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Topics - Frank7D

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Raw Video Postprocessing / Dark Frames for RAW video--Optimal Opacity?
« on: February 11, 2017, 05:39:18 PM »
I make my own dark frames to remove FPN rather than using the tools people have shared here, but I hope my question is still generally relevant and is somewhat apples to apples (even if perhaps McIntosh to Granny Smith).

It seems as though when subtracting the dark frames, a crucial decision is how strongly to apply them. So in Photoshop or After Effects for example, after putting the dark frame layer above the video layer and setting the blending mode to "subtract," you would adjust the dark frame's opacity to the value that removes the most FPN.

What I have noticed is that there is inevitably a compromise between FPN vertical lines in the lighter areas and the darker ones. As you reduce the opacity the lighter areas improve but the darker ones get worse. Obviously this is most problematic in high-contrast scenes.

My question: Is this a general characteristic of all dark frames?

General Development / 10 * 100 vs 100 * 10
« on: June 13, 2016, 05:11:28 PM »
"How exactly would a silent picture cause mechanical vibrations?"

It wouldn't; hence its advantage in astrophotography and the desire for longer possible exposures in FRSP.

Topic split from here.

Raw Video / Bitrate Calculator for Magic Lantern Raw Video
« on: March 05, 2015, 11:09:29 PM »

I made myself an Excel spreadsheet that calculates RAW bitrates and recording times for various card capacities, so I thought I'd share it.
Mainly you would be plugging numbers in A3, B3 and C3.
Please let me know if you have any ideas for improvements.

Raw Video Postprocessing / Workflow using MLVFS and After Effects
« on: September 20, 2014, 05:42:26 AM »
Previously, step 1 of my workflow was converting my MLVs to DNGs.
Now, thanks to MLVFS (, I can skip this step, which saves time and potentially space. Many thanks to dmilligan, ayshih, g3gg0 and anyone else who contributed to its development so far, and to SteveScout for his "Smart Import 2.jsx" After Effects script.

Before describing my workflow, I'll tell you what I'm working with so you can get an idea of how applicable this information may be to you.
OS: Windows Vista 64bit
Software: Adobe Production Premium CS5 (Premiere, After Effects)
Media:  MLV with sound

The overview is:
You "mount" MLV files to become virtual directories containing virtual DNGs (this is temporary and doesn't alter the MLV files).
You import the (virtual) DNG sequences into After Effects along with audio (if any) and render out files to edit with (either proxies or high-quality intermediates, your choice).

To use this workflow, you will need to install the Pismo File Mount Audit Package, as described by ayshih in the above link. This is quick and painless. Also, download and register mlvfs.dll, as described by ayshih. Note that MLVFS is still being developed, so keep an eye out for future possible improvements (or improve it yourself if you have the know-how and inclination).

Also, get the After Effects script "Smart Import 2.jsx" found here:

Here's the workflow:

1. Put MLVs in a subfolder of the project folder (I name mine "vDNGs" for "Virtual DNGs").

2. Quick Mount them by right-clicking and choosing "Quick mount" (don't select spanned files, i.e. .M00, .M01 etc.). You can select multiple MLVs and do them all at once if you like. You can select just some of the MLVs if you don't want to process them all. Now you should have a virtual folder for each MLV, containing virtual DNGs (CDNGs, to be exact), which behave very much like actual DNGs. The virtual folders will be named the same as the MLVs were.

3. Make a new After Effects project.

4. Run "Smart Import 2.jsx" (File / Scripts / Smart Import 2.jsx). This is used to import the (virtual) DNG sequences and wav files (if any) and generate compositions and output modules for rendering (if desired). In the "Import" field, type or browse to your MLV directory ("vDNGs" in my case). Choose an Output Module and a File Name format and an Output location. Note that there is a default audio sync compensation which may or may not be needed for your video. Set it to "0" if you don't need it. When you have the script settings the way you want them, click the "Run" button at the very bottom.

5. Each sequence will open up in Adobe Camera Raw. Make any initial adjustments you want to white balance, exposure etc.

6. The ACR settings you used when opening the DNG sequences will have been saved to .MLD folders, which stick around even after you unmount the MLVs.

7. Unmount the MLV virtual folders when you're finished with them by right-clicking and choosing "Unmount". Note that they must be mounted for After Effects to recognize them.

This workflow might seem complicated or technical when you see it written out, but it's actually a breeze to use once it's set up. Let me know if anything doesn't work the way you expect it to, or if you have any other comments. Thanks!

I edit in PPRO using MPEG4 proxies (.mov) and then import the project into After Effects and replace footage with the DNG image sequences. This can be time-consuming (not to mention tedious) when doing it one by one (Ctrl+H).
Has anyone found an efficient way to do this for large numbers of footage items?

Not sure if this is the right place to request this, but:

When shooting raw/mlv, ml creates 10 empty files as placeholders to be used as needed while recording, files 2-10 coming into play for longer takes where spanned files are necessary (due to fat32 file size limitation of 4 GB).

If a take requires more than these 10 files (40 GB), the recording stops. This limits the length a raw take can be, depending on data rate (frame rate and frame size).

Recently I ran into this limitation while recording a long number from a live musical production. I was shooting at 1792x1008 23.976 fps with sound and got 9 min 22 sec before recording stopped with the message "unable to open file."

The number of files appears to be set with the variable MAX_PRECREATE_FILES in mlv_rec.c.

I found this:

Code: [Select]
/* pre-create that number of files befroe recording starts so that file catalog doesnt have to get updated while recording */

I am thinking it would be good to allow for ~128 GB. That would fill up the largest currently used card, and would allow about 25 min of 1920x1080 raw video (no sound).

So 128 GB / 4 GB = 32 files, and the new code would be:

Code: [Select]
I was thinking of attempting this myself, but I ran into some difficulty getting set up.

Any comments welcome; thank you.

Raw Video / Archive mlv/raw or DNGs?
« on: July 14, 2014, 06:53:30 PM »
I want to preserve my source files for my projects to allow future uses. Is there any reason to keep the raw/mlv files as opposed to the DNGs I extracted from them?

Forum and Website / Recently removed threads
« on: March 27, 2014, 09:10:09 PM »
Without wanting to cause anyone offense, and understanding that the owners of this site can maintain it as they see fit, I have a question regarding the recently removed threads pertaining to third party builds. One of these in particular contained a conversation regarding the development and testing of a variant build which took place over many months and had been viewed 10's of thousands of times. Given that the bulk of the software being tested and discussed there was identical to magic lantern, there is no doubt that much of the information there was and is relevant to magic lantern. I am wondering if this discussion still exists somewhere or if it is gone now. I feel it has at least historical value and in some cases dealt with issues that still pertain to magic lantern. Would allowing it to remain but locking it so no further comments can be made make sense? Again, no offense intended and many thanks for all that has been provided to us here (free of cost).

Share Your Videos / Snow Birds
« on: February 16, 2014, 08:19:41 PM »
Shot on the 7D with mlv crop mode in 1856 upped to 1920.
Used visionlog in acr and did no further grading. Looks a bit pale but I think it fits the material.

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