of shooting, I remembered that Canon manual says "no direct sun in frame"... and in many websites people say that direct sun light melts the sensor...
I'm stupid, I know. Now I'm worried I have damaged the sensor.
My question: with dead pixel method (THIS) is possible to understand if sensor is damaged? Or the damage could "behave" in other ways? Is it better to go to Canon service for a check?

This is my set during the session:
5D3, time 1/33, Dual-ISO 100/800 (zebra on sun even at 100), Tamron 24-70 (at 70), f/22 (2.8 only to focus) Hoya UV filter or Hoya ND filter (alternately), about 60' with liveview.

Thanks everyone in advance.

[this 1st method doesn't work with me]

Hi everyone,

I've found many webpages about the same issue, some older some newer, but I can't find a clear and updated method to fix the purple/green fringe in Raw highlights (and perhaps a little general color cast in MLV files from 5D3).
Up to now I tried 4 methods:
1. Iliah Borg's method for BMPCC footage is based on RawDigger histogram analysis of the DNG file for finding the closest value to the extreme highlights noise and setting that value as white level of the DNG via Exiftool. But I must say that this 1st method doesn't work with me;
2. RawTherapee has a Defringe tool that sounds promising, but again I must say that this 2st method doesn't work with me;
3. Nick Driftwood's Resolve node-based method is artful and it works, but (quoting an article by Dave Kendricken) «Some users, however, felt this workaround was too much of a compromise to be considered a viable alternative to an Adobe Camera RAW workflow. (Even though appending nodes in Resolve makes applying 'de-fringing' corrections to many clips very fast, it isn't really ideal).» The article continues with the good news that Resolve 10 auto-magically fixes the fringe, but it's actually not true for me. Said that, I roughly agree with the fact that this 3rd method is rather old (Davinci 9) and it seems not "ideal", not pretty clean;
4. ACR method appears to be that "clean" solution: it's simply based on Remove Chromatic Aberration option (Lens Corrections tab) and it works BUT only in ACR: importing the fixed ACR-DNGs in Resolve, the fringe is still there! as if the ACR corrections are NOT visible in Resolve (even exporting the original DNGs to new ACR-DNGs).

(Right here a little secondary question: ACR-saved-DNGs' size is about half the size of the original Switch-DNGs, why?)

Now, considering that I need to use Switch (for MLV to DNG conversion) which is the cleanest method that fixes the purple/green fringe AND lets me grade in Resolve?
Perhaps setting the white level in Switch? (but Exiftool method didn't give any result...)
Should I use IR filters? (Like BMPCC users...)

Thanks in advance for your kind help.

P.S. Just another couple of secondary questions:
1. In Switch mlv_dump, if you DON'T select the option (07) disable vertical stripes in highlights, means that Switch DOES fix the vertical stripes, right?
2. Time ago I had installed an old Switch. Today I installed Exiftool. Then I downloaded the updated Switch for overwriting the old one. Only at this point I read that Switch uses Exiftool, so my question is: could this 2 installations (Switch and Exiftool) be in conflict? Should I uninstall Exiftool?

Again, thanks a lot.

Hi guys,

perhaps this question is not new, but sincerely I can't find solution on similar old topics. So here the question:

It happens that I shoot a file when the card is almost full. Then, after a while, ML stops the recording and says CARD FULL. I try to download also that last file from the card (with a card reader), but Mac says The Finder can't complete the operation because some data in "M02-0813.MLV" can't be read or written. (Error code -36)
Is there a way to download/recover that last file?

Thanks really a lot for your help.

Hi everyone,

I have a problem using 5X ZOOM on 5D3: almost every 1 or 2 seconds, a brighter frame occur, like a sort of random strobo efx.
I'm shooting in RAW 1920*1280 @24fps.

Can you help me, please?

Thanks a lot.

Please, I really need your advices, guys. The title of this story is "Red Dots FOR MY BAD".

This is the plot:
Yesterday I had my first real-&-long RAW-video session with 5D3 + Magic Lantern. It was early morning, I had no extra light, then I saw nothing via viewfinder (an HDMI external Ikan) so I decided to crank up the camera ISO to 12800 just to see the scene, finding the positions, the POVs, etc. (in video mode, 5D3 alerts you if you use ISO >1600 i.e. the white number turns yellow-bold on camera's screen, but I didn't know why). The temperature was very high 52-55° (again yellow-bold alert, but again I didn't know the consequences). I used in this way the camera for a couple of hours uninterruptedly (always ext. viewfinder on, always ISO 12800...) that is a long time (!), in fact I didn't use batteries but the DC-power-false-battery adapter.

Result: once transferred the video-tests on the computer, since the very first video I saw many red dots, in other words I cooked the sensor. In fact I made some tests (stills at low ISO with the lens cap on) and I recognized a lot of dead pixels (...a lot...) End of the story.

Questions:

1. In this very sad "Italian neorealism" story there are 3 components:
A) Super-high ISO;
B) Very long time with viewfinder opened (i.e. sensor exposed);
C) Too high camera's operating temperature.
The 1st question is: which of these components caused dead pixels? I can simply say that if the very first shot had red dots, this means that 12800 ISO is sufficient to cook the sensor. BUT at this point I wonder if the other two components could ALSO take part the sensor's damage? Is it possible in your opinion/experience?

