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Messages - bennyray1

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2.Yes sir,I followed all proper instructions and placed all binaries that were instructed,also installed homebrew via command line in terminal.
3.I stuck with just the starting point .txt files found in the A_lut_hold folder produced from MLP.

 Here is a screen shot of my ~/Library/Services/MLP/Contents/

Thanks for the help sir.

Hey guys,wondering if anyone else is having a hard time importing the .dng files produced from MLP in After Effects.I am using MLP on .mlv files on Mac 10.9.5,and have no problem creating the .mov files.But I was trying to import .dng files into After Effects 13.6,and for some reason after the Camera Raw adjustments it will crash After Effects.I also converted the same .mlv files with MlRawViewer to .dng,and had no problem importing,adjusting in Camera Raw,and completing the import with no crash issues.Perhaps someone can let me know if I need to pull a specific .txt file into A_lut_hold folder to prevent the crash.Any advise would be great,the pro ress files look great,but I just wanted to see if I could push the .dng files a little further then the pro ress.If a crash log or a sample of the .dng is needed,I can provide for sure.Thanks again guys, and @danne this is an amazing app and I am just trying to get used to it sir.

Raw Video Postprocessing / Re: ProRes 4444 XQ
« on: March 30, 2015, 02:46:52 PM »
@reddeercity I was able to go into my Creative Cloud Console (Mac) and in the Apps tab I scrolled down to the section where it says Find New Apps, I then changed the filter search to Previous Version and was able to find After Effects CC...not sure if you may have just over looked the filter option...hope this helps.

Share Your Videos / The Complete- 7d MLV Cinelog-C (ACR Method)
« on: February 01, 2015, 02:41:16 AM »
Just a small promotional short for the surf/skate shop I work at that I filmed with my 7d in MLV format.Converted with MLRawViewer,imported to ACR to WB and adjust exposure then added the new Cinelog V3 profile to the footage, upscaled from 1728x972 to 1920,converted Cinelog V3 to Cinelog-C via OpenColorIO,then exported using GoProCine codec (still trying to find out if this is better than ProRess 4444 open to suggestions).Edited in Premiere where I added Kodak Vision 2383 Grade 1 that was graciously provided from Andy600 in the Lut Bank.Just did a few more tweaks and that was pretty much it.Filmed on a monopod and a table slider,and just used a Canon 85 1.8 and my Canon 35 1.8 L...had to use the warp stabilizer on some of the clips and it kinda did a weird little effect on 2 of the cropped shots. I just want to thank all the developers,testers,and this community for giving me the knowledge I needed to do more unique projects like this. Big shout out to Andy600 for the amazing new Cinelog-C upgrades and Lut stoked to try and get better...

Thank you so much,I have already tested the AE workflow with the OpenColorIO and everything is playing very very nice with each other. The over all involvement you have invested and made for Cinelog is amazing.Thank you again sir and I can not wait to get even deeper into the testing the numerous open methods of transformations we can now make with Cinelog's newest updates. Thanks again @Andy600..

Share Your Videos / Re: The Anthropic Thing (BMX and Matte-Painting)
« on: January 01, 2015, 05:07:33 PM »
Holy Crap!!That was sick...great job...WOW

Raw Video Postprocessing / Re: Koji Color Log + ML Raw
« on: November 19, 2014, 03:15:52 PM »
Hey guys,I just wanted to share my results with Koji luts using VisionLog through a ACR workflow..I like Davinci but because I can not afford the full package I do not have noise reduction, so I use ACR to apply VisionLog profile to my footage,noise reduction and adjustments in AE and apply Koji_Arri_LogC_to_Rec709_2393.cube to adjustment layer with utility.I just thought I would share that way people could experiment not only with Cinelog C-Log...hopefully we will have Cinelog C-Log soon for Speedgrade,but for now I was happy with the results using VisionLog.

Hey Andy will there be a Speedgrade workflow integrated with the release of Cinelog-C? I really enjoy the simplicity of Adobe product interaction, would be great if we could add Cinelog-C using Speedgrade and add which ever LUT combination after that within AE/Premiere/Speedgrade...I think you had mentioned before that this was not possible,but just double checking anyway..thank you sir.

Holy Crap..yess that was amazing,great job...Derek Peters killed it,dang that guys surfs like 6:55 or 7:00 it gets nuts...that was awesome...

Thank you sir, I was simply trying it on the file its self, it had been a while since I used it and forgot to click on the folder and not the file...thank you very much, working like a charm sir..thank you for the update, everything is working perfect sir.

