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Messages - fisawa

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Your test doesn't really tell much, my comments relate to Resolve end to end rather than exporting log as an intermediate which would be the preferred route if not doing Resolve 11 end to end.

[...]But either way its just  defaults, you have the ability to go back to raw data and adjust below the curve within the limits of the captured raw data depending on a decent control of exposure.

The colour match tool in Resolve is a helper for matching different sources under same lighting conditions not a one button substitute for eyes on the scopes and some basic adjustments primary corrections on the default raw interporation.

Well, for me, Resolve end to end it's not an option now, and to make decent proxies for editing in FCP/PP, using the Rec709 the colour rendition was terrible. My workflow was just a way to try to match the image to the ACR default processing, which is very nice by itself and good for proxies.

And yes, the color match tool is no substitute, but I'm just an assistant editor making proxies, not a CC  ;)

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Thanks for the reply, comparing raw -> BMD FILM with raw -> Rec709 in Resolve, I see no real reason so far to use BMD but it's personal choice, I understand that.

Processing the RAW footage in DaVinci using Rec709 is a very bad idea. I tested and the results were terrible. See this topic I created with examples. At the end of the topic, I show a test of a workflow using the VisionLUT and I got similar results to processing in ACR.
http://www.magiclantern.fm/forum/index.php?topic=12824.0

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I get pink banding in the highlights of resolve 11 lite.

RAW, processed with RawMagic lite...

My pink highlights dissapeared when changing the deconding resolution.

4
Is it possible to use 2 monitors (with windows)?
One to "work" with tools, and one to vizualise (play back)

I got only one Graphic card... is it possible now ?

If yes : how ?

Francis

To playback on other monitor in DaVinci you necessarily need to have a Ultrastudio Monitor solution or something alike. But you can have 2 screens with the DVR UI and Scopes, for example.

5
Just so you guys know: the minimum screen resolution for DVR is 1680x1050, and that's written in the DaVinci config guide.

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So, I've messed around DVR using the Vision LUT and the color match tool and I got some interesting results.

The interface for color match


This is the image if CDNG processed using BMD Film


BMD Film, using color match, target gamma Rec.709


BMD Film, color match, target gamma sRGB



Now, with the VisionLOG LUT:

BMD Film + VisionLOG LUT


BMD Film + VisionLOG LUT + Color Match for Rec.709 Gamma


BMD Film + VisionLOG LUT + Color match for sRGB Gamma



I find that processing the CDNG using the BMD Film and using the VisionLOG LUT I got a pretty similar result if using ACR and changing the camera calibration to VisionLog, but that's just a guess, I don't know in fact if they have the same amount of information. Does anybody know if that's possible?

8
Has anyone found a way to permanently reset the workspace to fit the screen of the 15 inch macbook pro? Every time the view between tabs it expands beyond the constrains of the screen, utterly annoying!

Have you set the Macbook display settings to more space (1920x1200)? DVR doesn't support the standard retina resolution.

9
Last week I was shooting in .MLV with mirroring, two monitors, no sound (sound drifts makes it unusable, have to use a slate), on 1920x1035 (1:85) and shooting 2'30" takes and not even one frame skipped. The cards I used were a Sandisk Extreme Pro 90MB/s (3 of them) and one Sandisk Extreme 120MB/s (and allegedly a write speed of 60MB/s, but it worked with raw anyway).

Maybe the problem is your card? Who knows.

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Some say ACR debayers better than DR. That being said, did you adjust the RAW input setting in Davinci Resolve? Setting to BMD Film is suggested for ML RAW.

Yes, but the results are far of the image that I got with ACR, it makes a LUT necessary for dailies and I'm no colorist, I'm just trying to arrange a decent and easy editing workflow for me.
And if it's known that ACR debayers are better, what is the guarantee that the BMD Film debayer is any good and it's not messing up my image like all the other debayers in DVR11?

Is there any other known easy and quick workflow with good debayer that I can sync sound (more than one .wav file) and export easily?

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Hello! First, thank you developers of Magic Lantern for developing this tool and for the support on the forums. Every camera question regarding filming I got it answered after searching for a while. You guys deserve a medal for the effort! Now, to the boring stuff.

I'm a very new user of the RAW and I have some questions about post processing.
I want to make proxy files for editing and dailies, and the only way I knew was to use DaVinci Resolve (I'm now using the 11.0.0b.037 version) because I can sync the audio and export easily (although I'm having some issues syncing more than one .wav to a video, but that's a issue not regarding ML at all). But, when I open the DNG sequence, Davinci monitor shows a very saturated and high contrast image, even making some of the roll offs seem like a 6-bit image, and even a h.264 test we did had better colors. Because I was using for proxy, I thought it wasn't a big deal, but when I opened one frame using ACR (8.5), the image was completely different.

ProRes 422 frame processed in DaVinci 11 with baked-in settings


DNG frame processed in ACR with baked-in settings


I'm not the most expert user of DaVinci, but I knew the problem was with the camera RAW processing, so I started messing all the parameters up (I can't screenshot the camera RAW settings, weird) until I got the image like the ACR, but I failed. Does anyone knows what else could be the problem? Thank you very much for any help!

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