Messages

1

Camera-specific Development / Re: Canon 5D Mark IV

« on: February 12, 2019, 08:33:56 AM »

How big of a chance is there to brick the camera if experimenting with the firmware and code?

2

Raw Video / Re: Uncompressed 14-bit RAW video testing - 5D Mark III

« on: December 21, 2018, 05:59:34 AM »

Has anyone found the ultimate workflow for stretching compressed footage?

Been filming with a 5diii in 50fps raw with a aspect ratio of 2:35 to 1 in full hd so 1920 x 817 and editing with premiere pro cc 2018
Magic lantern compresses the footage which results in 1920 x 482.

The mlv app does a fantastic job handling mlv files, the option to stretch your image by 1,67 is also included but when exporting in cdng this information is only included as metadata in your cdng sequence and premiere pro doesn't translate this metadata into your imported clip. So when you're previewing a file in your source monitor you see a rather deformed and compressed image which makes it really hard to accurately judge your clip.
You can of course manually stretch your clip once it's in the timeline but this doesn't help the source monitor problem and is quite a lot of unnecessary work.

I'm having quite some difficulties finding a clear answer but I can not believe no one has figured out the optimal workflow for this?

Thanks

You should always edit in your desired aspect ratio.... in this case 1:2.39.

You can set your ratio in the sequence prefences before you start your edit. As such.... you shouldnt be using a 16:9 timeline and then try to force it to 21:9 afterwards. Make it 21:9 from the get go.

(This is assuming that the footage from the 5d3 comes out without bars ofc, because honestly I cant remember if it does )

3

Camera-specific Development / Re: Canon 5D Mark IV

« on: November 13, 2017, 07:36:55 PM »

I really don't see log as something incredible and amazing in the 5D4... can't really see why it's called log anyways.

When I compare my FS7 logged footage to my 5D4 logged footage, they are vastly different. The log footage on the 5D4 almost goes from black to highlight in a waveform.

Thankfully I got the log upgrade for free, so no harm done. But I would LOVE to see a ML Raw edition of the 5D4 camera. That would be amazing, and doesn't even have to be 4k.

4

Raw Video Postprocessing / Re: MlRawViewer 1.3.3 (CDNG/MLV/RAW Viewer & Encoder, Linux/Mac/Win)

« on: March 22, 2015, 07:33:06 AM »

It might be buried in the 59 pages.... but can anyone tell me, why frames exported with MiRawviewer to DNG is 1.3mb pr. frame and rawmagic is 4mb pr. frame?

5

Main Builds / Re: Nightly Builds - try the very latest stuff here

« on: October 04, 2014, 08:26:12 PM »

Is there a way to get hold of august 2013 5D3 builds?

6

Raw Video / Re: 5D3: 1.1.3 vs 1.2.3 Slow Mo Record Times

« on: October 04, 2014, 07:30:36 PM »

I concur... the 1.23 builds are pretty much useless in terms of 50/60 fps....

Last year I made a music video that was shot entirely in 50fps 1920 with 1.85 aspect, and there was zero issues with continous recording.

I tried just today with the 1.23 and a march 17 2014 build and I couldn't get past 6 seconds.

So... I guess I have to go back to the old firmware.

7

Raw Video / Re: How to Record: -- 60/50 fps RAW Video for 5D3 & others --

« on: October 04, 2014, 04:03:20 PM »

Last year I shot a music video over three weekends.
It was shot entirely on 5D raw in 50fps 1920 1.85 aspect without any issues.

Today I tried mounting a march build I had lying around and I couldnt get the same cards past 82,3mb even though last year I had 92,5mb on them.
Also... I clearly remember needing 87mb or so for 50fps and now I need 107 according to ML.

What changed? Im using the exact same gear as last year....

8

Raw Video Postprocessing / Did requirements for 50fps change? (5D3)

« on: October 04, 2014, 03:09:23 PM »

Last year I shot a music video over three weekends.
It was shot entirely on 5D raw in 60 fps without any issues.

Today I tried mounting a march build I had lying around and I couldnt get the same cards past 82,3mb even though last year I had 92,5mb on them.
Also... I clearly remember needing 87mb or so for 50fps and now I need 107 according to ML.

What changed? Im using the exact same gear as last year....

9

Duplicate Questions / Re: 5D Mk3 RAW 60FPS Skipping frames even with a fast CF card?!

