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Messages - mlrocks

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1
Raw Video / Re: AI algorithms for debinning
« on: October 12, 2021, 05:21:36 AM »
For a wide angle landscape/seascape scene, using MLV App to process the 5.7/5.8k 1x3 raw files and export them to 2k and 5.7k high quality h264 mp4 files, viewing them in full screen mode on a 27 inch 1920x1080 monitor, to my eyes, there is a loss of details in the 2k mp4 files than in the original resolution mp4 files, but the difference is not significant enough as eye catching. The file sizes of the 2k mp4 files are about 10 time less than those of the 5.7k mp4 files. It may be a good idea to have these oversampled high quality 2k mp4 files to save hard drive space, if 4k is not a requirement. Also, the processing time in MLV App is about 40% for the 2k output compared to that of the 5.7k output.

2
Raw Video / Re: AI algorithms for debinning
« on: October 08, 2021, 07:40:06 AM »
My ideal ML camera setup is the following:
5D3, 5.8k 1x3, cinematic scenarios, thanks to Danne's ML, almost perfect enough for field work.
650D/700D, UHD 1x3, news/events, thanks to Bil's ML especially for the correct color preview and magic zoom v2.
70D, 5.5k 1x3, dual pixel af on with stm efs lenses, steadicam/gimbal, cinematic moving scenes.

I already have 5d3 and 650D, will have 70D when its ML is more mature.

3
Raw Video / Re: AI algorithms for debinning
« on: October 08, 2021, 07:04:27 AM »
Dear ML Rocks

5.760 x 3.840 Pixel (3:2) 3.960 x 2.640 Pixel (3:2) 3.840 x 2.560 Pixel (3:2)Covid-192.880 x 1.920 Pixel (3:2) 2.880 x 1.920 Pixel (3:2) 1.920 x 1.280 Pixel (3:2) 720 x 480 Pixel (3:2)

I thought the correct definition definition is 5.7k?
Do you also use super 35 lenses. Somebody told  me, those lenses have an infinity that looks too soft?

It can be 5.7k or 5.8k, it is actually 5.75k. It is no big deal. 70D is 5.4k or 5.5k, no big deal.
I use EFS lenses. No problem for infinity.
It really depends on lenses. Old mf wide angle lenses may have issues on infinity. But Zeiss C/Y 21mm is pretty darn good on infinity. Leica R 180 3.4 is a spy lens. So it really depends.
There is a heresay that Zeiss super 16 standard prime and super 35 standard prime lenses are adapted from C/Y lenses, adding cinema lens mechanism. There is no reason that super 35 cinema lenses are optically different from photo mf lenses. The only major difference is the flange distance. Using Latex adapter for each lens, can really be accurate. If adapter is not accurate, it may cause the issue at infinity. Some MF cinema lenses like B4 lenses need back focusing, which is an art practice itself. You are supposed to be at pro level or make a lot of efforts to be able to handle them.

4
Raw Video / Re: AI algorithms for debinning
« on: September 13, 2021, 03:47:18 AM »
I did a stress test on 5D3 with SD overclocking at 160 MHz. The CF and SD cards both were Sandisk 170 MB/s 128 GB. I used anamorphic 5.8k 1x3, AR 2.67, 24 fps, 10-bit color depth, 14-bit lossless. The recording time lasted almost 40 minutes. The temperature sign was 26 C all of the time during recording. After the card was full, the recording stopped, then the temperature sign was 53 C. I checked on ML menu, the internal temperature was 49 C. The internal temperature reduced to 35 C 15 minutes after turning off the camera.

The CF card used was 120 GB, the SD card used was 60 GB. I did another field shooting the same day without SD overclocking activated in the same mode, the CF card used was 120 GB, the SD card used was 30 GB. I suppose that without SD overclocking, the CF writing speed is 80 MB/s, SD 20 MB/s; with SD overclocking, the CF writing speed is 80 MB/s, SD 40 MB/s. The remaining space sign of the ML user interface is actually SD card's, not CF card's.


5
Raw Video / Re: AI algorithms for debinning
« on: September 11, 2021, 02:35:30 AM »
On 5D3, with the latest ML, external monitors will not give correct framing in higher resolution modes than 1080p. The correct frame preview has low resolution, difficult to focus. As Stef7 mentioned, this is the major caveat of 5D3 ML at the current stage. Other than this preview issue, 5D3 ML is really user friendly, with auto ETTR and 10x zoom in implemented in the 5.8k 1x3 mode.

