Show posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Show posts Menu

Topics - mannfilm

Raw Video / 5D3 how to review MLV in camera
September 03, 2017, 07:04:44 PM
5D3, how do I review a mlv clip in camera after recording it?
5dm3. 3k and 4k recording. The initial announcement (5 months old) said that "3840x1536 @ 24p (1:1 crop) (corrupted frames at 1600)" or 66 seconds in. 3072x1920 - 24p and 4096x1440 - 25p did not have corrupted frame warnings, which implies there is no time limit. What are the current +1080p resolutions and any other issues or limitations we should be aware of? I've read the nightly build forums , and there seems to be ongoing issues, does anyone know that the latest "Stable" 3k or 4k nightly build is?
Been gone for awhile. Lets talk getting MLV into evaluate-able  footage for edit and later grading.  So Adobe ACR was flickering and Resolve was a bright and shiny dream. As I understand it, Adobe ACR is still flickering so people have to use visionlog or cinelog,  but there's some hesitation to opening up MLV - DNG's in resolve and then exporting to Avid, FCX or Preimere for edit?
Hey All, I'm a very experienced Magic Lantern and MLV user, but have been gone for over 1 year and was wondering if anything has changed?  I have a commercial project with my Canon 5D Mark III and need to catch up quick.  Whats the best MLV-to-DNG convertor now? Latest and best stable build? Anything new or weird that I should know - give me a hint as to what I should look up?
A short Film will be streamed or downloaded to computers and media streamers for playback on both computer monitors and HDTV's.

I understand that HDTV playback requires Rec 709 colorspace. But the Rec 709 looks flat and unsaturated on a computer monitor.

Downlaoding iTunes, the same  movie or music video  looks great on both monitors and HDTV's so duel playback is possible. This there is some type of trick to making Rec 709 look good on a computer monitor? Or am I missing something? 

Theoretically, how long can you record RAW, and at what resolution, on a 700D / t5i?

I know there are some other threads, but they are swamped in questions about types of cards, settings, failures, etc

It would be very useful if someone could simply say what is possible.

Thanks in advance.
Client wants standard 16:9 with an option to crop to cinescope frame. Anyway to have just a line showing the cinescope frame, while still showing the 16:9 ful frame? Thanks in advance.
Lens correction in ACR or resolve changes every pixel. (Its basically the transform or Distort tool.) Still photographers have been avoiding it for years. They claim it kills the perceived resolution and the quality of the image.  Can also introduce video artifacts, including moire. As a ACR function, it is not designed for video, but for stand alone photographs, so the "correction" can easily vary from frame to frame.
Could someone explain in real simple  steps how to get the new prores 444 xq available into Adobe after effects? Various people have been talking something about downloading the final cut x trial. So I did. And 444 XQ shows up in FCX and compressor, but is not an export option from within adobe after effects. The file is hidden somewhere? Thanks in advance
Does resolve 11 lite have the flickering problem that ACR does when moving the sliders?


I've heard that RAW only records in the native ISO levels, 160, 320, 640, 1250, or 2500

But canon h.264 will record in the inbetween non-native ISO levels by applying gain. So if you have an 1000 ISO, you are recroding at a native 640 ISO with gain added. And this added gain is shown in the liveview, making the LCD look brighter then the native ISO.

This means in RAW recording,  unless you are using a native ISO,  the liveview is actually .5 to 1 stops hotter then the RAW footage, or, your recording is going to be darker then the liveview? 

Is it correct that all video to be played on a HDTV should be encoded into the Rec 709 or Rec 709 (16-235) color space, otherwise the blacks and whites get clipped, and the colors weird?  And for general public we should use Rec 709 (16-235) because of all the 8 bit consumer HDTV's out there???

So when do we start working in Rec 709 or Rec 709 (16-235)?

I've seen some advocate going RAW to Prores 444XQ and later down-convert to Rec 709???  Yet others (broadcast?) seem to start in REC 709 and stay there. Which is better?

In grading, is there trick or something for encoding into Rec 709 or Rec 709 (16-235)?

Thanks in advance

Anyone notice  any difference between using a good zoom vs. a prime at 1080p, a very small frame size? I've done some tests between a new canon zoom and an older ziess prime, and I cannot see any difference (other then slight color variations.) I know the still photography pro's all use primes, but they are using exponentially larger frame sizes then 1080p.
Raw footage looks great on monitor. But when I encode it (both compressor and adobe media encoder) and play it on a streamer (WD Live) to a HDTV LED, it looks terrible. Garish, over-saturated. Weird thing is that I have downloaded commerical film, and my edit looks the same as they do on the monitor, yet they play back right, while mine is horrible?
Canon 5dm3. I think I'm doing something wrong? With both raw and MLraw, the film look pre-sets in Magic bullet looks, mojo, film convert, etc.,  look horrible, like some type of surrealistic joke film. I turn them down 75% and they look okay. But, is this normal? Or am I doing something way wrong here?
5Dm3, canon 1.2.3, hooked up to HDMI external. Zebras not displayed on either the camera's liveview or the external monitor. Have tried both canon menu mirroring or no mirroring. Have tried both Zebras: luma and Raw. Getting weird white and red noise that looks sorta like zebras, but are just random. Zebras appear when HDMI cable is removed from camera.  Am I missing something here? What is the work=around? Thanks in advance.
I'm sorry, spent hours running in circles. So what is the easy simple way to turn MLraw with audio into a file DaVinci Resolve 11 lite can handle? Thank you in advnace
The "how to record" sticky is made back in may '13 and is totally obsolete. 

