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Hi baldand,

It seems "E" key is not working every time to export clip but "C" key is still functioning normally.

(Mac Pro Mavericks).

BR,

Ok. Thanks for the info!

You can only shoot in 3x mode?

Hi!
Decided to deepen my testing with dual iso movie mode again and created some 2,5k movie files which show what an amazing kind of dynamic range dual iso can achieve. Alex work on refining the conversion tool has been amazing to say the least.
I get the best results when in 3x zoom mode. (less aliasing, cleaner picture). 3x zoom mode is closer to dual iso still photography. Movie and workflow description here:

Movie (Watch in 1440HD)

Workflow

5D mark 3 magic lantern (nightly build)
dual iso movie (mostly 100-1600 iso)
3x zoom 2560x1090 raw
hacked preview
24 fps override

Lenses used:
Samyang 14mm f2.8
Canon ef 85mm f1.8


So let,s start making more dual iso movies and put it up in this thread. Workflow tips and other useful information are also welcome.
2,5k 24fps will probably only be achieved with the 5d mark 3 but other aspect ratios are welcome as well of course.

Thanks to Alex and all other contributing on this forum.

update* Published at planet5D
http://blog.planet5d.com/2014/08/magic-lantern-movie-2-5k-dual-iso/

Incredible work Danne!

I have one question though: when you shoot video with dual ISO do you have a strong impact on resolution as with stills?

Thanks for your feedback!

Hi Andy,

Could you also send me this new LUT?

I'd like to experiment with it as Colormatch is important in some of my videos (nature).

Thanks!

Thanks a lot Andy!

Looking forward for your next updates (powergrades...)

You're welcome

The 1D version of the Alexa lut works well with Cinelog-C (as it should).

The 3rd graph is what you get when you combine the BMD Film 4k to Cinelog-C Input lut + Cinelog-C to Rec709 1D output lut. It's the same as Cineon log but remember you are only looking at the 1D gamma trace here and there is a big 3D color component in the input lut that is not shown in the graph (the 3D part is basically the Cinelog-C colorspace). When I get some time I will render some 3D pointcloud diagrams of the colorspace.

In this case I don't understand what the first graph represents.

What I'm seeing is that "[OUTPUT_1D]_Cinelog-C_to_REC709_1.95_Gamma.cube" is producing a much contrasty look compared to "Arri Alexa LogC to Rec709 1D.cube". Is it logical according to your graphs?

Maybe I don't interpret the graphs right!

Hi Andy thanks for your explanations.

I tried the Alexa Log-C to Rec709 LUT and I like the results (first graph). Indeed the highlights are much less clipped and the shadows are more opened than when I use the simple Cinelog-C to REC709 output LUT (second graph).

I'm wondering how to achieve the third graph. Which LUT should I use to achieve "Cinelog-C log transform"?

Sorry for all these questions but these LUTs are quite new to me!

Thanks again.

[(Set it to custom but don't change anything yet)]

@mosafar - Ok, that's easy. I will describe it using clip nodes to apply the luts 

Shoot your chart, making sure it is evenly lit and not directly reflecting the light source. Try to set the white balance as accurately as you can.

Load your shot into resolve but DO NOT alter white balance at this stage. (Set it to custom but don't change anything yet).
...

Hi again Andy,

I forgot to ask you about something: if I need to adjust white balance within the Colormatch workflow, when can I do it?

More generally, If I want to change the Camera RAW settings, what is the best way to do it?

Thanks again!

@mosafar - Ok, that's easy. I will describe it using clip nodes to apply the luts 
...

Thank you so much Andy, the result is impressive, very realistic colors + the benefits of Cinelog-C

Just one complementary question: what to change in the workflow if I want a sRGB output gamma instead of REC709?

Does your monitor let you select an output profile (Rec709, sRGB etc) or can it use luts? For video, you should really be monitoring in the colorspace you intend to output to and your monitor should be calibrated as well as possible....

I have several preset modes on my DELL U2711. I'm using the preset mode called "Custom color" to calibrate the monitor to its native gamut (perfect for photography).

I also noticed a preset mode called "sRGB". Should I switched to it, create a new ICC profile with my i1 Display Pro and use this combination as my starting point for Resolve (and switching back to the other preset mode/ICC profile for Lightroom)?

Thank you so much for taking the time to answer all our questions!

Thanks Andy for your feedback.