« on: October 04, 2014, 02:13:10 PM »

Last year around this time I shot a music video on 5D3 with ML raw... It was shot in 60fps with an aspect ratio of 1.85 and worked like a charm.

Back then the data requirement was 87mb or so and having around 92mb with my Komputerbay cards there were no issues.

But now I tried again with a march 17 and I couldnt get past 82.3
Also the info in ml says that now 107mb is needed.....? Well it wasnt last year.

What has happend?

10

Share Your Videos / Zeiss Otus doing 5D3 raw...

« on: February 12, 2014, 09:44:43 PM »

I went to Norway for some days… had the luck of picking up Otus just before boarding the plane. This resulted in a little video I shot while there…. no science, just picking up shots.

https://vimeo.com/groups/229279/videos/86311252

I do love the raw look of Canon, but I have to admit that I dislike the post workflow. It's simply just too heavy for reasonable work. So I think I'll be moving on as soon as I can afford a camera that produces a nice dynamic range and detail for a reasonable amount of money. The GH4 is looking pretty good at the moment…

11

Raw Video Postprocessing / Re: MLV Viewer to view .mlv (and .raw) files on windows (C#)

« on: December 31, 2013, 11:51:53 AM »

Just downloaded the OSx app… it doesn't even start up when clicked.
I also tried dumping the mlv file on the program icon but nothing.

Any tips?

12

Forum and Website / MLF really needs to shape up

« on: December 29, 2013, 05:39:36 PM »

Damn… MLF really needs to shape up. The forums is honestly a complete mess with no structure, and the lack of guides or guidelines that are easily accessible is staggering.

I've been using ML for the last year or so, and with the new publish of MLV I'm lost again. Took forever to find out where to download the files and now having inserted the card with the new ML files I feel lost again.

I like all others appreciate the huge coding work you guys have done, but why just dump it into this puddle of half finish and unmaintained threads and sub forums?

13

Raw Video / External monitoring on the 5D mk III - how?

« on: October 03, 2013, 03:15:31 PM »

So it's been a couple of months since I last tried.

I have the Cineroid EVF 4rvw, and it's a nice monitor, but when I pass the signal from the 5D mk III it gets messed up somehow, and doesn't take up the entire monitor.

Have any of you figured out how to get a proper image via hdmi out?

Again, this is the 5D mk III...

Thanks

14

Raw Video / Re: Syncing Audio with RAW

« on: September 24, 2013, 08:38:47 AM »

Advice from am old, cynical, and  successful pro - use a traditional film slate, for reasons you guys have not even mentioned.  Clients and talent *LOVE* slates. Its  "hollywood," makes you look "real." Anything else and they think your amateur hour. Also, in the real world, you get better takes. Slating is a very structured, slow,  start process so the talent knows whats going on and is ready - not nervous about surprises. The time it takes to get the slate out of picture insures the talent will not start too early (especially important for nervous amateur talent.)  If you have nervous talent, let them play with the slate during setup - it distracts them and calms them. Slates make a great "gift" to producers or important talent - giving an up and coming agency producer a $40 slate can help get you the next big bid.

+1 to this.... at least in the corporate world you'll encounter individuals who might not be all that into the latest digital tech and if you are standing there with a phone slate, they might not even think about it.
Besides, a good old fashioned slate, with information marked across it, is worth its weight in gold when you start sorting out the clips after the shoot or several days of shooting.
Don't spend more time in post administering clips than you have to. And the slate also have a nice clear click when you use it correctly.
I've had no issues syncing up audio with the 500gb of footage I brought home from the latest corporate shoot.

15

Raw Video / 5D3 - 1.85 ratio (1728 x 582) is squeezed?

« on: August 13, 2013, 11:22:29 AM »

I was under the impression that when you shot at the other ratios, you merely used that part of the sensor and not creating a squeezed version of the footage.

Anyways, we were shooting 50fps at 1.85 and when I pulled in the footage in Premiere, it's squeezed in top/bottom.

The reason we chose that format was because we want the 50fps from the get go. Second we wanted to get as close to full HD as possible since we can just upscale afterwards without any significant drop in quality.

Is there a setting we forgot to put on or something. Like a "disable anamorphic" or something similar?

16

Raw Video / Re: Uncompressed 14-bit RAW video testing - 5D Mark III

« on: August 05, 2013, 03:27:52 PM »

Don't really see the point of out of sync drifting audio. Just record audio on a separate recorder like all the big boys do and you'll be a lot happier when you get to post.

