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Messages - jhnkng

#1
Tragic Lantern / Re: Raw video on 50d and 40d
August 18, 2013, 01:46:37 PM
Quote from: Asiertxu on August 18, 2013, 12:19:55 PM
@ jhnkng:
Really nice footage from 50D!
I´ve also recorded alot of RAW clips hand held so these are quite shaky...none the less the image quality IS still INCREDIBLE! :)
I´ll try to make a compilation from my best 50D clips an share it here.
So thanks again to 1%, Andy600 and all the ML team that made THIS possible! :)

Thanks :) I know what you mean with the hand held shots, I didn't think I'd have time to shoot anything so I didn't pack anything besides the camera and a lens!

Quote from: Monti on August 18, 2013, 01:00:19 PM
Not bad.
Now we can see advantages of canon 50d

Thanks mate :)
#2
Tragic Lantern / Re: Raw video on 50d and 40d
August 18, 2013, 07:03:45 AM
Hi Everyone,
I just wanted to post some footage that I shot a couple of weeks ago while I was out with the family. It was all very impromptu, all hand held with no rig, didn't even have a viewfinder with me (hence the crappy focus!) But I love the look of the 50d, so thanks to the devs who made this possible!



(harustudio is the name of our business, no point in wasting a branding opportunity :)

I shot it on one of the recent Tragic Lantern builds, exported to Prores422 from TIFF sequences made in Lightroom, then cut and graded in Premiere Pro CC. The looks are from the included Lumetri presets, and I really like them. Looks great for things like this.

I've also cobbled together a workflow on OS X that mimics how RAWanizer works, by installing DCRaw and FFMpeg on my computer, then running a shell script in Automator. So my workflow for this has been:

RAWMagic > Batch Create Previews Automator Workflow > Rough edit in Premiere > Basic grade and output from Lightroom > Batch Create Prores422 Automator Workflow > Replace previews, edit, grade and export in Premiere

The batch previews workflow is especially helpful, I can go from downloading a 1 minute sequence to having a viewable preview movie on my laptop in about 5 minutes, so while it's not real time playback, it means I could conceivably watch back a 32gb card's worth of clips in under an hour. It's nowhere near as elegant as RAWanizer, and it's a bit of a mission to get DCRaw and FFMpeg installed in OSX (although I've potentially made it easier now that I've found where I can download the binaries of both those programs. Originally I had to compile them myself), but it works great and I'm in the process of putting together a full step by step tutorial, which I hope will help some of you.
#3
Tragic Lantern / Re: Raw video on 50d and 40d
July 27, 2013, 12:27:00 PM
Quote from: Gekko on July 27, 2013, 05:56:42 AM
Hey jhnkng, thanks for the description!
I come from the world of photography and i'm a bloody noob regarding film, so i've a couple of questions:


  • What exactly is the advantage of converting the sequence to Prores 422?
  • Which tools take a benefit of prores 422 instead of using a raw-sequence?
  • And what do you mean exactly with "get a super flat file"...do you mean flat in terms of flatten the color & contrast or flat in terms of file size?

Thanks for an answer,
Gekko

Hi Gekko, I'm a photographer too, and all this is new for me as well! Perhaps if there are things that I'm doing that's not quite right someone more knowledgeable could chime in?

From what I understand the basic Resolve workflow is to import raw sequence, generate proxy files (basically jpg previews in stills) that go into your editing program, and once its edited it you bring the edit metadata (the sequence of files, the in and out points etc) back into Resolve which will then let you grade and export the final high res video. Because I don't use Resolve, and because I don't need to do any serious grading, I figure having a high quality Prores file that I can edit and grade without having to do a round trip will be faster and easier.

So to do this I open the DNG files in ACR, set my white balance and exposure, lower the contrast, add shadow detail, pull down the highlights, and that generally gives me a flat, low contrast look. Once I get the prores files into Premiere I find I can use one of the preset Lumetri LUTs included in the latest version of Premiere and it gives me a nice looking file. And then it's just a matter of editing and grading for the mood, and I can do all that in Premiere using a combination of Colorista and the Lumetri presets. I'm slowing looking at Speedgrade and trying to get my head around that, but to be frank my interest is in directing and writing, so right now I'm all about learning just enough to produce good work, building my chops and moving onto bigger projects where I could use a proper editor and colourist, because each of those fields are artforms unto their own.

I hope that helps a little bit mate!
#4
Tragic Lantern / Re: Raw video on 50d and 40d
July 27, 2013, 05:07:35 AM
I've been working with an ACR workflow (because I don't have a computer that runs resolve) and the way I do it is

1 - Open the whole sequence in ACR
2 - Make whatever changes I need to get a super flat file
3 - Save images as either JPGs or TIFFs
4 - Open the saved jpg/tif image sequence in Quicktime 7 Pro
5 - Export form Quicktime 7 Pro to a Prores 422 HQ movie

You can use Lightroom instead of ACR (the raw processing engine is the same), and you can use something other than Quicktime 7 Pro to convert image sequences to video. In my early testing I was using Cineform Studio Premium to convert image sequences to Cineform RAW, but I decided against it because the OSX version is nowhere near as good as the Windows version (I'm mac based).

I find that RAW > ACR > JPG > QT7 > Prores422 is faster than importing the raw sequence into After Effects and rendering a Prores422 file, but it may not be for you. I have also found that exporting a 16bit TIFF instead of an 8bit JPG takes about the same time, so if you really want to preserve every little bit of information and you don't mind the huge amount of space it'll use up that could be a good workflow. Once I convert to prores I delete the exported jpgs.

Here's a test I shot a couple of weeks ago using this method:
https://vimeo.com/69413995
#5
Tragic Lantern / Re: Raw video on 50d and 40d
July 14, 2013, 12:39:25 PM
Quote from: 1% on July 14, 2013, 04:21:52 AM
With GD off?

Hi 1%, GD was on... I vaguely remember GD being an issue in previous builds but I thought that was all fixed? I kinda rely on the crop overlay because the box showing where the recording area is doesn't work properly when using an external monitor.

I'll test again with global draw off and report back details, but I think going back to the 80point1 build works best for me.

Thanks!
#6
Tragic Lantern / Re: Raw video on 50d and 40d
July 14, 2013, 04:01:54 AM
Hi everyone,
I've been lurking on this thread since about page 35, thank you everyone for contributing so much great info! And huge thanks to the developers for the constant improvements!

I've tried searching but I've not found the info I'm looking for, but I shot with the latest Hudson build (magiclantern-2013Jul11.50D.109.go.unified.5db91070a1aa) and I'm getting this weird frame tearing:



I shot 12 different shots and I got it in each shot... any ideas as to what's happening? I've tried using raw2dng and rawmagic to process to dng, and it happens with both.

1%'s 80point1 build is the one I'm finding to be rock solid, though I understand that that is an experimental build and I'd like to get back to the standard builds if I can.

Thanks everyone, keep up the great work!