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The newer .X version of Resolve added APPLY PRETONE CURVE and APPLY SOFT CLIP to the debayer panel,as mentioned here -
http://vanhurkman.com/wordpress/?p=3208

It seems the debayering process has been reworked behind the scenes, and so will use the new way for debayering. So I am wondering, should APPLY PRETONE CURVE be turned off, since that settings is for the old way of debayering, and only there for backwards compatibility?
Also, should APPLY SOFT CLIP be left on or off, if we are doing the process of transcoding ml cdngs to cinelog-c masters?

On another matter, on the tutorials for transcoding cdng to cinelog-c masters, they mention to keep this process simple with only doing color balancing and exposure. So this means not to worry about getting the full dynamic range for luminance in this initial transcoding, that we should only to deal with the exposure of the luminance and not its range?

if mlrawviewer is frozen in development, does this leave just raw2cdng left in the world of processing  mlv in windows thats still being developed?
seems like a year ago there were a few windows choices, and now its hard to find one still in dev. as future builds of ML come out in 2015, new features for mlv might be added, some might change, and then i don't know what options we will have when older converters begin showing their limits of newer changes/additions of mlv formats

the only thing i can think of which would be helpful to have higher res, is doing software stabililzation. i think i need about 3% edge area to get my preferred stabilization, so even the 1% gain in pixels would be handy, but not dire.

if the only downside of the larger 1880 is the black column-edge pixels, any mlv converter could just have an auto-detect camera type, and when its a 5d2, crop the needed empty columns out to fit a desired ratio. or perhaps theres some type of plugin for premiere that intelligently doubles-up an images edge column pixels to fill in the adjacent black columns.

thanks iaremrsir for your answering me, i appreciate it!
thanks also to david whos efforts to help aren't just seen in the magic lantern community but others as well, much on his own time and efforts, sort of like the john nack of video codecs.
thanks also to everyone else in here whos gone through remarkable efforts to code, test, and share. it seems like ML has increased canons dslrs literally tenfold and makes me wonder when canon will address magic lantern directly, acknowledging how impressive it is as an idea, reality, and community.

     it seems a given that MLV is replacing the RAW format, since its pluses like sound, metadata, etc are just as cdng was a step beyond dng. hopefully that new program to convert MLVs directly to DNGs kindly put out by tonybeccar will be able to create cineform files as well with some tweaks to the raw2gpcf code, this way even if magic lantern raw is never supported directly within the gopro program we can use another alternative with a gui, plus the possbility of syncing audio in that same cineform raw mov file.

     though i've done photo raws for over a decade, i am fairly new to video raw so i have some mental workflow hiccups. likewise, i have used cineform for 8 years but only on the compressed side. magic lantern has moved me over to video raw and grasping davinci resolve now, but i am hung up on some things i cannot seem to search an answer to that i 'get'. i swear i've tried! if anyone can answer one of these 3 graphs id appreciate it.

1 ----------
CINEFORM CODEC COMPRESSED vs CINEFORM CODEC RAW
i have a initial raw file from canon/ml, and i convert it to a cineform mov file with raw2gpcf, is the output file now -
     1- still a true raw file with the raw numbers losslessly compressed via cineform, and then put in a mov container (much like a photo raw file goes to a dng file)
     2- or is it now a true mov file but with no compression, and its just of such high bits and quality of lossless compression that it comes veeeery close to being akin to raw (sort of like turning a photo raw into a 16b tif using lzw comp)

2 ----------
DEBAYERING
     i am assuming that a RAW file stops becoming raw at the very moment in a program when those numbers are put through the debayer formula. i know when using lr/acr and photoshop, that debayer moment is when i hit OK in lr/acr and the raw file is debayered into a tif for further editing in photoshop.
if this is true, then the best adjustment ranges/quality happens within lightroom before debayering.
but for video raw files, i understand now that the moment of debayering doesnt happen AFTER resolves workflow, but instead within resolves just BEFORE resolves corrections workflow, so that resolve operates more or less like photoshop using tifs?
     if this is true, then even though i cannot do raw adjustments in resolve, i can do raw adjustments in gopro?
if true, then it would be that resolves non-raw correction algorithms are better then cineforms raw correction algorithms, so someone just uses cineform for the codec and skips on the gopro program adjustments?
     likewise, since resolve can natively read both the cineform raw and cineform nonraw codec(s), it skips cineforms own debayering and uses its own debayering filter, which is preferred anyways because davincis debayering is better quality than cineforms older debayering algorithms?
cineform has raw debayering quality options, which basically appears to us as a form of sharpening, and resolve either doesnt have debayering options or is its raw-panel 'sharpness' their version of debayering?

3 -
LOGS
     so raw video itself has no log curve, but we can assign one. whereas compressed video does not have a log curve but you can assign a simulated one just to try a squeeze some extra DR? for instance with h264 recording i was using technicolors profile in-camera and when importing into a program i would assign that profile to the video to give me a 'log-like' DR.
     when you convert a bare raw into a cineform raw, you assign a log, but that log curve can always be changed just as metadata until you debayer the video and then its baked?
is a video log simply implied numerics much like a 2d photoshop curve, or is it more that?
     i see assigned logs as plain numerics, ie 90 or 400, and then i also see sonys slog, cineons clog, resolves bmdfilm, and gopro protune. are companies logs just a certain single numeric on a 2d curve (like at cineons site it says Clog is 400), or are companies logs a series of numerics on a 2d curve and thats what makes them a bit more special than a single numeric point, much like a 1d vs 3d lut where the 3d ones have more specifics?

4 -
COLOR CHECKER
     i have an xrite colorchecker, and with photos i can use their lr plugin to get a custom colorprofile. i know the colorchecker can be used to manually set white balance, but is there a video plugin to use the whole colorchart automatically to color correct, not just white balance?


thanks for any input, as i have read up but a few things aren't completing circuits in my head. if i can nail down the raw workflow for video as i have for photos, why, my life would be complete. for the week.
gary g / wpb,fl

are cf raw files supposed to allow the raw settings within resolve? for me they've always been disabled when importing cfraw files as either mov or avi into resolve.

my workflow for now is :
record as mlv (5dmkII) - convert to raw (mlvbrowsesharp) - convert to cfraw (raw2gpcf) - import to resolve

but the resolve raw panel is disabled, so i thought perhaps i could use gopro2pro perhaps to do the raw settings i cant use in resolve (temp, debayer, sharp), but any changes in gopro2pro arent reflected in resolve either. so if theres something i am missing to allow me to use cfraw files in resolve, and then use resolves raw panel, please let me know, thanks.