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Hi there Magic Lantern community! I'm here again sharing with you yet another video shot in beautiful Magic Lantern RAW. This time the location is London and we shot it for the ongoing Dorito's Super Bowl competition. This is the first RAW video I haven't processed with Camera RAW and I have to say Resolve 10 is, in my opinion, the best contender for RAW processing right now. I still have to iron out some issues related to doing the roundtrip with audio but it's way faster and requires far less hard drive space than my previous workflow (Lightroom (16bit TIFFs) - Resolve (proxies) - Premiere (editing) - Resolve (grading) - Premiere (finishing)).

Some technical details:
Camera: 5D Mark III
Cards (2x): Transcend 1000x 64gb
Build: Bot generated nightly build - 3rd November 2013
Lenses: 24-105 f4 L, 50 1.4, 85 1.8
ISO: Interior, shop - 200, exteriors 100-400, interior 1600
Audio: Zoom H4n (Manually synced with slate and the invaluable 'start beep' from the camera)
Software: Premiere Pro CS6 / Resolve 10 (Roundtrip with XML)

Feel free to ask any production/postproduction questions!

I'm loving ML RAW in my 5D Mark III. Simply put, the image coming out of it it's gorgeous and the grading possibilities are endless. This time I've recorded a short BTS video of the last shoot of a young Spanish photographer who does mostly analog photography, Javier Ruiz. The video was shot in 1920x1080p, with several cropped-sensor shots in that same resolution, and it has been graded to match the photographer's style.

Build: July 16th (cb7f14c) - 5D3
Lenses: Canon 24-105 f4 IS L & Canon 100 f2.8 IS L
Cards: 2x Transcend 64gb 1000x
The post workflow is the same of my previous video (http://www.magiclantern.fm/forum/index.php?topic=6718.0)

Any comments or questions are more than welcome 

As I have previously stated in the forum, I was truly excited when the RAW hack appeared since it opened a new world of possibilities for my 5D Mark III. We shot this music video a couple weeks ago with the 25th May Build. I've found the hack to be incredibly reliable and I haven't lost a single file due to corruption or similar issues to the date.

We needed to monitor the video output so we shot in 2.20:1 which allowed me to feed the image through the USB to a Windows 7 laptop running EOSUtility while simultaneously recording continuous 24p. I also shot some 30p scenes. The slow motion shots in the end of the video were shot in 1920 (2.20:1 squeezed aspect ratio). The ISO employed through the shoot goes from 100 to 6400 (last 2 scenes, obviously denoised in postproduction).

The cards I used were two Transcend 64gb 1000x cards (not the fastest but they never let me down and they handle 1080p RAW quite well). I had to offload one card per shooting day (a total of two shooting days) but the cards read fast so it wasn't a problem.

The post workflow I chose was quite a nightmare but I decided to cope with it to get the ultimate image quality. I used RAWMagic to convert the .RAW files to CinemaDNG Files. At the time Driftwood hadn't published yet the Resolve workaround for the pink fringing so I imported all the frames (almost 83.000) to Lightroom and output them to 16bits TIFFs. Then I imported those into Resolve where the final grading was performed. Since the Lightroom processing took over a day (in a quite powerful desktop computer), I did quick Cineform proxies with RAWmanizer which I used for the offline edit. In the end, I didn't have to wait per se, I just used some more batch-processing Now, let's talk about the hideous roundtrip. I can't understand how Resolve can't match by itself files with the same name and the same number of frames. I mean, at least it could try. I had to force-conform each file in the project which took "just" 3 hours (1 hour per minute of final video edit approx.).

But, when the files are in Resolve and you see the RAW information... all the pain is gone. I LOVE the format, I couldn't be happier with the results and the image quality. I'll certainly be using it A LOT in the future. It's really hard to go back to H.264, all my shots seems out of focus now!!!

I wanted to share with you the video, I'd love to hear any comments about it! Of course, thanks again to all the developers and the wonderful ML Community. This video couldn't exist without you, guys.

Hi there,

I'm going to use the RAW recording on a 5D Mark III in a videoclip soon and I've been talking with the director about the new format, that I love, and the creative possibilities it opens both in production and in post. The only reservations we have is that we cannot check the files on camera, I've shown her the playback option currently available and we agreed we cannot check-review the performances with that.

I'm not asking for a better RAW playback option since it's already a miracle the one we have but maybe there's a better-easier option for this kind of use. In earlier versions, before the start/stop button implementation for RAW recording (which I like a lot) there was the "possibility" of recording RAW and H.264 at the same time. In fact, I evaluated the option for my project and it worked pretty well in 1920x840 for example. The problem is that in that early versions (17th May, I believe) there was not the option to stop before skipping frames and I'm worried I might have unintended jump cuts without noticing.

So the request is if there could be an option for recording h.264 simultaneously in the SD card or, if thats a code nightmare, to the CF card (even at low bitrate/low res in VGA, though the framing would change on that one) so it can be used as a on set review option for production.

I'll completely understand a "won't fix" on this one but I wanted to submit the suggestion. In any case, once ML is ported to 1.2.1 we could use the regular on set monitor option, or even something as the ninja; so this would be a temporary "fix".