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Topics - noisyboy

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Hey duuuuudes!

So basically I know there are other forums that are out there that may be more suited to this kind of request but there is absolutely no other community on the web that is as helpful and encouraging than the Magic Lantern community, so here I am :)

Basically it's 02:16am and I'm supposed to be grading a short in Resolve that was cut in Final Cut but the editor appears to have not given me the XML file I requested and instead just gave me the fcp file. I don't even have a Mac let alone FC, I cut in Premiere CC on Windows so it's not like I can just convert it myself either and because it's now 02:18am, the editor is nicely wrapped up in bed while I pull my hair out wondering how the hell I'm gonna get through this short by tomorrow. SO! Could anyone out there be an absolute BOSS and take my fcp file and quickly send me back an XML through the kindness of their heart? I would seriously owe you one! I'm pretty sure you shouldn't need the footage and should be reasonably successful with just the project file (unless you are an owner of Xto7 which converts these files to XML without going into FC).

Any other suggestions welcome!

Cheers!  8)

Raw Video / Dual ISO and VAF filter test.
« on: August 27, 2013, 05:19:13 PM »
Hey guys! Noticed another test that demonstrates this pretty well here but wanted to do my own tests to see how well this works on a camera that has bad moire and aliasing issues like the 6D.

This is an extreme demonstration of the effect the Mosaic Engineering filter can have on footage shot with the Dual ISO feature of Magic Lantern Raw in terms of combating the increased Moire and Aliasing that comes with shooting with it.

Some things worth pointing out:

I shot at 100/1600 iso as the more distance between your upper and lower iso values the more aliasing and moire will appear so I wanted to really push it to see how much the filter would help. My findings were that it helps a LOT but doesn't rid the image of moire entirely when shot at this level. I think that it would could get close to being pretty damn usable if you split the iso's at a lower range (ie. 100/400) and I actually shot some stuff yesterday in which I can't notice any but had no way of comparing before and after due to not having the thing to remove the filter with me and not wanting to mess it up. I will do some real world testing and see how much it can help. The 6D is pretty bad with moire and aliasing in raw anyway and this filter works miracles on just straight raw with no dual iso (pretty much gets rid of ALL of it).

I'm currently at work but I'll upload the DNG sequences shortly so you can see for yourself how much of a difference it makes.

Cheers big ears  8)

Hey all!

So I'm on set at the moment and we are shooting for the first time with a BMCC but the DP has accidentally left his color meter on another location and there is no way to shoot a white card and auto WB the camera.

Sooooo... basically I'm wondering if I get the stills photographer to allow me to set up ML on his mkII (who wouldn't anyway right?), is there a way I can use this to give me a temperature reading? I know there is the one button WB feature (which I love) so if I used that would it then give me the reading in kelvin? I know that if I did this with the Canon menu function then you can't see the reading due to it being hidden when you select custom WB. Only other way is to shoot a white card and fix in post but as we're shooting ProRes and not Raw I'd rather get it right in camera.

Would be ace if this were a feature to simplify the process and my camera could be used as a color meter :)

Any help would be appreciated as we Turnover in an hour!

Cheers dudes!  8)

Kraig. 8)


So basically I'm editing something I helped out on at the weekend while shooting with the Magic Lantern raw module and fancied playing around with FilmConvert but as any of you who have used FilmConvert (or even those that haven't) know - the way the plugin works (in layman's terms) is basically by knowing what the cameras footage should look like to begin with and then it re-maps the expected image into what it would look like on a film stock of your choosing.

This of course was going to be a problem for me as I have a lot of raw footage and there is no Canon/Magic Lantern raw profile (yet) for FilmConvert.

So I got on the old email to Lance over at FilmConvert and he said that they have been playing around and found that you get pretty damn close results when you choose 2012 camera calibration process inside of ACR. I'm waiting for him to let me know if this really matters as from what Andrew Reid from EOSHD has suggested - ACR 2012 process seems to do some weird automated stuff with highlights that you cannot control and that therefore 2010 is better. [edit: and also recomends choosing "embedded"]. I personally haven't had trouble with it and used 2012 with this anyway.

Then once you have dropped FilmConvert on top of your footage, you should select either the 5DmkIII VisionTech (another great reason VisionColor exist) or Prolost camera profiles.