2. You are experts of using 5D3+ML for RAW-video shooting, so my 2nd question is: which is the correct behavior of the DSLR video-operator for working with the camera without cooking its sensor? Well, obviously not cranking up ISO, now I understand that, but seriously which are your advices to use safely the 5D3 during a video production session? Perhaps using the camera's eyepiece all the test-time, and open the sensor (use the viewfinder) only for the definitive shot?

Thanks really a lot for your help (I need it, in these days of sorrow...)

Hi everyone,

I've found many conflicting infos about which is the resolution from the HDMI of a 5D3 during internal RAW recording.
Can you help me, please? Because I'm going to buy a 7" monitor just for focusing, and I thought Ikan DH7, but it's 1920*1200 and perhaps it's an unecessary resolution...

Anyway, what is in your opinion the best on-camera 7/8" monitor for 5D3-ML under 500€ (with zebra, histogram, peaking, false color...)?

Thanks a lot for your help.

Hi everyone,
when I considered to buy a BlackMagic camera I've read about IR issue using VND filters. That issue could be solved using an IRVND filter instead.
But finally - thanks to you guys! - I decided to go for a 5D3 with MagicLantern (and I'm so happy about that choice!)

Now I simply need to know if - doing RAW video - my 5D3+ML needs an IRVND, or if I can use a normal VND without problems?

Thanks for your help.

P.S. Tiffen or Promaster? (Because on one VND by Tiffen I noticed an X effect...)

[---If you know how to solve this issue, please help, thanks.---]

Hi everyone,
I'm pretty new to MagicLantern, I've read a lot of pages about utilities to convert MLV RAW (no audio) into DNG, but there are so many apps and so many versions... I'm confused and I'd like to make a clear point about it. Could you help me, please?

Let start saying that I work with an Hackintosh (Nvidia GPU) and OSX 10.12.3 Sierra.
Up to now (similar Hackintosh with Yosemite) I've always used simply RAWMagic to convert mvl RAW (no audio) into DNG, but since I use Sierra the app crashes always on startup.
---If you know how to solve this issue, please help, thanks.---

So I decide to move to another app: MlRawViewer or raw2dng. Raw2dng 0.13 can't load my mlv RAW files (?), instead it seems that 0.9 version can do. I also tried MlRawViewer 1.4.3 and I've noticed that the White Balance seems to be NOT the same as the original shot, so here I have some question:
1. About both raw2dng and MlRawViewer: do I need to install Adobe DNG Converter? And if so, do I simply need to install it, or should I use it in someway? And once installed, do the 2 apps respect the original White Balance? (RAWMagic had an autodetect WB function.)
2. RAWMagic had a vertical stripes correction function: it seems that MlRawViewer has it too (right?), but what about raw2dng?
3. MlRawViewer is the only one that asks me to set the color curve (linear, log-C, sRGB, etc.). I think I prefer to make all the color changes later in Davinci, so I suppose it's better in this step to maintain the original curve of the original shot (right?) But which is the original curve? I use a Canon 5D3 and I've semply noticed in the Canon menu that the color space is set to sRGB: does this mean that the original curve is sRGB?

Just one last question about cr2hdr: it should convert dual-iso RAW shots into hdr-DNG files, but searching this app I've found a couple of different (but homonymous) apps: the first appears like an
automator app (cr2hdr for mac OS Sierra) and it seems to require Adobe DNG Converter (just ADC installation?), while the second (always named cr2hdr) has an icon where you can see an arm and half a t-shirt. Also this last needs ADC installed? And which is the best app? Which one has vertical stripes function AND maintains the original White Balance of the shot?

Thanks really a lot for your help.

Hi everybody,
I can't find a solution to this Magic Lantern issue:
I had a movie recording stopped automagically message (when I tried to shoot in crop mode).
This is my set:
-firmware downgraded to 1.2.3;
-2015Apr28 Nightly Built;
-SanDisk Extreme Pro CF 256GB (ExFAT formatted via OSX Utility Disc - NOT in camera) and this is the UNIQUE card in the camera (ML files are stored in the root directory) so the card is in SLOT 1 (so no Low Level Format option possible);
-Canon Menu: Movie rec. size 1920x1080 24p ALL-I;
-Magnification: x5 (ISO and STOPS change into red on the screen);
-ML Menu: Movie > RAW video ON, 3584x1320;
-lens: 35mm f/2.0 IS USM (in ManualFocus mode, but with stabilizer ON).
I press Start button (camera icon on the screen is red) and immediately arrives the message: movie recording stopped automagically.

I tried other resolutions (always with x5 magnification): 2048x1152 gives me 8 or 9 seconds, then again the stopping message (ISO, STOPS and Camera icons always red).

I tried also 1920*1080 in crop mode: 30 seconds with Camera icon yellow, after that icon becomes red, and at 40 seconds again the stopping message.

Only in FullFrame mode (simply without magnification activated) the Camera icon is green and all works fine.

What could be the issue in crop mode? Perhaps the CF card is not fast enough? (But it declares 150MB/s writing.) Could it be the NOT-in-camera formatting method I used? Perhaps 256GB is too much for the CF card? Could it be something I didn't set correclty in ML menu? Something else?

Please, I hope you want to help me. Thank you so much.