I'm sure the guys are looking into ways to fix it, but in the meantime it's really useless to have out of sync audio.

The point is simply the beep / clap... if you have accompanying sound off the camera, it would be easier to align the two signals.
What happens after the clap on the camera audio doesn't matter

Assuming that when you import the clip and the audio that they are in sync from the get go of course.

17

Raw Video / Re: How to record: -- RAW VIDEO ON 5D3 --

« on: August 02, 2013, 08:43:46 AM »

Try reading my reply #26..... it all can depend on your Canon menu setup or that one card you are using.

You need to prevent the camera from using both cards for writing... if both cards are enabled for writing the slowest card SLOT will become the lowest denominator, ie. the SD slot will dictate the writing speed which is slower than the CF slot.

Also, some 1000x speed cards aren't really as fast as they say they are. Even the Komp bay 64gb 1000x cards will max out around 100mb/s if you got a really good batch. My best Komp Bay cards are steady around 95mb/s with Global Draw off.

So maybe you got unlucky with the card... and otherwise, tripple check the Canon menu settings, which by the way you might have to set again and again when you take out cards / switch battery.

18

Raw Video / Re: How do I use RAW video files in Premiere?

« on: August 01, 2013, 08:02:15 AM »

you dont import the actual .raw file into premiere, you'll need the adobe dng importer for CS5.5, but it works for cs6 and CC.
even when you do import your DNG sequence (folder) intor premiere, the realtime playback is a joke.
ironically, it plays back perfectly in Resolve.

In other words, you dont use premiere to import DNG folders or raw files, you'll want to use proxies files of those same DNg folders.
there are several routes to accomplish this.

Let's kill that incorrect information right away......

YES, you can import raw files into Premiere if you want to and have the hardware to handle the rendering.

The way to do it is downloading the Ginger HDR plugin for both Premiere and After Effects and then simply import the .raw files into Premiere or AE just like  you would any other files.

This is the ONLY way I've done it so far... I really couldn't be arsed to first extract DNGs then do this and do that and then return to this to edit those.

If a straight line works, I don't see any issue sticking to it.

Also, there was another tip from another user; copy the Ginger plugin to the Media Encoder file folders, the you can use Media Encoder to render out ProRes files etc. (Only issue here is that you can handle the white point.... but hey, if you are a photographer you set your color temp before you start shooting... right.........)

19

Raw Video / Re: Uncompressed 14-bit RAW video testing - 5D Mark III

« on: July 19, 2013, 08:52:12 AM »

Last night I tried connecting my Cineroid EVF 4RVW but I'm getting a funny aspect ratio on the monitor and it for some reason says "1080 60i".

I haven't set that anywhere, and I can't find anywhere where I'm supposed to change anything either on the camera or the monitor.

Anyone know how to handle the monitor setup?

EDIT:

Ok, it still says 1080 60i, but I found out that under MLs advanced settings you can choose what kind of aspect ratio the camera sends to the external unit. Mine was set to 3:2... just set that back to 16:9 and everything looks fine, apart from not filling out the monitor completely (uses about 80% of the screen size).

Unfortunately, the EVF's own peaking doesn't work. But since the 5D3 sends out all overlays, the peaking from ML comes along with it.

20

Raw Video / Re: Uncompressed 14-bit RAW video testing - 5D Mark III

« on: July 18, 2013, 01:18:41 PM »

I thought the 5D3 build was buggy with HDMi out running?

Don't have an answer to your question, but can I ask you one... are you getting continous recording even with monitor attached?

21

Modules Development / Re: Dual ISO - massive dynamic range improvement for 5D3 and 7D

« on: July 16, 2013, 10:42:32 PM »

I'm curious.... How much does the 5D mk III sensor differ from the sensor of fx the Alexa?

Could one force the data handling and interpretation from the Alexa down on the 5D chip?

22

Raw Video / Re: Uncompressed 14-bit RAW video testing - 5D Mark III

« on: July 16, 2013, 11:15:46 AM »

Here's a recent interview I shot last week with 5DM3 July 11th build.  I would have liked to have spent more time lighting the subject and doing a more selective grade, but the turnaround time was very short.  The workflow wasn't without hiccups here and there, but for the most part it's a straightforward process.  I batch converted the RAW files to dng sequences and DNxHD proxies with Rawanizer ver 0.5.5. The DNxHD proxies were used to edit the footage in Adobe Premiere CC. Once edited, the sequence was brought into Adobe After Effects CC via Dynamic Link and the proxies were replaced with the RAW dng sequences. I performed a first light color correction in ACR, and additional corrections are performed in AE.  I overlayed some 35mm Gorilla Grain, but the vimeo h264 processing kinda kills it. 

