One thing to think about is - would it technically work with any CF camera/equipment? That would potentially increase the audience.
Etiquette, expectations, entitlement...
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Two Compression tag values are supported in DNG versions before 1.4.0.0:
• Value = 1: Uncompressed data.
• Value = 7: JPEG compressed data, either baseline DCT JPEG, or lossless JPEG compression.If PhotometricInterpretation = 6 (YCbCr) and BitsPerSample = 8/8/8, or if PhotometricInterpretation = 1 (BlackIsZero) and BitsPerSample = 8, then the JPEG variant must be baseline DCT JPEG.
Otherwise, the JPEG variant must be lossless Huffman JPEG. For lossless JPEG, the internal width/length/components in the JPEG stream are not required to match the strip or tile's width/length/components. Only the total sample counts need to match. It is common for CFA images to be encoded with a different width, length or component count to allow the JPEG compression predictors to work across like colors.
DNG Version 1.4.0.0 adds support for the following compression codes:
• Value = 8: Deflate (ZIP)
• Value = 34892: Lossy JPEG
Deflate (8 ) compression is allowed for floating point image data, 32-bit integer image data and transparency mask data. Lossy JPEG (34892) is allowed for IFDs that use PhotometricInterpretation = 34892 (LinearRaw) and 8-bit integer data. This new compression code is required to let the DNG reader know to use a lossy JPEG decoder rather than a lossless JPEG decoder for this combination of PhotometricInterpretation and BitsPerSample.
QuoteWorkflow
Thanks to an EOSHD forum member's advice in the Nikon V1 60fps raw burst mode topic I was able to get a very quick and simple raw workflow with the 5D Mark III going.
Rather than use DaVinci Resolve (which only works with TIFF sequences and Cinema DNG, not plain photographic DNG sequences) I used After Effects to put the sequences of DNG frames together into video clips.
Ctrl-I brings up an import dialog box and you simply put each sequence of frames into it's own folder on your drive, now they act like short clips. Choose the first DNG frame in the folder and After Effects will allow you to grade it in Photoshop, before applying the look to the rest of the frames in the sequence automatically as if it was a video clip.
Then I exported each composition to a lossless Quicktime file, and dropped that straight into Premiere. Of course there's no audio recording to a separate WAV file yet with Magic Lantern so have the dual system audio recorders at the ready.
Quote from: 1% on April 28, 2013, 08:57:01 AMIts nice to have. Audio wise many use an external recorder and sync with Pluraleyes. Just buffer-recording the first (and last?) two seconds might be enough for it to sync. But we wouldn't store audio into the resulting video file anyway, would we?
Should it write start time and end time to the file name?
Quote from: Marsu42 on April 04, 2013, 08:10:46 PMah, yes. you're right.
But the copyright I set in the Camera is automatically written to the picture files, isn't it? If so, the ml config would also end up there unless ml actively prevents it.
Quote from: Marsu42 on April 04, 2013, 07:08:34 AMI'd be ok with the ml config and not my name in the cr2/jpg exif data)no, not exif - that'd be just storing the config diffrently but still on the card
Quote from: a1ex on April 03, 2013, 07:06:51 PMHmm, how much bytes are those?
You can keep some small bits in the copyright strings, but that's not enough for most settings (maybe store a compressed diff?)
Quote from: basovandrey on March 02, 2013, 02:37:13 PMWhen you do not know what will happen if you press the SET button.You have not actually used the "new" interface, have you?
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