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Thanks to everyone.

Can you give us an idea of your workflow on set as far as file offloading as well as post workflow form the RAW?

Thanks

~ S9F

After a lot of tests I found out that the best workflow for me was:

- shooting (natively 1880x800), more or less 11 Tb of footage
- converting with Rawmagic
- creating proxies and checking footage with Davinci Resolve (using Hunter's LUT - https://vimeo.com/67970827 )
- editing with premiere pro
- after that, with the final cut of a sequence, I wrote down (paper and pen) all the clips I used
- color grading via Davinci Resolve and exporting Prores 4444 2K 16:9 (2048x1152) using Hunter's LUT and, in some cases, ImpulZ LUTs http://www.vision-color.com/impulz/
- Now in After effects every clip is processed with the simple wire removal effects in order to erase the RAW's dead pixels. Fortunately I ended up with an effect preset for it, it's just copy and paste. Here visual FX are processed too!
- on a new Premiere project I import the final sequences, replacing the proxy files with the final graded clip

Some notes about final codec and res: I found out that prores 4444 holds better for further adjustment in premiere here and there (curves etc), and 2K because we want to screen in cinemas.

thank you!

Hi everybody,
I would like to share with you our last fatigue, Strings.
This is a science fiction feature film, entirely shot with a 5Dmk2.
Here's the first teaser trailer.

All this huge work would not have been possible without Magic lantern and all this great community, so I want just to say THANK YOU!

If you want to know more about, here's link to an article.
http://www.frabiatofilm.com/strings-no-budget-sci-fi-feature-film/

Any comment would be deeply accept.

Alessio

In regards to the first video, horrifying, thanks for the nightmares I'll be having.
However, beautifully shot, you have fantastic skills, just absolutely stunning.

Thank you, I really appreciate.

No, 23,976 fps as the firs one!

I perceive a big difference in the frame rate - less cinematic than the first one posted.
Have you work with all the same frame rate? Appear to be 30. Don't get mi wrong.

No, always 23,976fps!

Here is the second episode.
Most of it shot with the Blackmagicdesign pocket cinema camera. The last two shots(the boy riding a bike) shot in magic lantern raw with sturdy flight 3-axis stabilizer.

It has not yet English subtitles, I will do them ASAP!!!

Thank you guys!!

I like your camera work. Do you do it handheld, on rig, on shoulder, on a tripod, ...? Thanks!
Ciao!

Everything is tripod, except of a slider shot for the little girl playing with the toy horse.

Audio from camera? No...

No, we use a Zoom hd6 as external audio recorder and a Neumann directional mic as a primary microphone. For the bombing sequence we use the original sound of the debris falling on the table plus all the bomb fx. Nothing crazy but it works!

Hi budafilm, thanks for the kind words! I really appreciate!
For the skin tone, we first used make-up during the shooting. Our make-up artist did an excellent job with pale foundation, dark circles and shadows zones.
With Davinci resolve I raised the midtone detail level in order to accentuate the wrinkles. I really didn't touch the skin color.
If you work well during shooting, there is not much work in post production.

I've written a BTS article about this project, but it's in italian. Anyway the link is this: http://www.frabiatofilm.com/il-coniglio-cortometraggio/

Bye

Hi everybody,
I would like to share with you a series of short films I made based on true stories(I was screenwriter, cinematographer, editor and director).
The first one, THE RABBIT, take place in 1943 in northern Italy, during Christmas Eve.
Everything was shot with MLRAW on a 5Dmk2.
The other two shorts are almost finished. Feel free to ask technical question, I will really appreciate.
The language is Italian, but you'll find English subtitles.

Yes, sorry.
I was asking him if he tried to convert .RAW files with another program, f.e. Rawmagic.

When you can output in a lossless codec(PRORES 422 HQ, f.e.) you will be just fine while color grading.
The point is that if you have a starting image with deep color information and wide color latitude and you can export preserving them (with PRORES 422 you can do this), you'll have this information on the exported files to play with in Davinci. Once again, I'm not a technician, I rely just on my experience.