Frequent changing between the modes freezes the camera on 5D3. To solve this issue, sometimes I take out the batteries, sometimes I copy the new ML files from computer to the CF card. So it is recommended that on 5D3 it is better to stick to one mode and don't change frequently. Update: Unloading the modules of adtg_gui and bench solves this issue. Changing modes now is smooth.

With card spanning and no sd overclocking, I use anamorphic 5.8k 1x3, AR 2.67, 24 fps, 10-bit color depth, 14-bit lossless. It is continuous for a relative complicated scene with trees and leaves at ISO 800 F5.6 or ISO 6400 F16. The reading is about 125 MB/s for the beginning several seconds showing orange color dot, then going green at about 85 MB/s. For super 35mm lenses, I use 3.5k 1x1 centered, AR 2.67, 24 fps, 10-bit color depth, 14-bit lossless. It is continuous for a relative complicated scene at ISO 800 F5.6 or ISO 6400 F16. The reading is about 135 MB/s for the beginning several seconds showing red dot, then going green or orange at about 95 MB/s. The noise at ISO 6400 in 3.5k 1x1 mode is much greater than that in 5.8k 1x3 mode, probably 2 stops difference, not useable to my eyes. ISO 6400 in 5.8k 1x3 mode is acceptable, noise is noticeable.

IQwise, 5.8k 1x3 is little bit better than 3.5k 1x1, in terms of details, not significant though. Both are already very good in full screen mode on a 1920x1080 monitor, if at ISO 100. My experiment showed that 5.8k 1x3 footage is on par with UHD 1x1's in terms of details, if not better. Overall IQ, 5.8k 1x3 is better than UHD 1x1, due to its larger sensor size.

With card spanning and sd overclocking to 160 MHz, I use anamorphic 5.8k 1x3, AR 2.4, 24 fps, 14-bit color depth, 14-bit lossless. It is continuous. I guess that I can also do continuous anamorphic 5.8k 1x3, AR 1.78, 24 fps, 10-bit color depth, 14-bit lossless. For super 35mm lenses, I use 3.5k 1x1 centered, AR 2.4, 24 fps, 10-bit color depth, 14-bit lossless. It is continuous. It seems that the improvement of sd overclocking is not as significant on 5D3 as on 650D at the current stage. I can live with AR 2.67.


6
Raw Video / Re: AI algorithms for debinning
« on: September 10, 2021, 06:24:57 PM »
Finally, on 650D, I settle down on UHD 1X3, AR 1.78, 10-bit color depth, 14-bit lossless compression, 24 fps. With Bilal's latest 8-22-2021 version, with EDMAC hack on, SD overclocking to 240Mhz,  the benchmark is about 67 MB/s. For a complex scene at ISO 1600, the mode has a reading of less than 60 MB/s. Thus, the mode is robustly continuous. This mode has real time colored correct framing preview, and it is compatible with external monitors for director/customer viewing. Using the zoom in and set botton, online real time colored magic zoom 2x is available even in recording. Hope in the future the set button can be assigned to auto ETTR, leaving only zoom in button for the magic zoom. Pushing the info button goes to the second user interface layout, here the shutter speed can be changed and viewed real time. Using top panel ISO button, ISO level can be set up. So manual ETTR is possible in this mode. Together with the articulate LCD and an optional LCDVF, this configuration makes 650D a state of art news/event camera. The image quality of UHD 1X3 is significantly better than 1920x1080 1X1, well good enough for youtube, TV, and smart phone. Even on desktop monitor in full screen mode, UHD 1X3 footage still holds up.

With a well made cheap SmallRig baseplate, and some carbon fiber rails, I can mount my Tascam DR60D audio recorder, providing two standard XLRs and one 3.5mm plug in. So professional level audio can be integrated into this setup. The rails system in this way has a small footprint and is light weight actually.

If continuous recording is not a requirement, 5.2K 1X3 and 3K 1X1 10-bit color depth, 14-bit lossless compression, 24 fps, AR 2.67, can be recorded at least 3 to 5 seconds, even in extreme cases like a complex scene at ISO 1600. 5.2K 1X3 is actually 4K raw 1x1 CR (compression ratio) 12 level IQ. 

