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First of all 10000 iso is not a good iso to use in raw, you should use 6400 or 12000,

Nah, once you are beyond ISO3200 it is all just direct 1/3 stop pushes from then on up and the whole ISO125, ISO250 stuff doesn't apply any more. (On many bodies it doesn't apply above ISO1600).

Of course there are so many different settings that it's easy to get a false impression. It's also probably easy to start getting into a more digital and less film-like sharpness with the ACR workflow, balancing things out the detail level isn't so different compared to CF Advanced 2.

The CineformRAW demoasic does seem to be prone to creating even more false colors bits popping up (trying advanced level 2), some edges get odd chroma bits on them and there seems to be no general chroma NR either so you get that plus created chroma noise in addition perhaps.

The Resolve rendering of CIneformRAW avoids that but appears to be a bit prone to zipper/checkboard artifacts. Does anyone know what it means when Resolve lists Cineform 16bit output. What is that exactly? Also Resolve doesn't seem to understand the color data yet so it's almost impossible to figure out how to bring it back to normal looking colors.

Going back to Cineform RAW in general, perhaps it is the compression used or some luma NR, but relatively uniform areas of OOF color tend to become smooth (with occasional odd things showing up) or large grained on some dark transitions using the Cineform RAW files while the ACR method (using Cineform 444 FS2 once all the RAW stuff is complete) leaves them very finely grained and not smoothed over at all.

ACR processing stage takes forever, but things like Magic Bullet Colorista take forever during final render so I'm not sure if all that much total time is saved, although it is certainly much handier to leave long stages until the end and the ACR workflow has the long stages at the beginning.

Anyway, it all works very well, the CineForm demosaicings maybe are not the best, but if you do a final grade in Resolve it does not matter.
Thanks again,
Bruno

So it demosaics as will in Resolve as in ACR?

Thanks for everyone exploring the demosaicing options.  While it is assumed our current filters where selected for performance, that is not entirely true.  While there are some performance options, bi-linear and matrix 5x5, the others where the render grade filters of their day, finishing films from My Bloody Valentine to Slumdog Millionaire.  As computer power has increased even more advanced algorithms are being used. 

Thanks for all the work on the tools.

These advanced stills debayer options to one degree or another were already out long before Slumdog. I've noticed that stills software often seems to have used much more advanced algorithms. At the point that stills sharpening tools had all but done away with nasty white halos and such you'd still see commercial DVDs/blu-rays with nasty white halos all over the place, etc.

Maybe, in part, because stills software was aimed at only doing 1 frame at a time or maybe a few hundred while video stuff was aimed at tens of thousands or millions of frames. Some of it might also be that the two sides didn't cross pollinate much either perhaps.

And more recently as of a couple years ago the RAW control sliders have become much more powerful in stills software. The sliders in ACR, for instance, seem to work way better than the sliders in most video correcting software. Although in this case, some of it is that I'm not so family with video editing software and haven't likely used the best stuff either.

Of course the stills stuff doesn't let you do motion tracking corrections so easily like some video plug-ins and it's probably tricky to make sure all sorts of footage matches perfectly, if you need to do that sort of thing. And certain stills tools can cause frame to frame flicker if things are changing too much frame to frame.

The thing that is holding back Cineform RAW is the debayering/early stage sharpening/NR are soooooo far behind stills software that I just can't see leaving behind using the Photoshop/ACR/AE workflow for now. GoProStudio is nice to quickly scan footage to see if flipping through images in a stills viewer doesn't give you enough sense as to whether to process the clip or not. And using Cineform 444 film scan 1/2 is a nice codec to use as output to use in Premiere Pro or whatever to cut stuff and edit it all together and so on. It holds lots of bits just in case you still need to make some corrections still and seems to have barely any compression artifacts.

Using many options also crashes Premiere Pro out when using the Cinform RAW files made by GoproStudio. I didn't try that patch a few posts up yet though.

Hey folks,

I do not have after fx and I failed to open the DNGs with Davinci resolve software, FCX and premiere pro, any other software that could work?

thanks for help

o.

Photoshop opens them too, you can process them in batch.

GoPro CineForm Studio also handles them (quite speedily) but it doesn't seem to understand the embedded profile and the colors are beyond horrendous so it's not really usable at this point.

I assume that there is no way to access the full true 1920x1080 image and we will have to wait for the canon firmware to get full-res clean HDMI out?

We already have hi-res PCB pics at http://www.pbase.com/rcicala/magiclantern (thanks Roger!)

I believe the chip is the bottom-left one in the second pic, but... good luck reading what's on it

He seems to love to open stuff up so he might be willing to open it up again and get a close macro shot of the audio chip. Perhaps.

Hmm... cryptic... I wonder if they'd stumbled on photo fps controller that can increase shooting speed up to 10-14 fps...?

What's his twitter handle btw?

Gotta be the 6D if you are trying to push one of the new cams to 10-14fps.