Not sure exactly what happened but only up until this latest update MLVS is not showing up in my services after right clicking on my .MLV anyone else experiencing this? @dmilligan is there away I can start over with a fresh install, instead of replacing MLVS? Running on OS X 10.9.3,I even updated OSX Fuse.

General Help Q&A / Re: New here. Slightly frustrated. Please help :)
« on: October 12, 2014, 03:59:53 PM »
I noticed that your resolution is 1280x454, I am not really sure what the 6d is capable of filming but you should film in a higher resolution to at least stretch your clips to 1280 x 720 in your editor...also you might be filming in 1280x720 60fps mode in the Canons settings which could be giving you different mlv shooting resolutions in ML menu that are more adapted for 60p/50p captures.

Share Your Videos / Re: dual iso 2,5k movie thread
« on: October 06, 2014, 01:37:01 AM »
Thank you @Danne your videos have inspired me to try my first dual iso movie,thank you for your tutorials and complete direction when it comes to this type of project sir.

Share Your Videos / Re: dual iso 2,5k movie thread
« on: October 05, 2014, 11:02:08 PM »
I apologize if this is a dumb question, but is Dual Iso Movie only a 5D MIII module or is it also available for the 7D?? Or do i just simply need to turn Dual Iso on and record .mlv file and then convert...

Share Your Videos / Re: Bahamian RAW Vacation Video-7d
« on: September 28, 2014, 07:45:23 PM »
Thanks @Canon eos m, thanks for the encouragement,and yeah your right it starts first with a story to tell and then being able to put it together cohesively through your captures...thanks again.

Share Your Videos / Bahamian RAW Vacation Video-7d
« on: September 27, 2014, 09:25:29 PM »
I recently went to Eleuthera, Bahamas and captured tons of RAW footage on my 7d thanks to Magic Lantern,and some underwater stuff from my GoPro..I am a complete beginner still when it comes to coloring and editing but because of this awesome community I feel like I have actually been able to achieve a decent workflow and put together some thing decent...I still have a long way to go but I am getting better.

Filmed 1728x972 MLV
Converted to DNG with MlRawViewer 1.2.3
Imported to After Effects,converted to Log with VisionLog, scaled up and then rendered to ProRess XQ
Imported back into After Effects for correcting and grading with various Luts
and edited in Premiere.

I look up to a lot of you guys and your awesome productions, I will probably always be a video hobbiest but have learned tons of great knowledge from this forum...Thanks again everyone for Magic Lantern(alex) and all the other developers that work on applications like MlRawViewer (badland)for us typical end users.

"More detailed information will be in the full updated user guide."
Hello Andy, has the new user guide been released yet? I have been following this post and trying to pick out some of the useful tips you have been giving to the users of the new Cinelog-C but I think I would benefit more if I had a the user guide. Just wondering,thank you sir again for all your hard work and customer service sir.

Raw Video Postprocessing / Re: ProRes 4444 XQ
« on: June 30, 2014, 06:04:30 AM »
Will anybody with Mac will know!
I will be testing the new codec very soon, as I can verify if it can work with adobe.
My workflow is Apple with Cdng & ProRes4444 in fcpx 10.1.2 , but right now I have a project(1.5TB) in fcpx
I'm exporting to Compressor via the sent to command for compression to H264, so it will be busy most of the day.
But as soon as it's done I will do some test workflows with Adobe, Apple, Autodesk, as I have all these software's at my
disposal. So hang in there I will report back a.s.a.p.  :D

Thank you sir.

Raw Video Postprocessing / Re: ProRes 4444 XQ
« on: June 29, 2014, 03:18:41 PM »
Will this Apple ProRes 4444 XQ codec be supported in other NLE's like Premiere or even After Effects. Just for a test I converted a Cineform .mov into a APX through Compressor and tried to edit in Premiere but would not work,I also tried to play the file in Quicktime but it also did not work. Is this codec only going to be able to be used through a FCPX pipeline? Maybe someone with more knowledge on the subject can shed some light on the future of this new codec.Thanks.

Share Your Videos / Re: SURFING SHORT FILMED IN HAWAII 5Diii RAW 24p
« on: June 24, 2014, 04:32:05 AM » how much longer till your working for RVCA and making all their promo cause that was amazing..great job and your boy surfs out Taylor Steele

Okay getting better results, BMD film needs to be applied for sure before import of DNG's or the wrong color space will mess up everything...
Balanced BMD

Beginning BMD



Vision 6 LUT

@bennyray1 - I reply to every inquiry but didn't receive your email  ??? Can you resend?

 Log encoding also replicates how film negative responds to light.

Thank you, this is what I was looking for, plus I think Resolve seems to be my issue. I am going to go back a do more with ACR, less noise and I seem to know the programs a lot more.Thanks again.