Anyway - have a peep at this test and see what you think. Super quick edit with a handful of random shots (as I really should be doing some work... sshhh!). To show what the plugin looks like with the raw footage I applied no additional corrections or grading other than color-temp adjustments inside of ACR and a teeny tiny bit of sharpening.

I guess the real good news was that when I spoke to Lance, he said they had been playing and knew already how to get results so I guess they must be bubbling away in the lab or at least have plans for when the time is right (please for the love of god don't take this as gospel to mean that they are actually baking up a ML raw profile as I'm only speculating but it makes sense to me).

Oh yeah - shot at 1600x672 @25fps and upscaled to 1080x800


And another example of FilmConvert being used by Squig (although I have no idea what profiles he used but it still looks better than mine  ;) ):

I've seen a few questions here and there regarding raw workflows inside of Premiere Pro but as most of us know, you can't import DNG sequences directly into Premiere. However, if you have Master Collection, Creative Cloud or Production Premium, you can use the Dynamic Link Feature greatly to your advantage so you can edit and make changes seamlessly without having to finalize or render anything 'til the end of your cut.

First off you will need to create proxies of all of your raw sequences. The way I do this is by using Rawanizer (BIG shout out to marten for this and a1ex for raw2dng). The beauty of Rawanizer is you dump all of your raw files in a folder, select that folder in Rawanizer and it will automatically batch convert all of your raw files to DNG sequences, each inside of there own folder and as an added bonus it also creates easily editable proxy files in a variety of flavours so you can cut your footage with ease. It's a very straight forward piece of software but if you need further help just go here.

Basically all you need to do is create your premiere project and import al of your raw proxies ready for your edit. What I then do is create a cut or even a rough cut using those proxy files.

Once you are happy with the edit, highlight everything on the timeline and duplicate it (hold Alt while dragging) above the sequence you already have (so you see two copies of each clip, one above another. Then rename the original video tracks "proxies" and the tracks with the new copies as "raw" just to keep track of what's what.

The idea here is that we are gonna replace each proxy with a raw dng sequence while at the same time not losing the proxies just incase we have to go back in a edit some more as it'll be less processor intensive us editing the proxy files.

So, you can then right click your first copied clip in the timeline and select "Replace with After Effects Composition".

This will then automatically open After Effects and create a new Comp for that clip after asking you where you would like to save the project (Pro tip: I like to keep everything for a project in one folder for archiving - this means you wont have problems with it not knowing where assets are if you offload the project at a later date).

Inside of After Effects you can then double click the project browser and browse to the folder that contains the dng sequence that relates to that particular clip. Select the first dng file, check the "raw sequence" checkbox a the bottom and import the sequence.

You will then be presented with Adobe Camera Raw and you can do your whatever corrections you wish to do and then then click done. One thing to bare in mind here to those who aren't too familiar with AE, it has a habit of importing sequences at 30fps so what you need to do is right click the sequence in the project browser, select Interpret Footage and then type your desired frame rate into "Assume this frame rate".

Then drag the DNG sequence into the Comp which contains the proxy for the clip you chose to replace inside of AE. This needs to go on the top layer but to be honest, it's not the end of the world even if you delete the proxy from this comp as we still have a backup inside of Premiere.

Then all you have to do is switch back to Premiere and you will see the clip has been updated with your raw sequence and has replaced the proxy file. Hooray!

Now! What I like to do here is select both the raw clip and the original proxy clip we still have sitting beneath it at the same time and right click -> group. That means that now if we want to rearrange anything we can easily click on one clip and it automatically selects both so you can drag them around or shorten/lengthen them together.

Now all is left to do is do the same for the rest of your timeline and then "mute" the track (with the little eye icon) which has your proxy on inside of premiere and hit the enter key which will render previews of all of your raw clips so you can easily play them back and edit them. If you have raw footage mixed with h.264 footage and you don't want to disable the whole track then you can disable individual clips by simply right clicking them and selecting disable.

The beauty of this workflow is that you can quickly make further adjustments to your raw sequences with ACR, simply by switching back to AE, selecting the relevant comp for that clip and then doing this inside of After Effects which will also allow you to correct any frame in the dng sequence, not just the first (shouts to my fellow Modizzles Audionut and Squig for helping me figure this part out).

Then if you need to go back into premiere and do any real intensive edits, you can always disable the raw clips and enable the proxies and as long as you move the clips together, you can then switch back to raw when you are happy.

So there you go. As is said - there are many ways to skin a cat but this is my way and I'm happy with it. If I refine this further then I shall update accordingly and if anyone has any questions or suggestions then post them up in here.