I don't think that this dead pixels are something physical, that you can remove by cleaning the sensor.
I'm shooting ML RAW and video mode on my 5Dmk2 and this pixels appear just in RAW mode. A simple way to eliminate them is by using Simple wire removal in AE - if you work with AE (BTW the max amount of dead pixels I have is 3-4, so it's still a "human" solution, of course if you have an image full of hot pixels it's not possible to eliminate them by hand).

Hi NoRefund17,
I have the same "problem", red preview when I look at the icon, but when I open a DNG sequence in Resolve or AE it looks normal. Maybe it's an issue of Rawmagic, but i think it affects just the preview.
BTW your frame looks red, but normal once opened.

Ciao Dakkonn,
ma hai provato a processarli con qualche altro programma? Su che sistema operativo lavori? Se sei su Mac potresti provare RawMagic.

Hi,
I'm using Neat video since 2 years in AE, and I've just purchase it for Davinci Resolve.
In my color grading workflow I put it after a primary color correction(WB, contrast and saturation), before any qualification. It gives you a very pleasing and smooth color selection.
I normally try to denoise just on the chrominance channel, leaving luminance grain as it is. I'm now able to work in really hard condition at 1250 or 2000 ISO in ML RAW without worrying about video noise.
Neat video is a powerful denoiser, and if you want the best from it the only thing is to try by yourself, as always.

Hi Andy600,
you write on the web site:
"Magic Lantern Raw Video that has been converted to CinemaDNG using Rarevision Raw Magic or raw2cdng is only supported for the 5D Mark III due to irregular metadata added by the applications."
So what if I have 5dmk2's DNGs converted with Rawmagic? Should I use 5dmk3 conversion package? Or I can't use it at all?
Thanks...

I'm not a technician, so I can't tell you which LOG conversion will give you the most of the image information, but I can share my experience.
I'm grading in Davinci resolve natively DNGs, with BMD raw conversion, and then I apply a custom LUT, and you can find it here: https://vimeo.com/67970827 .
I suppose that you can convert all your footage with BMD and export it let's say PRORES 4444, and then you can give the colorist this LUT here as a starting point. Results are quite impressive. And I think that PRORES 4444 will give you and the colorist all the latitude you need.

Here you can see the BMD flat.
https://www.dropbox.com/s/y9ifu08jc69dcze/BDM%20flat.png

Here with the Hunter's LUT applied.
https://www.dropbox.com/s/pdin95o7ex1127b/BDM%20LUT%20applied.png

And here with some grading.
https://www.dropbox.com/s/vg02zacl2vnun3g/BDM%20LUT%20graded.png

This is done working with DNG, but I think that PRORES 4444 will give you the same results.

I would prefer to do all the conversions in Resolve. Using Aftereffects and ACR is not particularly desirable as it could add days to my work schedule and they have definitely not budgeted for that. In Resolve I can bring everything in, set it up for export and it's easy and fast.

Any ideas?

Many thanks!

Hi Midphase,
I agree with you when you want to do all the conversions in Resolve.
I think that ACR and resolve manage differently the RAW information of DNGs. Have you try to balance the shot after the LOG or BMD film conversion? I mean, if you want a starting point bright as the ACR one, can't you simply raise your gain and highlight and push them where you want? I'm just supposing. You can always refer to the scopes.

Thanks, but osiris (or every other lut) looks completely different in resolve (bmd film, rec709 to LOG, whatever) than in ACR with vision LOG and lut buddy. Colors are different (for example m31 lut: in ACR grass is greenish blue like blockbuster teal orange look if you know what i mean but in resolve its becoming much more yellowish, completely different look when theoretically should be the same. Visionlogs luts consists of lut (rec709 to log) which in theory should be the same as their visionLOG profile for ACR just to have the same starting point. I am sure, that with some tweeking one can match resolve with acr but i wonder, which app represents the effect creators of those luts wanted to achieve (acr looks nicer imo but resolve is so much faster).