Andy600, I didn't download the Resolve LUT until the update. When I downloaded the updated LUT it only had the BMCC>Cinelog LUT. How can I get my hands on the LOG_C convertion LUT?

*Edit* I'm actually going to email you guys through the Cinelog website, instead.

Thank you so much.

@bennyray1 - I reply to every inquiry but didn't receive your email  ??? Can you resend?

The Log-C transform was part of the DaVinci Resolve LUT pack. As you were an early customer you should have received an email from us about a month ago with a complimentary copy of the Resolve LUTS. Let me know if you didn't get it.

Re: raw to log - The main benefits are in storage. The image information can be compressed into log encoded, visually lossless 10bit video. This can be expanded back to linear with very little degradation and is a fraction the size of the raw DNG files. Log encoding also replicates how film negative responds to light.

We include a Cinelog to Rec709 LUT which expands your Cinelog video to Rec709 colorspace. You can then grade under the LUT (i.e. the Rec709 is the final stage) for quick results. Conforming Log footage to a workable, contrasty look without a LUT is actually very easy. You only need to use contrast/pivot and offset controls (as in DaVinci Resolve's Log controls) but you can also use the Cineon convertor in AE (we included an AE preset that replicates the Rec709 LUT) or AE/PP's Contrast and brightness plugins.

We are finalizing the new release called Cinelog-C. It's taking some time to achieve but we can now map with good accuracy, any raw DNG to any colorspace including Adobe, Sony SGamut + Cine, Wide Gamut, SMPTE-C etc and/or gamma (S-Log, S-Log2, AlexaV3Log-C, Rec709, ACES, Linear). For instance, we just mapped the Sony FS700/Odyssey 4K combination for a customer who wanted to transcode his raw CinemaDNGs to AlexaV3Log-C Wide gamut RGB ProRes444 as the stock sony/slog luts were pretty useless. He now has Sony footage that looks and behaves more or less like Log-C ProRes from the Alexa. The Alexa color separation is there. Your 60D will be able to do this too within limits ;) This may seem like a lot of jargon but it is actually a very powerful set of tools and to the best of my knowledge is the only LUT set that can do a reversible transform from/to Rec709/BMD Film. Essentially, we can take footage shot on your 60D and make it look like it was shot on a Sony, BMD, Alexa etc but obviously within the limits of your cameras sensor and DR.

Thank you very much sir, and yeah I know using your product is not just a easy fix, I must work at it...and every situation is completely different, and my taste is simply my taste. I am going to continue to better my skills with your product and will simply get better at the combination of possibilities for grading on a situational bases.  I really appreciate the customer service, and you taking to time to enlighten me, I blame my lack of knowledge on the entire color space and will work to better my skills and finish a great product.I look forward to all updates sir,and again thank you for the time to answer my question.

Wondering if someone with more experience than me with using Log footage can help me wrap my head around "Why should I ever convert my RAW footage to Cinelog or any Log transformation?"...I have read the obvious answer provided by Cinelog that it is very helpful for storage, which yes seems very reasonable. I have been trying to work with this product and just still have not had that "AHHHHHHHH" moment.Maybe I am sure it is based on my novice and limited experience, but why should I convert my footage shot RAW to LOG, and then have to convert that footage to C-Log, and then color grade that footage to my liking. After all those transformations I can never seem to get my footage to anything that resembles anything other than flat and life less. I have a understanding that camera's like the Arri can capture in camera LOG footage and that has real benefit based on the real dynamic range it captures and leverage with post production. I have captured RAW footage with my 60d, color balanced in both ACR and Resolve (I have tried both workflows), applied Cinelog LOG and then C-Log to my footage and then have tried to color grade from there,but have ended up with real disappointing results. When I have used just ACR and no LOG transformation my footage is full of life and has real vibrance and it shows the capabilities of what RAW can do. Am I missing something here, why do you need to transform  footage to LOG, just to try and get it back to what it was. Yes I am in no way a colorist, but I have worked very hard to learn basic concepts and important steps to create balanced footage, I want to achieve the film look (who doesn't right) so i thought the process of LOG tranformation would help me, but I just can not seem to make it look like anything that is epic or similar to what others have achieved. I am not bashing this product at all, i just need a better understanding of a work flow that can help me achieve excellent results. I read the manual also and it never mentioned to then transform Cinelog to C-Log, but I see others have done this? Maybe a explanation of that reasoning would be helpful. I come to the community as someone who just wants to improve my video skills, and have been very impressed with every single aspect ML has to offer, from the product to the forum. I have sent a message to the developer but never received a reply, so I thought I would just pose my conundrum right here. Thanks again, and any advice would be helpful.

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