Messages

Hi,

I just downloaded and tried MLVFS for the first time. The initial post claims that audio is working, but not for me.

An audio file appears in the file system, but is reported at 0 Bytes size and therefore doesn't play back.
Also I have just tried the MLV module for the first time, coming from RAW, because I need the sound, and have no experience with MLV yet. But I turned the sound module on, and hey, something is there, yet empty.

Any ideas? Thank you!

UPDATE:
Please forgive my post. I have just found that there is another setting in the sound menu that will activate the sound recording. I thought loading the module would already achieve this. Cheers...

Tiny work flow enhancement:
Would be fantastic if MLVFS could remember the mount path, or maybe its parent directory.

Shot using 5D3/ML Raw (except the slow motion parts).

Please watch, enjoy and also share if you like.

Further used software includes Neat Video for grain reduction, The Foundry Kronos for further time stretching the slow motion parts, AE for linear and FCPX for non-linear editing.

I have a really cool idea, but it doesn't work 

I'm making a film using ML/RAW. I want to process it using ACR in AE because it produces the most awesome image results I've seen so far.
I own a copy of Adobe CS5 and neither want to afford to buy an update nor pay their CC rental fees nor want to pirate a new copy.

So I'm looking for a workflow with my existing software that will let me use flicker-free ACR processing anyway.
After checking out the Flicker Free ETTR Time Lapse page (http://www.magiclantern.fm/forum/index.php?topic=5705) I thought that individual XMP files for each DNG (identical file base name with .xmp extension) with a constant exposure attribute could maybe trick ACR into keeping a constant exposure when making heavy use of the Shadow and Highlight Recovery features on images with changing exposure.

However, when I write files of following content for each DNG, importing the sequence into AE will result in ACR image manipulations being applied only to the very first image of the sequence. All subsequent images will remain in their unpolished raw appearance.
This makes me believe that I could have made mistakes in creating the XMP files or its syntax, and that the idea in general could still work.

I tried both following file contents. One is basically the file created by the ML Post-Deflicker routine. The second has been extracted from a ACR-manipulated file, stripped of all attributes except the crs:Exposure.

Does anyone spot a mistake or know which attributes need to stay in the XMP code?

First try:

Code Select Expand

<x:xmpmeta xmlns:x="adobe:ns:meta/" x:xmptk="Magic Lantern">
<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#">
  <rdf:Description rdf:about=""
    xmlns:dc="http://purl.org/dc/elements/1.1/"
    xmlns:photoshop="http://ns.adobe.com/photoshop/1.0/"
    xmlns:crs="http://ns.adobe.com/camera-raw-settings/1.0/"
   photoshop:DateCreated="2050-01-01T00:00:00:00"
   photoshop:EmbeddedXMPDigest=""
   crs:ProcessVersion="6.7"
   crs:Exposure2012="0.00">
   <dc:subject>
    <rdf:Bag>
     <rdf:li>ML Post-Deflicker</rdf:li>
    </rdf:Bag>
   </dc:subject>
  </rdf:Description>
</rdf:RDF>
</x:xmpmeta>


Second try:

Code Select Expand

<x:xmpmeta xmlns:x="adobe:ns:meta/" x:xmptk="Adobe XMP Core 5.3-c007 1.136881, 2010/06/10-18:11:35        ">
<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#">
  <rdf:Description rdf:about=""
    xmlns:xmp="http://ns.adobe.com/xap/1.0/"
    xmlns:xmpMM="http://ns.adobe.com/xap/1.0/mm/"
    xmlns:stEvt="http://ns.adobe.com/xap/1.0/sType/ResourceEvent#"
    xmlns:dc="http://purl.org/dc/elements/1.1/"
    xmlns:crs="http://ns.adobe.com/camera-raw-settings/1.0/"
   xmp:CreatorTool="Rarevision RAWMagic 1.0"
   xmp:Rating="0"
   crs:Exposure="0.00"
  </rdf:Description>
</rdf:RDF>
</x:xmpmeta>

Id like to report a bug/glitch or w.e it is with the latest Build for Raw.

...

The problem is when Im shooting raw, and want to "zoom in" to fine tune the area within the box, the camera/rom freezes. Turning the camera off does not help since the picture stays on. Only thing that works is pulling out the battery.

This happens to me only when recording. When idle the magnification works.

If you dont see a menu setting your using an old build

Build says v2.3.NEXT.2013Aug22.5D3113, it's lourenco's latest Nightly.
Maybe I'm looking in the wrong place, although I doubt it. Where do you see the setting?

One of the new improvements with tonight's build should be the addition of DIGIC focus peaking which should be faster and more efficient for the CPU to handle (i.e. allow us to use it while recording without too many problems).

Is the focus peaking in the August 21st build using the DIGIC method?
How do I know it when I see it? I couldn't find a setting, and the focus peaking doesn't feel fast. CPU usage is much higher with focus peaking enabled. However, it works, also throughout a recording.

Hi Kiki,

the size of the preview image isn't anywhere close to useful, and automatic file spanning is a necessity.
I'm afraid Son Of A Batch won't work for me. I'm looking for a one-click, full screen previewing solution. We'll have an external 1080p monitor on location attached to a MacBook Air, and with it we want to review the full image quality.
But thank you.