My final thought on this is yes it isn't the quickest most instantaneous way to edit but the work you put in is only in the setup, after that you have a clean, quick workflow with maximum flexibility and to top it off you are already linked to AE so you can start your mastering as soon as you lock your cut. That and raw workflows of any format are not quick and easy. If you want quick and easy workflows I'm afraid raw isn't the way to go but in my opinion it's worth the extra work.

Oh and a final-final thought (promise), keep everything organized inside of Prem and AE. Rename files and create relevantly named folders for proxies, comps and dng's to all live in for each shot. This will make your life a lot easier.

Hope this helps a few of you out!

Kraig  8)

Share Your Videos / Home for Raw footage shot with ML Raw on 6D.
« on: May 31, 2013, 11:09:21 PM »
There are tonnes of videos out there showing off the stunning capabilities of raw shooting on other cameras but barely any shot on the 6D. I think this is mostly down to us waiting and praying for a break through to allow us to shoot 1080p continuous footage but with the limitations of write speeds to SD cards we aren't quite there.

Still... What we do have is continuous shooting at resolutions that easily pan the ass of the 1080p h.264 codec when upscaled, on a medium that is dirt cheap in comparison to CF cards and to top it off an unbeatable performance in low light sensitivity.

So! What I would like to challenge the ML 6D community with is to get out your 6D, grab a handful of batteries and SD cards and just go out there and shoot - for no other reason than just to effin shoot (after all - that's what you bought it for right?) :)

While test videos and comparisons are of course totally welcome and greatly encouraged, it would be great to see some shorts or even montages that have been graded and post processed and really show off what we can get out of it.

I know you're probably thinking it's silly to start a thread without anything to add to it but I just wanted to get the ball rolling and challenge others to do what I myself am about to do which is stop obsessing over how good this could be and just go out and appreciate how great it already is :)

Also - if you see anything else that's just lying around the internet, feel free to share it here.

Look forward to seeing your work!

EDIT: [SOLVED] Read this:

So I have a little question of my own :)

You import a raw DNG sequence into AE - great. You make your primary adjustments to your first frame with Adobe's raw interface - also great. But what if you don't want to adjust the first frame and your hero frame is say frame 120 for example. Is there a way any of you are aware of that allows you to adjust a frame other than the first frame without importing that single frame as a still, applying settings and saving as a preset, importing that sequence and applying that preset to the sequence?

If somebody has a better way of doing this inside of AE then please do share. I only really want tousle this for the control over the highlights and shadows with the sliders which I personally find to be unmatched in terms of their highlight speed in getting the job done.

I'm sure I did this with a cinema DNG sequence once.

Maybe I was drunk.

Shoot preparation / Raw video - preparation and shooting.
« on: May 22, 2013, 11:02:27 PM »
Okay, so I know a lot of people are new to shooting raw footage now that we have been gifted with the power by everyone's favourite Canon DSLR "hack" so I thought it might be a good time to start a discussion about actually shooting with it  :P

There is a great thread going regarding post processing raw but what about the shoot itself. What are the best practices  when shooting raw and what tools do people use for getting the best exposure? Shooting h.264 is easy. You expose the subject and light to match (if you are lucky enough to be able to control your lighting) but what about if you want to gain maximum dynamic range from a dynamic scene?

I personally am a photographer who (of course) always shoots raw but even after years of experience doing this I still find myself exposing my raw video incorrectly.

Also, it would be really nice to start seeing some real world examples of exposed scenes instead of pushing the raw data to the extremes just for the sake of showing that it CAN do it.

Please feel free to share your techniques and experience with the rest of us :)

*ps. If this is already being discussed in another thread, feel free to move me along ;)

Feature Requests / Internal clapper/slate.
« on: May 14, 2013, 05:33:04 PM »
Here's a whacky idea incase we don't get internal sound and metadata on cameras other than 5Dmk3

Is it possible to create a template which you enter your shot details into (f stop, focal length, shot, take etc) and it draws it onto the screen in a similar layout to a slate?

Then - you could have it so that when you record, it draws this on screen for a frame and uses the screen capture utility to capture this information on the the first frame of a video (DNG frame in raw?). At the same time the camera could beep loudly which would be picked up by the external recorder and could be used for syncing?

Then when you record the next take, the take number increases by 1 until the slate is changed?

What do you think?

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