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Messages - lostfeliz

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Sure. An episodic DP will have the white balance very much controlled. But we're not using industry standard like Arri RAW. We're using Canon DSLRs. Getting Canon 5diii RAW video graded in Resolve is much more challenging for me than grading RAW stills in Lightroom. Even with all the workflows I've read about and tried, I still find that Resolve and DSLR RAW video files aren't easy to gel together.

General Chat / Re: GoT S08E03 - Cinematography
« on: April 30, 2019, 05:53:59 PM »
I noticed that in many of the battle shots that lasted a fraction of a second there was a lack of motion blur. I liked the effect it created, like the heart pounding flicker of adrenaline. I watched it a second time last night after all the bickering about how dark it was. I had issues with it dragging in spots, practical spatial problems, and some inconsistencies in white walker densities, but never with the final color grade. I thought the battle scenes were well edited. It had an interesting flow between many short series of shots. Way better than many battle scenes I've seen by people like Peter Jackson.

Anyone having an issue where my exports cut off after 29 seconds? I've been using Resolve for years. Wanted to switch to MLV App, but having this problem.

Raw Video Postprocessing / Re: Davinci Resolve struggles
« on: May 09, 2018, 04:16:11 AM »
I started it all from scratch and was able to get better results. I used Canon Log for Input and Timeline color spaces. And Rec709 for output. It worked fine for the first timeline of dailies. Then when I was just making small adjustments to the second day of dailies, the entire timeline whacked out on me and 50 clips immediately were crappy and blown out. Restarting the computer didn't help. I checked project wide settings and nothing had changed. Had to do day two all over again and got it to work.

I'm interested in Resolve, not so much for it's endless power to do serious color correction and grading. I like it because I can mostly correct the ML Raw files to my satisfaction and it renders quickly.

I'd just been struggling using Switch and trying to correcting Log 4444 files in Premiere. I like Colorcast, but the rendering is slow.

Raw Video Postprocessing / Davinci Resolve struggles
« on: May 07, 2018, 12:12:41 AM »
The struggle: coming up with project settings that help my outputted video match how it looked in Resolve.

I'm working with the latest beta of Resolve 15 (free version). I spent a bunch of time getting recommendations on how to set up my preferences in Resolve. I tried a few setups but my output is coming out with boosted blown out highlights when I bring them into Premiere. I'm resigned to maybe have to start this from scratch. For this last attempt, I set all the color settings to Arri Log C. I've tried many others.

Anyone have a bullet proof (or bullet resistant) workflow?

Also, in case it's not clear, the files being used in Resolve are the DNG sequences from Switch.

Prokopios, I don't think it will shoot that aspect ratio. I think you can shoot 3072 x 1320.

A lot of people I know don't even shoot 4k with the A7s ii. They shoot HD. But they like the compact size and the low light capabilities. I used one for the first time over the weekend. Lots of pros and cons vs. 5diii, but the reason I used it was because I was shooting in extreme darkness. Shot the rehearsal with the 5diii and got no exposure, but the Sony got some great images.

The A7s ii doesn't beat the quality of RAW. Really hoping to combine the Lossless RAW with audio recording so I can use it for interviews without needing slates for syncing and get a few more years out of the camera. :)

If you can get the desired frame rate without FPS override, it's best to keep it off. This feature doesn't play nice with crop_rec, and it's not easy to fix (they both touch the FPS registers).

When I don't use FPS override, the ML settings say 29.776 when I punch in to 5x (whether the Canon settings are 1080/24 or 1080/30). And it actually records at 29.776. So, I don't know how to record 3k at 23.976 without FPS Override.

I've been prepping for a 3k shoot this Monday. I've been doing some exposure tests. Depending on the mode I'm in, the spot meter changes the reading of a gray card. It also changes in real terms when I measure the card in Lightroom. I'm not particularly needing these inconstancies to go away. Mainly I just want to nail my exposure so I have good highlight details but don't have to pull up shadows until they become noisy. I tested the gray card in four different settings and got sometimes some very different results.

Click on image to see the whole spreadsheet:

Now here's the strangest part: I had exposure on the 5diii set to Manual. FPS Override was on and set to 23.976. ISO was 320. AND ... AND shutter speed was set to 1/60. But when I looked at the meta-data in Lightroom, the 3k crop DNGs said they was exposed at 1/50. Is the meta-data wrong or is the shutter speed operating at a different speed than indicated on the camera? Anyone know?

Lastly, I noticed in Lightroom that one of the process options for the video DNGs was "embedded". Anyone have info on how this choice effects the image?

@bastonford, so glad you're compiling this! Good luck with it. For either run & gun with a Rode VidPro or for dual system audio having the WAV recording in the 5Diii is huge help. It'll add years of usefulness to my camera.

Great to hear you're getting continuous 3k and sound.

I stopped playing with card spanning a long time ago but I always thought it'd be great if the audio could write to the SD card while the video wrote to the CF card. I'm guessing there are underlying Canon issues keeping that from happening or that it doesn't help write speeds at all.