Indeed my dream is not copying Rec709 

Cinelog-C is a great tool as it will allow us to save a considerable amount of space keeping only ProRes 4444 instead of cDNG. But before jumping into it, I'd like to be sure I can get realistic results if I want/need to.

So let me rephrase my point this way: let's say I'm shooting nature/landscapes and I want a realistic colors, what is the best way to proceed using Cinelog-C?

By the way I have a X-Rite Colorchecker that can work with the new Colormatch function in DR 11. If this is the solution for what I'm looking for, where in the workflow should I use it?

Thanks again for your precious advices!

PS: concerning white balance, I try to adjust it the best I can but as I'm using a Wide gamut display (useful for stills) so this is somewhat approximative...

Hi Andy,

I experimented a bit with new Cinelog-C package which I found quite amazing.

There is one point thought for which I need your explanations.

If I open the DNG directly in Rec709 (Color space and gamma) I get this look:



If I use BMD Film 4K plus Cinelog-C and then output to Rec709 using the relevant INPUT, GAMUT and OUTPUT LUTs, I get this look:



Discarding the slight change in exposure, what I found "disturbing" is the color shift between the 2 versions.

Indeed, looking out by my window the "direct Rec709" version looks more realistic than the one using Cinelog-C.

Am I missing something here?

Thanks for your feedback!

PS : here is a single DNG frame if you want to check by yourself:

https://dl.dropboxusercontent.com/u/8741922/M15-1850_000000.dng

New Mac Pro here, no crash so far when converting to DNG with 1.1.7 version.

Thanks again for the great app!

I made such a comparison and i am quite amazed with the results:

Osiris LUTs in resolve vs premiere pro cs6 (via LUT buddy). Exactly the same footage with cinelog applied.

https://www.youtube.com/watch?v=l3WALw31e4I&feature=youtu.be

Workflow:
- *.mlv to raw2cdng 1.5.0 beta3
- conversion to CDNG 16bit maximized
- imported to resolve lite 11
- bmd film>cinelog 2.0 v1.1>cinelog 2.0 to  LOG-C

After that i continued in resolve, added nodes with different LUTs (using osiris "LOG" version of luts)

Than i have rendered the same footage in cinelog's LOG-C version (DNxHD 185 10bit) and imported into premiere.
Applied LUT buddy and loaded the same LUTs. Completely different looks in most cases. Why is that? It should be the same theoretically because starting point and LUTs are the same.
The biggest difference is how those LUTs handles green color (grass and trees). The only one LUT which looks almost the same in both apps is VISION 4. It is confusing. Did i missed some step in resolve concerning cinelog which caused such a difference? Which app better resembles the real LUTs appearance? Cheers

Strange indeed.

I will do the same test this week-end with FCP X.

Thanks for the file Jpb1138!

Heres my workflow in Davinci Resolve (with pics) (All of the 'look' LUts are tweaked some post conversion, and that should be expected, mostly skin tones, but overall about 5 extra minutes of work..

Again as with all LUTs, tweaking per shot afterwards is essential. But this should give you the idea that any look is possible, with the right starting point, and some nice finishing LUTs or your own custom look.

Enjoy. To see the video I made using this workflow:
https://vimeo.com/93175308

Hi Jpb1138,

Could you post the DNG file you used to show us the various examples of your workflow?

I'd like to experiment with the same basis.

Thanks a lot!

Great news! 

Thanks Andy

Hi Andy,

Great thanks for your detailed response and the coming update!

Really appreciate your work

Indeed that's the point of Cinelog.

But as far as I understand the 2012 process is adaptative for each image contrary to the 2010 version.

A quick question about Cinelog usage: is the profile optimized only for the "2012 process" or is it also compatible with "2010 process"?

I'm wondering because in some cases the 2010 can help avoid flickering.

Thanks for the feedback!

Thanks Danne for the links but I cannot find raw2dng inside the Zip 

Simple question but answer seems hard to find (at least for me): where can I get the last version of raw2dng for OS X?

I saw A1ex post a few lines above with a link to Windows version but I'm currently running OS X.

Thanks!

I cannot find information on how they work.

Is there any guide for it?

Thanks again.

Thanks for the feedback.

I'm not sure which one is the one for me.

Basically what I'd like to do is alternate between two ML configs: one for RAW (with RAW Recording ON and FPS Override ON) and one for H264 (with RAW recording and FPS Override OFF).

Can I do it with Config Presets in common?

Hi everybody,

Great perspective indeed!

Is it already available in the nightly build?

Thanks!