7
This is big. Hope you can create a new preset of 5.2k on 650D. Thanks a lot, theBilalFakhouri.

8
"Lack of monitoring in more interesting and high image quality modes as crop is the reason why I rarely use 5D Mark III and EOS M with ML nowadays. It's a major pain in the a.. . In 1080p can use external monitor which is much more comfortable for setting exposure and focus and even more importantly - framing. Every cheap Chinese monitor has False color and wave form as tools. False color is by far my favorite one, perfect for exposure of people and skin tones. I never missed correct exposure with False Color. Never, not even once. But again in ML land external monitors work only in normal 1080p mode. And are not usable or even work with higher image quality modes as crop and anamorphic."

650D's 1x3 modes, UHD, 4K, 4.3K, 4.5K, have correct framing real time previews, in camera, and in external monitor/evf. I tested these modes with a Zacuto EVF. No in monitor anamorphic mode is needed.
https://www.magiclantern.fm/forum/index.php?topic=25323.0

9
Just tested the 8/22/2021 version on a relative complex scene containing trees full with leaves, kind of stressing test on details.

650D, 1X3, 1736X1954, AR 2.67, 10 bit, 14-bit lossless, 240 mhz, global draw on, mlv-snd on, EDMACs hack on, ISO 100, mlv raw reading 60 MB/s, can record more than 1 minutes, considering continuous.
The same set up with ISO 1600, mlv raw reading 65-70 MB/s, can record more than 180 frames, about 7-8 seconds, long enough for most video shooting.

Great Job, Bilal.


More tests on the same scene

650D, 1X3, 1736X1954, AR 2.67, 10 bit, 14-bit lossless, 240 mhz, global draw off, mlv-snd on, EDMACs hack on, ISO 1600, benchmark went 67 MB/s (from 45 MB/s nominal when global draw is on) with a SanDisk Pro 170 MB/s card. Recorded 360 frames, about doubled compared with that when global draw was on.

The same setup and the same scene, a Zacuto EVF is attached to the 650D using a HDMI to mini-HDMI cable. Recorded about 100 frames, about half with global draw on, about 1/4 with global draw off without an external monitor. There were a lot of pink frames. The HDMI output was real time live view, the framing seemed not correct.


10
I did more tests, the external monitor has an anamorphic mode, but the HDMI outputs only the real time live view. Unless the real time live view has the correct framing, the in monitor anamorphic mode is not good for framing.

On 5D3 with Dnne's latest ML version, neither 1x3 5.8k nor 1x1 3.5k centered mode exports correct frame preview to an external evf. I test this with a Zacuto EVF. So external monitor is still not working with higher resolution presets on 5D3. Also, changing between presets freezes the camera. Sometimes I have to remove battery. Sometimes I have to recopy ML files from the computer onto the CF card to solve the issue. 650D is much more robust in terms of changing the presets.

11
dual ISO is only for high dynamic range scenes, since it doesn't come for free and reduces resolution in the highlights and shadows.

ETTR is predominantly a highlight priority mode, with auto ETTR being an automated version. There's some nifty features of auto ETTR that will be useful for your situation though.

The first being Midtone SNR Limit, which will protect the midtones at the expense of the highlights.

Then you could try the auto ETTR option, Link to Dual ISO if the scene might have high dynamic range.

If you're happy to use the default Canon exposure meter, and skin tones are really important, set to camera to spot metering mode and meter the skin tone.

Thank you very much for the reply, Audionut.  I will try to optimize Midtone SNR Limit.
I found out that ml auto ettr is very useful on 5d3. On 650D, for 1x3 presets, I use manual ettr. Dual ISO is not working in either 5D3 or 650D.

12
Just tested the 8/22/2021 version on a relative complex scene containing trees full with leaves, kind of stressing test on details.

650D, 1X3, 1736X1954, AR 2.67, 10 bit, 14-bit lossless, 240 mhz, global draw on, mlv-snd on, EDMACs hack on, ISO 100, mlv raw reading 60 MB/s, can record more than 1 minutes, considering continuous.
The same set up with ISO 1600, mlv raw reading 65-70 MB/s, can record more than 180 frames, about 7-8 seconds, long enough for most video shooting.

Great Job, Bilal.

13
Raw Video / Re: AI algorithms for debinning
« on: September 06, 2021, 05:09:44 PM »
Mlrocks,

Did you try 1x3, AR 1,87, 1736x2928, 10 bit on the 650D?  On the EOS-M this preset provides continuous recording at 16 fps and the quality is fantastic!  I can use up to 90% sharpening in MLVApp without noticing any disturbing artefacts.   Perfect for wide angle landscape videography, even at 16 fps, as long as you don't move the camera too fast.

