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Topics - hyalinejim

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My short documentary The Cloud of Unknowing, shot on 5D3 Magic Lantern, has been nominated for "Best British / Irish Short Film" by the London Film Critics' Circle. The awards ceremony is on January 28th... so fingers crossed for that!

Here is a short extract from the film with some info about it:

And here is more details on the award nomination.

Thanks Magic Lantern!  :)

Raw Video Postprocessing / ML-Log: new log profile for Magic Lantern
« on: October 16, 2017, 10:55:46 PM »
(5D3 only for now)

It gives me great pleasure to announce the imminent arrival of ML-Log, a DCP log profile for Magic Lantern DNGs. Those of you who enjoy the benefits of using Adobe Camera Raw over other methods (superior debayering, colour rendition and noise control) might like to give this profile a whirl.


Key features:
1. Maps RAW linear to a logarithmic curve with blacks at 9.3 IRE, 18% grey at 46 IRE and 90% white at 72.6. This gamma is very close to Cineon or RedLogFilm

2. The profile is fairly colorimetrically accurate. All you need to do is apply a curve to restore proper contrast and colours should look good. In this screengrab the outer area of the patches is a CR2 shot of a ColorChecker with ML-Log applied, followed by a curve to match the gamma to that of the chart values. The inner squares are an RGB visualisation of a typical ColorChecker. You can see it's not a perfect match, but it's close.

3.  I've included two options for de-logging footage based on an old paper on the relationship between Cineon and film. One of these curves has a colour cast, and the other is clean. They are included as Adobe curves, and as .cube luts. That paper is here, and it is interesting You should get some nice results with this, but do try other luts as well.

How the profile was constructed:
With Danne's help, I used LutCalc to generate a linear to log curve. I then incorporated this into Lumariver Profile Designer, which is a GUI for DCamProf - a DCP designer. The matrix and HSV tables were derived from a CR2 shot of an X-Rite Colorchecker using Lumariver's inbuilt colour calibration function. If you are interested in seeing what's going on inside you can use DCPTool to peek at the contents.

What's next?
I'd like ML users to test this profile for usability. Any comments, questions and criticisms are very welcome. If it proves useful, we should be able to generate similar profiles for other Canon cams. Not only that, but there's no particular reason why we need to be locked into this particular curve. It should be possible to generate curves to match, for example, Sony's S-Log, Canon's C-Log, Panasonic's V-Log or Arri's Log-C

So will this turn my camera into Alexa / C300 / Varicam / etc.?
That would be nice but, no. This profile does two things: it changes the gamma of the RAW output so that it matches a particular curve (in this case Cineon / RedLogFilm) and it slightly tweaks the colours so that they are more accurate. The advantage of this is that you can apply this profile to your DNGs, render to a lossless intermediate codec, save on hard drive space, make editing smoother and defer decisions on colour correction until after editing. But it won't make your Canon look like an Arri.

Are there any disadvantages to using ML-Log?
If colours are very saturated, there is a chance that one channel will clip at the lower end of the scale. I can avoid this by globally lowering saturation across the profile, but this hurts overall colour accuracy so I decided not to do that. It's probably not a big deal.

How do I install the profile for Adobe Camera Raw?
Put the DCP file here:

User Library>Application Support>Adobe>CameraRaw>CameraProfiles


What's the best workflow?
Bring in your DNG sequences to After Effects.
Set white balance in Adobe Camera Raw if necessary. It will behave a little differently to Adobe Standard. So Daylight will look different, for example. Choose either "As Shot" if you set it close to correct in camera, or tweak manually and trust your eyes.
Leave everything else at the default, including exposure. You might also like to turn off noise reduction if you will do it later with Neat Video.
Export to an intermediate codec. At the minimum 10bit 422, and preferably 444. Cineform, ProRes and DnXHD are your choices here.
When grading, simply add one of the included curves or luts. Before this curve or lut, tweak exposure. Try using a curves effect here, using only the midtones. The curve is likely to make things a little dark but it shouldn't clip too much in the shadows and highlights. If you need more or less contrast play with the white and black points as well.

Finally, I'd like to thank Danne for his support, encouragement and advice in making this. I hope it's useful to you. Here are some pics with the film curve:

We all know that one of the advantages of shooting RAW is the scope it gives to achieve different looks. LUT solutions such as FilmConvert, Koji and Impulz attempt to emulate popular film stocks with more or less success for different cameras. Part of the problem of using these LUTs for Magic Lantern footage is that it's not always entirely clear how best to prepare the footage before the LUT.

A while back I became very interested in generating my own LUTs. It started with my efforts to match an XC10 to Magic Lantern tonality and colour. I used a ColorChecker and Resolve to get a pretty close match between the two. More recently I've begun searching online for photos of ColorCheckers taken on photographic film. I wanted to share a LUT I made to emulate a particular (scanned) shot taken on Ektar 100 that I found at

This has a nice gentle curve and pastel colours - good for blues and pinks. If you can tweak your white balance at the perfect point on the blue-orange and green-magenta axes, the results can be really nice for skin tones. Here's the LUT:

This is optimised for my workflow, which means Cinelog-C for Adobe Camera Raw. But if you don't have Cinelog for ACR or Resolve you can still use the LUT if you can get your footage into a log gamma. In Resolve color management settings, choose Arri Log C Timeline Colorspace for results very close to Cinelog.

The LUT is very friendly towards footage prepared in this way. There should be no clipping of the highs or lows. All you need to do is set the black point and white point, fine tune white balance and tint and you're good to go. I find that this order works best:

White balance

Magic Lantern has given me a lot over the years. This is one small way in which I can give back to the community.

If you don't have a 5D3, you can check out fifty 3K frame grabs here:

I'm getting continuous recording at this resolution in 14bit lossless.

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