Keep in mind that you have to balance your shot once applied the LUT, I mean in terms of contrast/shadown and highlights and color balance/white balance. Once you have a good neutral image you can start your grade.
About LUTs and Davinci Resolve there is this good article of Juan Melara (austrlian colorist, it does a wonderful job IMHO).
http://juanmelara.com.au/print-film-emulation-luts-for-download/
BTW I use a custom LUT, it's called Hunter's LUT. Give it a try. Further information in this video https://vimeo.com/67970827

Melars's article explains well how a LUT works and all the wheres and whys. But as always, the best school is trying by yourself.

Engardeknave, the lens is Nikkor Ai-s 35mm f/2.8 @ f4.

This morning I tried a couple of workflow for resolving this thing.
The simplest is to manage DNGs and color grading inside AE, using CA module in ACR.
If you want to use the power of Davinci Resolve you can import DNGs in AE, set just WB and remove CA, and then render a Prores 422 HQ and grade in Davinci.
The last one is to grade the DNGs directly in Davinci Resolve, using the full power of RAW color depth and latitude, and then processing just the "artifacted" clips in Photoshop, because is the only way to use ACR as a filter with a video layer.

Do you have better ideas?

I understand.
But is the first time that I see CA only affecting a couple of pixels that are moving randomly. And The girl in front of the window is in focus.
BTW is almost gone with CA removal in ACR.

Thanks

Hi engardeknave,
my footage is not affected by CA, which is simply gone with the CA removal (I work with ACR 8.2). This fringe is very different, I'm just saying I try to fight it with CA module.

Thanks Kharak,
luckily I have the VAF filter, so aliasing and moire don't appear at all.
Of course this is a compromise we have to take while working with dslr in RAW mode. I'm getting still amazing results, this is just a very little cons.
By the way I'm playing around with CA value and unsharp mask value: I notice that if you disable sharpening in ACR module and then apply two unsharp mask(one 100 quantity and 0,5 ray and the other 50 quantity and 0,7 ray) the problem is almost gone.
And for the CA modules, the values I find work best are: factor between 2-3 and tonality it really depends on the color of the footage(avoid orange at the very end because this is a common skin color).

I keep on working with it.

Hi there,
I'm dealing with this bad artifact for a while, but I haven't got any useful result.
This green/purple fringe is present in high contrast edges, in my case I have a girl standing in front of an overexposed window. The only way I find to reduce it (in ACR) is to play with the chromatic aberration value, trying to isolate those colors. The downside is that you can easily erase colors somewhere else the frame, and are still visible the pixels fringing and moving randomly.
I have some reference images here.

Frame without CA reduction(just WB adjustment)
https://www.dropbox.com/s/h6g2fzuortm019o/M30-1058_01193-2.png

Frame with CA reduction
https://www.dropbox.com/s/r3qq4b46qo0mo7r/M30-1058_01193.png

Some details(Leg and blanket) with CA reduction
https://www.dropbox.com/s/ior3y1bgbri35fi/Irin-fringe-dett.png
https://www.dropbox.com/s/8gtnlv7xbpg42ky/Irin-fringe-dett-2.png


Have somebody find a better way to eliminate it? Have somebody understand what is causing this artifacts?

cheers

Alessio

hey thanks!
i needed a monitor during a shoot for the director and  for really tight shots as well.
the white framing kept on getting wonky so i decided to tape up the monitor screen where the white frames are supposed to be.
it worked, but its good to know there's an ML option to make it work properly.
also, i've noticed the hdmi connection kept on getting disconnected during the shoot,
so i think im going to invest in one of those HDMI lock ports to insure connection never gets dropped with the slightest bump.

With my Zacuto EVF I enable the 2.35 frameline directly from the EVF. For the external 7" monitor I just taped up it.
For the HDMI lock, I use the SmallHD one, it works properly.

For the dead pixels, have you try to set the Adobe Camera Raw to 2003, instead of 2010? You find it in one of the last menu pages of CR. I noticed that swapping it will eliminate all the dead/white pixels(if you mean this issue). Don't know why... Let me know!