Hello, IDA_ML:

On 650D, 1x3 5.2k mode (1736x2216), 10 bit is from the Crop New module. It has a benchmark of 60 MB/s, not as much as UHD 1x3's 68 MB/s. It also shows much more pink frames than the Crop module presets. I now realize that the higher the 1x3 resolution, the better IQ the preset has. I don't use 1x1 any more unless there is the lens restriction.

It is good to know that you can use MLV App sharpening to 90% without noticing artefacts for 1x3 footage. I agree with you that MLV App is actually good enough for 1x3 pp. No need for further software.

14
Raw Video / Re: AI algorithms for debinning
« on: September 06, 2021, 03:31:36 AM »
I did a stress test of landscape on 650D comparing 1x3 5.2k AR 3, 1x3 4.5k AR 2.67, and 1x3 UHD AR 16:9.
5.2k footage is significantly better than UHD, a tad better than 4.5k. 5.2k 1x3 is the preset with the highest IQ on 650D.
Hope on 650D a 5.2k preset can be created with a benchmark compatible with UHD, 68 MB/s, to make 1x3 5.2k AR 2.67 continuous.

15
Raw Video / Re: AI algorithms for debinning
« on: August 30, 2021, 09:36:55 AM »
I did some ISO tests on 650D comparing 1x3 UHD and 1x1 1920x1280 presets. At ISO 200-400 in 1x1 1920x1280 preset, the noise level was comparable to that at ISO 1600 in 1x3 UHD preset. There was about 2-3 stops difference.

Unless there is a specific reason, there is no reason to use smaller sensor presets.

16
From my initial testing, without an external monitor, with an LCDVF, 5D3's 5.7k 1x3 and 3.5k 1x1 centered modes are very useful, can be practical enough for real world shooting. Thanks Danne for his great work.

17
Raw Video / Re: AI algorithms for debinning
« on: August 27, 2021, 06:38:05 PM »
Just tested 650D's crop new v2 modules preset 1736x2214 1x3, with AR 2.67, the resolution is 1736x1954. It is 10-bit, 14-bit lossless, 24 fps. This preset uses the super35/aps-c full width. The benchmark for this mode is 60 MB/s for 128 GB below Sandisk Extreme Pro 170 MB/s sd cards. For a 256 GB below Sandisk Extreme Pro 170 MB/s sd card, the nominal benchmark is 45 MB/s, actually it can be continuous as long as the data flow is below 60 MB/s.

For a relative complex scene with some trees full of green leaves at ISO 100, the data flow is about 65 MB/s. 650D can record in this mode for 150 frames, that is more than 5 seconds, enough for typical uses. For extreme cases, a scene with some trees full of green leaves at ISO 1600, the data flow is peaked at 70-75 MB/s, 650D can record 70-80 frames, about 3 seconds. As long as it is 3 to 5 seconds, human eyes accept this as a movie.

If the benchmark in this mode can be optimized to 65 MB/s like what is in the UHD 1x3 preset, or even improved to 75-80 MB/s like in 70D, this mode can be robustly continuous, good for long takes like interviews.

650D's crop new v2 modules preset 1736x2214 1x3, AR 2.67, 1736x1954, 10-bit, 14-bit lossless, 24 fps, super35/aps-c full width, is 5.2k anamorphic 1x3. Its IQ is equal to 4k raw 1x1 cameras, at least with a high compression ratio of 12. I would rate 650D as a super 35mm 4k raw camera.

I did some field shots with AR 3, 1736x2214 1x3, 1736x1954, 10-bit, 14-bit lossless, 24 fps, super35/aps-c full width. It was continuous at ISO 100 for a typical street scene. The data flow was about 55-60 MB/s. The IQ is even better than the UHD 1x3 in full screen mode. The IQ is very cinematic like. AR 3 is actually very cinematic, although not conventional.

For pp, I used MLV App latest version. Although it is not recommended, I used MLV App's sharpening at 30-50 for 1x3 footage. The sharpness is good enough. I have not noticed artifacts in full screen mode. When it is over 70 in sharpening, the artifacts are noticeable. So MLV App is fine for me to do the whole pp, before I do editing in Blender's video editor. There is no need for DaVinci Resolve, unless high end cc is required.

Thanks theBilalFakhouri for his great work.

18

During my tests I found raw_twk.mo appears to produce corrupted frames in 700D when recording RAW video in some modes/settings, probably the module is being active in LiveView somehow and affect RAW stream, will make more tests in future and try to disable raw_twk.mo in LiveView, and make it only work in Play Mode, also there is some quirks when raw_twk is activated like you can't navigate mlv_play settings (toggling between clips, pausing playback and switching between color and fast preview . . etc).


