Messages

Im planning to shoot a time lapse tomorrow , and I want to achieve the deflicker timelapse. but I dont see the autoETTR in the Expo menu. ALl isee is ML Auto ISO. WHat am i missing. I can shoot raw video just fine using my camera(5d mark III) DO i need a deflicker module? where can i get it.

I want to grade 5d mark III raw footage in Davinci resolve following this method @  http://juanmelara.com.au/the-summer-blockbuster-colour-grading-tutorial/. However I am wondering if color space and gamma setting for this ML footage can be set to BMD film. The tutorial uses log controls in Resolve , therefore its necessary to have log footage. Therefore I was wondering if thats what the magic lantern hack provides out of the 5d mark III. Thanks in advance.

Just wanted to open a discussion on what LUT are people using to  as a starting point for  color grading?

Please include some screen shots of images or/and wave monitor if possible.

Hi, I am new in the magic lantern world, just got a brand new 5d m3, I was wondering, what kind of a computer do I need to process all this data? Thanks!

That is a very broad question.

Guys what is the difference between DNG and CDNG? quality wise(color depth,bitrate etc). I have read somewhere that the CDNG files are smaller , but not sure. Beacuse I read that fatpig is eventually wanting to add CDNG as the in this software.

I work in windows environment, and When I use Cine-form to convert it outputs .avi file , I want to grade in resolve which wont read avi files but will read .mov. IS there something I can change so it outputs .mov files. Also does anyone know what the normal , lossless and lossy options (for DNG and cineform) output in matter of bit depth? Thanks

I am testing my new, easy and pleasant workflow which is:

DNG >>> resolve  - BMD profile, highlights recovery, Hunter's LUT, >>> export DNxHD 444 >>> Premiere - very fast and fluid editing >>> Selecting all - replacing with AE composition >>> stabilizing, adding effects (optical flares, additional CC with looks, colorista II etc) >>> final h.264 export from Premiere.

This workflow for me has the best quality/speed ratio for now. Final image quality is awesome  thanks to very high quality 444 10bit footage which works flawlessly in premiere.

Kgv5,

           Would you say the DNxHD 444 is equivalent in quality to prores 444? The reason I ask is because , some of my friends who own Arrie Alexa almost always shoot Prores 444 rather than Arrie RAW (quality vs storage ).

Hi
i am using windows ver, found some tutorial on YT how to get rid of pink artifacts (fringing) (didnt see the green ones yet) and with this picture quality is brilliant.  I tried ACR workflow before but it was so slow, with this one i have made my two last videos and i am very satisfied with the results.

Kgv5,


I tried the DNG file from danielschweinert(thanks for that) in resolve and I also get the green artifacts on the bright edges of the table. ANd in ACR its not the case. Must be the Debayering algorithm in Resolve (not sure).

unless you've got a beast pc, i highly wouldn't recommend grading in premiere, especially if its for a shorts or longer.
playback with many effect levels will hinder realtime playback.
so i would not recommend #3.

edit:
i've never found any green fringing inside resolve. i've been using raw2cdng.exe

I agree with you Vikado, about grading in Premiere . But I have heard the noise reduction and initial color correction is more accurate in ACR for 5D raw files. SO I am hoping to somehow incorporate ACR for white balance and highlight recovery and noise reduction and then color grade in Resolve. Don't know ifs possible though.

danielschweinert,


Will it be possible for you to send a DNG file that you saw the artifacts with. I wanna test it with resolve. Another thing, is it possible to intial balance or color correct in ACR and than save as a balanced DNG and then grade is Resolve. This way the balance is ready to just be graded and has already been color corrected .

[1ST Workflow (#1) 5d raw ->DNG->Premiere(using Ginger Wrapper)->export xml to Resolve(link to DNG footage)-> Grade in Resolve->output to final Media.]

Working in Windows Environment.

1ST Workflow (#1)  5d raw ->DNG->Premiere(using Ginger Wrapper)->export xml to Resolve(link to DNG footage)-> Grade in Resolve->output to final Media.

THE 1ST WORKFLOW OFFERS ME ACCESSES TO COLOR TEMP,TINT & EXPOSURE ,IF I CHOOSE TO INTERPRET 5D RAW AS BMD FILM. This workflow also has a PLUS that Resolve offers color grading work-space that is much faster than after effects or premiere(looks,Colorista II,etc)

2nd Workflow (#2) 5D raw -> DNG->Cineform Raw->Premier->->export xml to Resolve(link to Cineform Raw footage)-> Grade in Resolve->output to final Media.

THE 2ND WORKFLOW DOES NOT OFFER META DATA ACCESS IN RESOLVE,UNLIKE LIKE THE 1ST METHOD. BUT IT DOES OFFER IN THE STAND ALONE GO-PRO UTILITY APP.  Someone did post that there is a hack or workaround for accessing cineform raw metadata in Resolve but stated it changes the Resolve default Demosiacing(not sure what that means or if it effects the footage)if anyone know please explain. However  cineform Compression saves space so there is clear PLUS to the workflow as well.


3rd Workflow(#3)5D raw -> DNG->Adobe Camera RAW->After effects->Premiere(edit&grade)-> output to final media

THE 3RD WORKFLOW OFFERS THE USE OF ACR WHICH MANY STATE OFFERS BETTER RAW VIDEO COLOR CORRECTION (HIGHLIGHT RECOVERY,COLOR CAST REMOVAL ETC.), THAN CINEFORM UTILITY AND DAVINCI RESOLVE (ANY ONE AGREE OR DISAGREE). however color grading in premiere or after effects seems tedious, (nodal structure of resolve seems easier) and colorista II and looks seem relatively slow in comparison to resolve.


Sorry ended of asking lot of questions within each workflow, but Id be happy with just your input to the best workflow and maybe why.
Thanks in advance for taking the time to reply.