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I just finished a short horror film called "M is for Monstricide". It was shot on the 5d mark iii in raw.

It's in a competition to be in the new ABCs of Death movie, so please go to the link below and click the "like" button above the video to vote for it!

http://26th.abcsofdeathpart2.com/entry/m-is-for-monstricide/

I have to say, after shooting raw with the 5d mark iii, I will never shoot a personal project using the regular h.264 compression again. The image quality is so clean and sharp, and being able to adjust the white balance and exposure in post is just awesome.

I can't thank the magic lantern community enough for turning my camera into such a powerful cinema tool.

@Thrash632: Would you mind please updating the title of this thread to read "DNG to ProRes questions (422 vs 422HQ vs 4444)". There is, as has been stated, no such thing as ProRes 442 nor ProRes 444. I only ask you because it is my understanding that only the author of the thread can rename it. If this isn't true, please just disregard my request. Thanks.

Done 

NedB, thanks for your posts. I learned a lot from them.

Since ProRes4444 contains an alpha channel that we do not need and ProRes442HQ is throwing away color resolution, is there anything in between the two?

When I export from After Effects, I see an option to choose RGB, RGB+Alpha or just Alpha. I choose RGB, but when I import the file into Premiere and view its properties in the Project window, Premiere is telling me that the Alpha channel is still there.

How do we transcode to ProRes444 (ProRes4444 without the alpha channel)? I want to be as efficient as possible in my transcode while obtaining as much original information as possible.

As a side note, I upgraded my OS on my MacBook to Mountain Lion and updated the driver to my graphics card. Now DaVinci Resolve 10 Lite works with no problem! If you have a 2010 MacBook Pro, then do these updates to run DaVinci. Since the color grading tools in Premiere do not play nicely with ProRes files or DNGs linked through After Effects derived from ML Raw, I'm going to mess around with using Resolve.

Okay, so I just figured something out:

I imported the After Effects sequence containing the original DNG files directly into Premiere. I then applied the Color Balance filiter and boosted the saturation to 15. The colors blew out exactly like they did with the ProRes file.

This means that the problem is not when transcoding from DNG to ProRes. The problem has to do with Premiere. Could it have to do with a change in color space or something? I'm going to do some more research.

Trash,

I think exporting through AE is not the best solution.

Why don't you use Resolve?

Unfortunately Resolve won't even load up on my computer. I have a Summer 2010 17in MacBook Pro. The graphics card isn't compatible. Resolve 9 would SOMETIMES boot up and work, but 10 just crashes when I try to boot it every time.

Thanks maxotics, you understand where I am coming from.

Magic Lantern raw can revolutionize the film industry. If we really want this to happen then we need to help one another and spread knowledge far and wide. I did hours of research before I made this post, so it's not encouraging when someone tells me that I'm not searching good enough. If we want to encourage people to use ML raw, we need to help them when they have questions. Otherwise how can we expect ML raw to really take off? I didn't mean to go on a rant, but anyways...

I have a few more questions re: going from DNG to ProRes

1. I've read conflicting info re: setting the After Effects project settings bpc to 8, 16 or 32. I've tested all 3 and when I export to ProRes and grade in premiere, the colors blow out the same. Which bpc project setting should I use? Am I correct that since the DNGs are 14bit, that 16bpc is more than enough? Or are these not the same units of measurement?

2. When exporting to ProRes4444, I have the option of Gamma Correction. Should I leave this to None or Automatic? Could this be why the prores colors are blowing out when I up the saturation a tiny bit?

The colors blowing on when I up the saturation on the ProRes4444 files has me stumped. If I bring the saturation higher than 5 or 10, the colors blow out. I am able to push the regular .h264 files from my 5d mark iii much further. That just shouldn't be.

The only thing I can think of is that somehow the color bit depth is getting lowered when converting from DNG to ProRes4444.

I didn't know to google chroma subsampling because I don't know what it is. That's why I'm asking here. Now that you brought it to my attention I will do some research on it.

I understand that ProRes4444 is pointless because the original raw dngs do not contain an alpha channel. I want to know how to save to ProRes444 using Adobe After Effects and Media Encoder. I don't see a setting for it. I've googled it with no luck.

I'm on a macbook pro circa-summer 2010. So these monitors are only 8bit? What's the point of having a 16bit and 32bit workspace in after effects if you can't view higher than 8bit?

When I grade the original dngs using ACR and bring up the saturation, the colors don't appear to blow out. So I'm confused as to how my monitor would be the problem.

Hello,

I have been testing shooting raw on my 5d mark iii with magic lantern. So far I gotta say that I am blown away by the image quality. I'm preparing to shoot a short film in raw and had a few questions.

My workflow is as follows:

1. convert from .raw to .dng using rawtodng
2. import dng sequence into After Effects (cs5.5) (ACR settings: auto white balance, linear curve, adjustments set to 0 for brightness, contrast, exposure, etc, this way I avoid flickering)
3. export to ProRes to edit in Premiere

My questions have to do with the third step. I've tested exporting the same dng sequence to ProRes 442HQ and 4444. When I make adjustments in Premiere, such as boosting the saturation, adjusting highlight/shadows, using the color corrector, etc, the results are exactly the same for both the 442HQ and 4444 files. A matter of fact, if I push the saturation higher than 10 using the Color Balance (HLS) filter, the colors blow out. They blow out equally in both the 442HQ and 4444 files.

Correct me if I am wrong, but it was my understanding that ProRes4444 retains more colors than ProRess442HQ (12bit vs 10bit). So why are they reacting the exact same way? Where would I notice a difference between the two?

My second question is how to transcode to ProRes444 rather than 4444. I do not know how to disable the alpha channel. When exporting from After Effects, I made sure to use the lower bit depth when exporting. But when I put the clip in Premiere, it says that there is an alpha channel still.

Any advice would be appreciated, thank you!

I have three questions when using the latest version of Magic Lantern on the 5d mark ii:

1) In the sub menu for bitrate, there is an option called Bitrate Display. When I turn it on, I don't see anything new being displayed on the screen in liveview mode. What does this do exactly?

2) In liveview mode, there is always a small box at the bottom right with white levels going up and down. It seems to indicate the amount of exposure. Is there a way to turn this off?

3) At the top of the screen is a line of information. I am unsure what some of this information means and was hoping someone could clarify it for me (I put question marks next to the ones I am unsure of):

12:44 (?)
DISP0 (?)
JPG-L (This is the size of the images being taken)
Alo Neut. (?)
T=150 (?)
BAT=5 (The percentage of battery left)
MVI-0774 (The file name of the video)