You are right. I benchmarked before and after unloading the preview and playback modules. The write speed was about 58 MB/s with the modules loaded, and about 60 MB/s without the modules. I think that playback modules are secondary requests, the highest priority is to record high quality mlv raw footage. Thanks a lot for your codes.

19
Currently mlv_play doesn't support uncompressed 10/12 bit RAW video playback in camera natively in all builds, it would give black screen, on PC the footage would be fine.
You need to activate raw_twk.mo module which add 10/12 bit playback support to mlv_play . . currently there is no raw_twk.mo in my builds, I will include it in the next release, but you can get it from here and put it and in "ML/modules" folder:
https://bitbucket.org/bilal_fakhouri/magic-lantern/downloads/raw_twk.mo

During my tests I found raw_twk.mo appears to produce corrupted frames in 700D when recording RAW video in some modes/settings, probably the module is being active in LiveView somehow and affect RAW stream, will make more tests in future and try to disable raw_twk.mo in LiveView, and make it only work in Play Mode, also there is some quirks when raw_twk is activated like you can't navigate mlv_play settings (toggling between clips, pausing playback and switching between color and fast preview . . etc).

I am having the same problem when using mlv_rec, it keeps saying "Stopping" but nothing happens, you have to pull the battery out/turn the camera off after that, there is no point to use mlv_rec (maybe only for the metadata?), currently just use mlv_lite and it has all what you might need.

Edit: it seems I don't have the latest mlv_rec.mo in my builds, will update it in the next release and this might solve the problem.

Thanks for the explanation, theBilalFakhouri. I now use mlv record v1.1 10-bit and it is good enough. I unloaded the preview and playback and mlv record v2.0 modules. As long as the footage is fine on computer, it is fine for me.

20
On 650D, I loaded the following modules,
bench
ettr
file_man
mlv_lite
mlv_play
mlv_snd
pic_view
sd_uhs
slient

I then:
1. activated the "movie crop mode" to "ON",
2. chose "Raw video" to "ON, 1800x1008", 10-bit, AR 16:9,
3. pushed the record button to record a raw video clip,
4. pushed the playback button,
5. the recorded video clip showed dark frames from the begin to the end.

In playback mode, I can see the video clips if they are recorded in 14-bit lossless compression.

I also tested mlv_rec.mo (raw video v2.0) on 650D for 1792x1008, 10-bit, AR 16:9. When I pushed the record button, it started to record. However, when I pushed the record button again to stop the recording, the stopping process did not go through. I had to turn off the camera to start another recording.





21
Raw Video / Re: AI algorithms for debinning
« on: August 16, 2021, 08:36:19 PM »
Interestingly, 70D actually is 5.4k 5472 x 3648 in full resolution mode. This is almost like 5D3's 5.7k 5760 x 3840. Both of 70D and 5D3's full resolution 1x3 modes may not be equal to a 5.5k to 6k raw 1x1 camera, but should be very well equal to a 4k raw 1x1 camera.
https://www.dpreview.com/reviews/canon-eos-70d/2
70D has a maximal writing speed of 80 MB/s. In the future, there may be another 10 MB/s improvement if sd card overclocking is configured in an optimized way. Even with the 80 MB/s threshold, 70D can do continuous 5.4k 1x3 anamorphic AR 2.67 24 fps 10-bit color depth 14-bit lossless compression with a data rate of about 75 MB/s for a relative complex scene. The image quality may be comparable to RED One's 4k raw R3D at the highest compression ratio of 3.
70D's dual pixel live view AF is very good in video mode, when coupled with STM lenses.
https://www.dpreview.com/reviews/canon-eos-70d/13
https://www.dpreview.com/reviews/canon-eos-70d/12

22
I tried your first tips. Shutter speed with some modules does not work, as I noticed when they were turned off. (looks like most of it)

Installed your new firmware. Without modules included, everything works, and how it turned them on is the same problem.

But there is a way around it: go into photo mode. Shutter speed is displayed correctly.

Another way is to push the info button, go to the second layout, then you can see the actual shutter speed.

23
Out of curiosity, I did a test on 650D using the following mode:

1. movie crop, constant bit rate 2.0, on camera h264 codec, clear picture style, 1920x1080, 24 fps
2. movie crop, mlv raw, 1x1, 1800x1000, 14 bit, 14-bit lossless compression, 24 fps
3. crop, mlv raw, 1x1, 1920x1080, 14 bit, 14-bit lossless compression, 24 fps

I did not use dual ISO on 650D in these mode, only used auto ETTR.