Hi there,

my idea might come a bit on short notice or be unrealistic, but please consider it:

In the week of August 26th–30th I'm shooting a dance film using ML RAW. That's a week from now.
I'm looking for the simplest possible way of reviewing the RAW footage on-location, most likely by people who are not DIP cracks.
Currently the easiest way is to use Ginger HDR with After Effects, and although this is already pretty straight forward, it can be simpler.

I'm chipping in $150 to the person who can make an otherwise freely available QuickLook plug in or standalone Mac RAW viewer app (with command line opening support and a separate window per file and full screen support) within a week from now, including automatic file spanning. I'm aware that the files probably won't play back in real time, but that's not necessary. The review is meant for checking overall image composition and sharpness.
$150 isn't really what the work is worth, but it's what I can offer. Furthermore I believe that much of the underlying work has already been done by the developers of GingerHDR and the RAW2DNG converters. It's possibly only a matter of getting to know the QuickLook plug in structure and delivering single images to the OS as required. Since OSX/QuickLook can already read DNG files, an on-the-fly conversion might not even be necessary.

One question about DNGs that I haven't seen discussed anywhere in the forum so far:

Processing them with ACR in AE produces inconsistent results when the white and black points (=lighting) change between frames. The brightness/darkness recovery sliders (the most important in my opinion) seem to respond to a relative black and white point per image.

Do you see a way to synchronize the black and white points (whatever that even means, I'm no expert) across images? Maybe by measuring the lightest and darkest pixel across all images of a scene and then changing certain settings in the files accordingly? Maybe even by drawing a black and a white pixel into the files as a punky hack?

I'm not asking the software authors here to implement this, only about implementability. I might like to try myself.
Or is there a much easier way I'm not aware of? I'm asking about ACR because the grading in Resolve doesn't work for me. Plus ACR has many abilities that I'm familiar with from photography like abberation reduction and stuff.

Here's the scene with Dual ISO 100/1600.
Indeed, the dark background looks fantastic. But it's about the only detail that looks nice in this picture. (Same workflow: raw2dng.exe (July 22nd) -> AE -> ACR) 

Hi Yanone, I think the point is missed here. In normal circumstances (read 10 bit and below situations) you should use the plain RAW mode for still and video. Extreme situations (read 11 bit and above) require extreme treatment. This is what Dual-ISO is all about. Faced with a high Dynamic Range situation (facing the sun, bright reflection), it is better to use this functionality to capture and recover most of the shadows and highlights that would otherwise be lost forever. It is just a special tool to be used in special situations.

Right. I do consider my sample scene an extreme lighting situation. Front in bright sunlight with reflections, background in dark shadow. The background used to be almost black in the undeveloped DNG, front used to be very bright.

You missed the fact that to take the effect of cleaner darks with hi ISO you have to keep the exposure constant between shots .. and exactly is what dual-ISO does ..

Hmm, I see. Now I'm curious to actually try the Dual ISO. If I get a noticable difference, I'll post an update.

Hi everyone,

somewhere here in this thread I read that the 5D3 produces less noise in dark areas with a higher ISO, therefore the dark areas are recovered from high ISO while light areas are recovered from low ISO.

I did some tests today and filmed the same scene (without Dual ISO) in ISO steps from 100 to 3200 and adjusted the exposure accordingly.
After running the DNGs through ACR in AE I can't see this effect. The lowest ISO still has the least noise in recovered dark areas. Starting at ISO 800 there's a noticeable shift towards magenta in the shadows.

In other words: I don't understand the Dual ISO. What did I miss?
As I see it lowest ISO is best for highlights and for shadows.

In the sample images you see the background in dark shadow under a roof, front in sun light.


ISO 100


ISO 800


ISO 3200

[forever]

Hi everyone, I'm new here. You people rock!

I have two feature requests for the converter tools.

Problem: Combining several >4GB files into one via "cat * > file.raw" takes forever because it happens in place on the same disk (and I already have a speedy SSD. Don't even want to think about what happens on an HDD).

Related: What I started to do with <4GB files is to extract DNGs directly from the CF card to the hard disk with RawMagic, effectively saving one step of processing, because it's the bus speed in my system (USB2 and cheap card reader) that is the speed bottleneck. So instead of copying the raw file first and then extracting the DNGs in a second step, I load the raw files directly from the CF card into RawMagic.
In other words: Extracting the files directly from CF takes exactly as long as only copying them.
This way I also save half of the required disk space because the raw files never even make it to the hard disk.
By the way, the same bus speed issue from above applies here, because extracting DNGs from hard disk to the same hard disk requires simultaneous reading/writing.

Request 1: Please implement that the raw converters read all individual "filename.*" files (.RAW, .R00, .R01, ...) consecutively. The minimalistic "cat * > file.raw" command makes me believe that this should be possible. And the files' relation is unambiguous. So one would only insert the first (.RAW) file into the process and the converters would look up existing .R** files in the same directory.

Request 2: Please implement an output path option for the command line tool. As far as I understand it it works in place directory-structure-wise.
This way one could use the direct CF->HDD conversion outlined above with the command line tool. I'm a big fan of command line tools as I expect to implement some sort of automatized copying/sorting with scene numbers and comments and stuff.

I will use ML/RAW for shooting a dance art film in about a month, whether you guys approve of that (stability-wise) or not 

Thank you.