No way to tell if this real old advice is now bad advice. What about MLV, MLV with sound, or the new Canon 1.2.3 settings? The latest nightly builds have many of new user selectable settings, and we no clue what to do with them. CF Buffers? Heh?

Could someone please just make a simple sticky "how to record RAW or MLV"  for dumb people like me, and just tell me the basic settings I should use to not skip frames?

Thanks in advance, thanks for all this incredible work you guys have been doing.

5DM3. Canon 1.2.3.

Shooting RAW ML with sound. Not sure what settings to use for;  "Buffer fill Method", and "CF-only buffers?"

Thanks in advance
It would be very helpful if you had a sticky listing the most recent stable, problem free, nightly build. You can't trust the most recent build for serious work, and it is difficult to gather info on specific older nightly builds because issues and problems are reported in many different areas.
Please excuse me if this info is somewhere, can only seem to find pieces here and there. Planning on a feature film, shooting ML RAW 1080p, would like to upscale 1080P master to 4K anamorphic when we make that big sale (yeah, sure we will...) Anyways, any post workflow suggestions. Thanks in advance.
Core RAW problem for indie's:  monitoring or real-time playback of RAW will never happen (according to resident ML pro's.)

Work-around solution: smartphone. This  DOES NOT show you what the camera is seeing and recording - it is completely different video from a slightly different perspective.  But it allows you to monitor and replay talent performance even when shooting RAW.

#1. Hotshoe mounted iPhone, send facetime video to a mac device (iPhone, iPad or Laptop.) Director and others can  watch performance "on screen" and also  record it for  replay.  Pro: Wireless. Con: facetime video is low quality and low fps, requires 2 different mac devices.


#2, Playback only - hotshoe mount iPhone (or any smartphone), record performance,  director can replay with phone still attached to production camera, or phone can be removed for "portable" replay.  Pro: only one smart phone is needed, video quality is actually pretty good (far better then Facetime.) Con: no live viewing, removing and re-attaching phone does not look pro and quickly becomes a pain.

You can also buy a  microphone-to-iPhone cable and capture production audio.

Bottom line & reality check. Its real low budget Indie. But it works, its free if you already have the phone, and it can save your butt when shooting RAW.

Example, last weekend a take looked good to us. But I decided to check the replay - and one of the extra's was looking at the camera - we all missed it. Caught it in replay. This low rez, micky mouse system saved us.

I apologize in advance if this is a dumb question, but I cannot find a definitive answer. Liveview pciture is not RAW, but canon picture style. But liveview zebras can be RAW even if the underlying picture is not RAW. So is the spotmeter showing RAW or canon picture style levels?
Searched. Some say de-install 1.21 and go to older 1.13. Others having no problem with 1.21. Install guides do not mention this issue at all. Can someone explain what is going on as of today, 09/18/13?
12 weeks ago, many reports of the 128 GB komputer bay dropping frames, whereas the 64 GB were fine. So have they fixed the 128 GB issues?
Feature Requests / Turn off the 30 minute record limit?
September 05, 2013, 06:46:06 PM
Could you turn off the 30 minute record limitation? As I understand it, its artificial, designed to avoid being labeled a video camera under  Euro tax codes.
If 2K is possible, I'm holding off on buying more 1000X cards

With the current 1000X cards, we can only get very short recording at 2K in crop mode. The primary issue seems to be that the 1000X card is too slow. And Crop mode is difficult and weird and not a client friendly  workflow.

How about the new 1200X CF cards?  Can this extra 20% get us into 2K land? Hopefully without crop mode?

Sorry, but I cannot understand how to use the ETTR with video. Not sure if anything is happening when I follow the still photo steps. Can someone explain the steps to me for using ETTR with RAW video? Thanks in advance.
I apologize in advance if this is stupid question, but how do we tell how much memory (time) is left on a CD card, and, is there some way to delete the bad takes in camera? Thanks in advance.
Raw. Mac. Final cut pro edit. Raw2DNG - Adobe RAW - folder of TIFF's. To turn the TIFF image sequence into a video file, If you use QT7 or photoshop you will get a color, contrast, and sometimes a white balance shift. Use Motion 5 instead, and you will get the exact same look as the TIFF.
Alot of us pro's with 5DM3's are stunned by the idea of 2560 x 1072 (+2K.) Its really huge news. Could someone explain what the current status is? If real, this should be its own permanent thread.
Canon 5dm3. I use a glass LCD screen protector. There were rumors that RAW caused over-heating. Should I be worried about the camera heating up, and the LCD baking because the glass protector insulated it?