Foliage test is actually a very good challenge for cameras and lenses. The stock h264 footage had much narrower dynamic range. The tree leaf edges were muddy. There was no comparison. The file sizes were almost the same as the mlv raw processed files (mlv app export h264 mp4 hq). Byebye, Canon stock codec.
The 1800x1000 mode had a little bit less resolution than the 1920x1080 1x1 mode. The 1800x1000 mode also has lower resolution magic zoom. However, in the 1800x1000 mode, the set button can be assigned to auto ETTR, which is very nice in a fast changing environment. The IQ of the 1800x1000 is good enough for sharing original footage on smart phones, for uploading onto youtube, vimeo, facebook, etc, and for broadcasting on TV. It is acceptable but not perfect on computer monitor in full screen mode.

I will test dual ISO on 5D3 in different modes in the near future.

24
Spot meter show %. But it basically correspond to IRE on the waveform.
40% is 18% gray. Actually measured 42-44% with Canon 5D Mark III and ML spot meter, but fairly close

For linear video profile as Canon RAW, typical values for human skin tones are:

Lightest skin: 60 - 65 IRE or 62-67% on the spot meter
Darkest skin:  45 - 50 IRE or 47-52% on the spot meter

It is easy to check those values if you load a part of the movie or video in resolve and check values on waveform scope. You'll see they fall most of the time within those values.

You have to put the spot meter on the brightest part of the face as it is rarely evenly lit

The nice thing with False color is that with a single glance I can also check if there are part of the image which are overexposed or underexposed and also if skin tones are within the range.

Why not use False Color in ML ? Many reasons:
1. False Color requires processing power so everything else slows down.
2. Many clicks to switch it on and off. On a monitor it is just one click of a button or on the touch screen. Maybe it can be assigned to a button on ML as well. Never tried. While spot meter is on all the time and you can immediately see the value. 
3. Low resolution LCD not practical for the purpose
4. Small LCD on the back of the camera - leads to limited monitoring and camera movements. Uncomfortable to monitor, frame and shoot that way unless on a tripod or monopod with a LCD viewfinder on LCD

Thank you very much for the insightful explanation, Stef7. Regards,

25
IMHO Spot meter would be the best. You can set exposure very precisely. In other cameras would use False color. But on the tiny low res LCD of EOS M or Canon 5D Mark III with ML spot meter function would be my friend when trying to set correct exposure on human faces.

In my experience ML RAW is like Canon RAW photos. It has more latitude toward underexposure than overexposure. Which means you can miss and recover more stops when underexposed than when overexposed. That's why I never use ETTR method with ML RAW. ETTR is mainly for log profiles on modern cameras where you need to overexpose at least 1 stop even 2 in order to get rid of the noise.

Lack of monitoring in more interesting and high image quality modes as crop is the reason why I rarely use 5D Mark III and EOS M with ML nowadays. It's a major pain in the a.. . In 1080p can use external monitor which is much more comfortable for setting exposure and focus and even more importantly - framing. Every cheap Chinese monitor has False color and wave form as tools. False color is by far my favorite one, perfect for exposure of people and skin tones. I never missed correct exposure with False Color. Never, not even once. But again in ML land external monitors work only in normal 1080p mode. And are not usable or even work with higher image quality modes as crop and anamorphic.

Thanks a lot for your great explanation and tips, Stef7.
When using ML spot meter for human skin tones, what choice do you recommend, like raw ev, percent, 0-255, etc?
ML also has false color like Marshall and SmallHD etc. ML also has waveform and vectoscope. You prefer external monitor's similar functions, is it because ML ones are too small or not accurate enough?
In terms of ETTR, I agree with you that 5D3 is actually good for underexposure but not so great for highlight. From my experience, if I do manual ETTR in a street scene with complicated lighting and fast pacing, I tend to overexpose some area. When I use ML's auto ETTR module in such a situation, it works much more accurately than my manual mode, i.e., much less possible to overexpose. As you mentioned, ETTR helps a lot with the shadow noise. I can see noticeable improvement in the shadow area.
From your experience, it seems that ETTR is not that important when taking human subject related shots, like portrait, event, etc? From my experience, I rarely think about using ETTR in event shooting, because there is no time, otherwise, I may lose the decisive moment. If using an ML camera, I may put the auto ETTR always on, then maybe it is practical to use ETTR for event shooting. Otherwise, manual ETTR in event shooting is very difficult to implement.


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