So compiling the PR for audio (with the 11 commits to crop_rec_4k since it was opened), gives me the following on 5D3.113:

- Modules enable fine and I can enable mlv_sound in the sound menu
- Sound records in MLV videos in full-sensor mode
- Sometimes when hitting stop, there is an error message on screen stating that "sound did not stop: state 5", however I can't reliably recreate it.
- There seems to be significantly more write speed required than "advertised" when sound is on - my slower Sandisk Extreme 120 card can't keep up for more than 400 frames with sound, when it can go continuous compressed raw without. Lexar Pro 1066x card is fine at 3k 2.39 though.

I'm a bit unsure of what the outcome should be when recording sound in the new crop_rec mode. There is a WAV output at the end of the run with mlv_dump, but it is only 44 bytes on crop_rec videos. Still new around here - is mlv_dump another compilation target within the magic lantern repo? I'll get googling.

Will report back as I come across more.

Raw Video / Re: Struggling to get off the ground with MLVFS
« on: July 01, 2017, 11:46:08 PM »
I used to use it, but then started having trouble. So I switched to cr2hdr and i've had a much better time getting the MLV files converted.

Raw Video / Re: Uncompressed 14-bit RAW video testing - 5D Mark III
« on: June 13, 2017, 07:52:35 AM »
@eddytkirk To do this you should be using the latest experimental build. You should have the "Crop mode" set to "3k 1:1". And you need to magnify the preview to 5x. That's what works for me.

@MartijnR If you're shooting indoors, can't you adjust your lighting in order to lower you ISO. You should get less noise.

@erek, your shadows look a little noisy. maybe you underexposed or maybe you had a high ISO?

I'm hoping that we'll get MLV Sound module working with the new experimental builds soon. It'd be very helpful for synching a day's worth of footage (and for back up sound). It sounds like for now they have other priorities.

One possible option for timecode with external sound recording would be the Sound Devices MixPre-3 that was recently announced. It accepts HDMI to get timecode. Not sure if it works with the 5Diii's HDMI output though.

This test was moderately helpful. I wanted to see how the 3k and HD compared with a high ISO -- 1600 (high for a 5Diii, at least). Three different lenses all shot at f2.8 at 1600 ISO. The field of view for ML cropped 3k is about 1/2 of what it is for full frame HD. So for the HD version of the shot, the camera was moved from 48" away to 24" away. I down-rezzed the 3k to HD.

I didn't have the patience to get the scale exact. I kept image pretty neutral. I used ETTR for exposure. I think it helped lessen the shadow noise (I tend to underexpose ML RAW, not in a good way). Anyway, the noise isn't too awful especially since you'd most likely crush the blacks some if you were using this shot. I was expecting more noise at 1600 ISO.

No Worries, Martin. Just followed up to let you know it wasn't a one time fluke.

 I was doing exposure tests and the exposure lowered dramatically when I switched from 14-bit lossless to 12-bit lossless. Settings: Crop 3.5, 3072x1320. Is this to be expected?

Rob, I'm running 1.2.3.

Because the preview in 3k and above is so laggy, I hadn't thought of plugging in my monitor to it. But tonight I tried it out. The field of view is about 40% of what's on camera screen and being recorded. But it's great for focusing and no lag. If you can get used to operating with two monitors (one for composition and one for focus), you can really shoot a 3k project with a 5diii. Hell, if you had a focus puller you'd be in even better shape.

The HDMI monitor output (when mirroring, at least) is completely centered. Short of being the correct frame without jaggy lag, I'm wondering if the HDMI mirrored output could be panned as desired to frame what you want to see to keep in focus.

The cropped panning control knob does something when you use it but the screen then pop back to how they were.

Looks great, giarcpnw. The shot of your dog looks out of a feature film. I was just at that spot yesterday. Then you freaked me out because I also have the same hummingbird feeder and hedge!  :D

I'm still getting errors from Adobe Premiere when playing back files exported from Footage in ProRes 4444.
They play okay, but the errors continuously arise.

General Chat / Re: GPL issues with commercial app (again)
« on: April 22, 2017, 11:47:57 PM »
I'm glad that you brought this up. Obviously this is a community that has donated tens of thousands of hours for something that believed in. But... we all have to pay our bills.

I don't know anything about the intricacies regarding the rights to the ML code, etc., but if you keep developing it I will definitely be donating. Your software is very helpful for a daily workflow that's moving fast. I rarely have time to go the MLVFS to Resolve route for a work project.

This subject also reminds me that I need to figure out Bitcoin so I can donate to ML!

I've been experimenting with the 3K crop and 1080p slow motion, etc from the experimental build. Amazing stuff. It's hard to say, of course, how long it will be before usability is nailed down. Wondering if there might be a shorter term move to combine the "simple" 1080p24/30 lossless recording that's been developed along with the MLV Sound module? I would love to incorporate something like that to my everyday run and gun interviews and b-roll without the occasional random breaks in recording and the extra large files that quickly fill up my cards.

(this was posted in reverse engineering but it was recommended that I delete it and post here)

When you defringe the pink highlights it mainly takes care of the clipped. THere's still lots of pink edging showing up after I use the tool. Defringe, of course, isn't supposed to be for this. Other than this, the new build is looking good.

What are folks mostly using regarding color space? the rec. 709 conversion does a good job for quick tests. But for more nuanced grading are people mostly using C-log?

@DeafEyeJedi Thanks! I didn't know it'd been updated to handle the compressed MLVs.

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