Pinger.... what was your sound workflow? Did you just fidlde in the sync or how did you do it?

EDIT: Doh... I should just read the description Slate it is then...

23

Raw Video / Re: RAW POST WORKFLOW!

« on: July 14, 2013, 03:16:10 PM »

I simply downloaded the Ginger HDR plugin for Premiere Pro and After Effects.... then put the plugin in the folder it's supposed to be in.

After that, you can import the RAW files... not DNGs.... not prores....the RAW files, straight into a Premiere Pro or After Effects timeline.
AND... you don't even have to apply or use the Ginger HDR plugin, just use the color correction options you have in premiere and after effects.

And then export the finished file to what ever format you want.

Don't know why people are still fighitng these convert to this, export to that, make proxies.... and so on.

Just edit the native files.........   I mean, when editing photographs, which I do daily, I would never edit anything but raw. So why do it differently here?

Check out www.vimeo.com/groups/raw

The two movies Mother and The Machines Are Sleeping were made by editing the native raw files... I never saw a single DNG or anything else.

24

Raw Video / Re: RAW POST WORKFLOW!

« on: July 14, 2013, 01:31:59 PM »

Why is no one just editing the native raw files? Just curious..........

You don't have to use the Ginger HDR plugin, you just need it to be in the system folder.

After that, just use the filters and corrections that Premiere and After Effects have. Easy as pie and no need for conversion / transcoding.

25

Raw Video / Re: How to record: -- RAW VIDEO ON 5D3 --

« on: July 04, 2013, 10:37:29 PM »

For some time I thought I had gotten a couple of bad Komputebay cards, but I sat around fiddling with the settings.

Now... I'm only writing this, because even though I thought I had understood what settings were best to use, I apparently didn't and I kinda only found out how it worked by chance.

So, start off by going to your Canon settings.

Go to the yellow wrench symbol, first section.

There you choose "Record func+card/folder sel."

Then choose "Record func."

Choose "Standard"

Then select "Record/play"

Choose "1"

Now go back to the red camera symbol first section

Select "Image quality"

For "Raw" choose SRAW (you can also choose the line symbol to the left... but I don't see a bandwidth increase.)

For "JPEG" choose the line symbol furthest to the left.



The reason I wasn't getting enough bandwidth out of my cards was because I had not chosen to record "standard"... I had both cards set to S3.

With this selection I'm getting a steady 94mb/s with both my cards, enabling me to shoot 1920:1080 contiously without dropping frames. I even have a steady 7% idling at the same time. (No global draw on...)

With global draw on in liveview, including small waveform, focus peak and crop marks, I'm getting continous 1920:1080 after 14 secs with no dropped frames. 86mb/s


Before you behead me for stupidity... please understand that I had misunderstood the proper settings for doing raw, and I have a suspicion that other people have as well since I'm seeing reports of people not getitng proper bandwidth from their cards.


So if you can't seem to get that full HD working, check your settings against the above and try again.

This test was carried out with the june 28th build, cards used were two 64gb Komputerbay 1000x CF cards formatted with Disk Utility to exFat and a 16gb Sandisk Class 10 SD card in the sd bay. (the latter containing ML)


FOR POST WORKFLOW on MAC.....

The latest RawMagic works like a charm in my opinion. Dropped my raw files into it and got out the DNGs.

If you download DaVinci Resolve Lite 9 from Black Magic website, it will see and edit those DNGs without a problem, allowing you to do pregrade before exporting the files to what ever format you wish (that is not so heavy in file size.)

From what I understand this is not too far from the workflow of the BMC?

Anyways... if you can deal with some transcoding time, then the workflow isn't too hard anymore in my opinion.
A test clip I made (19 seconds short), took around twice that to spit out to ProResHQ after doing some simple curves.


Also, you can download the Ginger HDR plugin for both Premiere and AE and that will allow you to work NATIVELY on the Canon raw files. Be warned though... they are tough to crunch through.


So a big huge thanks... again... to the ML team. The 5D really is fun now