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@artiswar the upper ones are the original shots right? a question: did you underexpose the images on purpose?

Upper shots are originals. I didn't underexpose too much. What you're seeing is a decreased exposure value in DaVinci along with the BMD film preset. Much more flexibility in post to push everything. As long as things don't get too dark and as long as highlights don't clip, with raw you're good.

Grades from today:

I have that same glitch with a single frame being darker. Your workflow seems longer than mine though.

RAW > Import with Ginger HDR into AE > Grade > Render out ProRes 4444 to FCP 7.03.

Also, noob question- how do I turn off autoexposure? When I lock ISO, shutter, WB it still gains up and down depending on brightness.

Exposure override.

http://fstoppers.com/behind-the-scenes-look-into-my-commercialfashion-photo-session

@1% - I suppose I mean when you turn FPS override on, I don't get 23.976 straight off the bat. I have to tinker under advanced with the timers to get it, which I think might lead to some of my issues in post.

The error I reported earlier with the corrupted CDNG. It seems to be only on an occasional basis. Any explanation? Also, in terms of frame rate, is everyone out there fiddling with shutter timers to get 23.976?

Great video.. I can almost spot the 50D footage just cause of it's organic nature.  Which shots exactly were the 50D's?

Thanks!

1st, 2nd, and 4th shots are all 50D. Much more but those should Give a basis to whats what.

Show this one off, I figure.

GH2 and 50D cut together.

http://www.youtube.com/watch?v=ZOS2PLI1n0s

http://postimg.org/image/ffo627dut/

Any idea why this is happening? Long spanned clip, not on the latest build. Processed through RAWmagic.

The free version of resolve has the denoiser disabled. Just so you know. Perhaps, it's best to do the defringing in ACR or lightroom, save the images, then work in resolve for coloring.

Would the CDNGs open in ACR and still be recognized by resolve?

1%'s hacks for variable buffering are now in part included in the hudson/unified branch and builds.

is the "estimation of how many frames you are going to get" using the latest raw_rec.mo module with the Small Hacks enabled accurate?

@flambe - yes that's the maximum in regular video mode
@araucaria - these "Small Hacks" should bring up the speed on the 5D2 as well
@albert-e - be happy that the canon engineers built a sensor and datapipline capable of these speeds (greater than the red one)
@goldenchild9to5 and @2FAST - feel free to discuss on vimeo - bmcc, pump up the gamma, offset negative red, - a little too yellow and i need to learn to keep the full dynamic range with the detail in the tree bark.  been watching excalibur (1981) and loving green.
@goldenchild9to5 yes shoot it

Best way to preserve your detail but still have blacks in DaVinci: Use the eyedropper in the curves window to pin point where on the luma curve the detail you want to keep is. then create another point below that to pull down the remaining dark tones.

Great Color Grading.. was it in Davinci?  should post a short of that video.

It was indeed DaVinci. I'll post something quick up.

http://www.ultraimg.com/images/z3Nu.gif

Quick grade from today's shoot. So much flexibility from raw. Love it.

Quick question re lens. I read that using FF Lens on a crop body like the 50d leads to softness in the video. Is this true in anyone's opinion? Sorry if this is a dumb question, I'm used to filming with dedicated video cams, not DSLR's.

What lens are people using besides the typical primes (30mm, 50mm)?

Also, anyone used a ewa lens like the canon 14mm with RAW?

Any comments would be great!

While specific crop sensor lenses will work better on crop sensors, a full frame lens should perform just as well on a crop sensor. Example: Contax Zeiss glass can cover the entirety of a RED Epic's 5k sensor, thus, with the resolution that a 50D can resolve should look stellar.

I'm loving my 11-16 on the 50D.

Question for all of you:

Is there a way to save settings for when the cam powers on? Ie, raw on, res set, sound off, memory hack on?

Not to mention the waaaay better sharpening, upscaling, anti-aliasing etc. The tracker is also amazing for image stabilization and for using chroma blurring (in a window or a qualified selection) to reduce moire if a shot has it.

Noticeable improvement to footage when at export you choose "Force to highest res" and "force debayer to highest quality."

https://vimeo.com/68826602

I vowed to never do a test video. I lied.

I use rawmagic. Then once the CinemaDNG files are in resolve, I change the raw settings for CinemaDNG files to BMD with highlight recovery. Gives a nice flat image and appears to keep all the highlight detail quite well.

This. And the newest RAW Magic understands spanned files. No more terminal muddling.

Hi Dave! Gotta ask. How do you manage to import dng comp from after effects to premiere pro? I,m on premiere cs5 and while dng,s are perfectly workable on after effects it is not on premiere, not at least on my version?

Dynamic Link. Not sure if that was in CS5

So in a massive spanned clip today (interview) this happened. I didn't notice the buffer fill or anything strange.

What is it?



Uploaded with ImageShack.us

Color grading in premiere pro means grading in 8-bit. No more 14-bit.

Not necessarily true. Some plugins (including fast color corrector) are 32 bit. You can tell by the small brick symbol with a 32 inside of it, next to the plugins in Premiere.

@Dugdale - An important thing to note, in AE, be sure to change your project to 32 bit. You can do so by clicking the "8 bit" icon next to the new comp button.

It happens with all the processes to varying degrees, 2010 is slightly better but doesn't cure it.

You can turn off autotone so ACR stops guessing but this is the way I understand it:

if there's a change in exposure during the scene like the sun coming out then the frames with the brighter sun would inherit the same changes which were made on the 1st image that was changed in ACR. (with darker initial exposure) I believe that the only real way round it is to find the brighter frames and make different corrections to them to compensate. That would take too long though!

What is needed is some kind of smooth transition between frames to iron out any differences in exposure. Out of all my shots so far, I've only had an issue with one so I'll just live with it for now!

Or use the CDNG and DaVinci workflow. Much cleaner.

1) Shooting raw video - ETTR always ON / Push WB (seems to give better results in post)

Noob question. Where is ETTR?

I'm going to re-write the first post later and want a few nice 'showcase' videos so everyone can see what the 50d is really capable of with raw video. I already know a few that are contenders but let me know if you have any suggestions for the following categories (need maybe 6-10):

Macro
Low Light / Night
Anamorphic
Motion
Skin
Aliasing and Moire (worst case scenarios)
Color

Any other suggestions welcome

Thanks!

Dynamic Range. Use a light meter to figure out lighting ratios (64:1, 32:1, etc.)
Direct comparison to t3i or similar, non raw.

Pink picture here too. Have yet to find a fix (if there is one)...?

Like wise. And when the shots are processed through RAWMagic I get harsh, crushed, ugly frames with white borders on the bottom.