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Topics - Mehmet Kozal

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Share Your Videos / Canon EOS 650D (T4i) Magic Lantern Raw Test.
« on: March 14, 2021, 02:31:16 PM »
Canon EOS 650D (T4i) Magic Lantern Raw Test.
All been shot using 3x crop mode (movie crop) except one shot which shot using the crop-rec module.
Build: crop_rec_4k.2020Sep30.650D104.zip
The software has been used in order: MLV App, Davinci Resolve, After Effects, Adobe Media Encoder.
Upscaled in Davinci Resolve to 1440p from 1800*760.

Sharpening and saturation are exaggerated.

Any advice on my workflow is appreciated.


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General Help Q&A / Trying raw video on 650D after a very long time
« on: March 08, 2021, 06:23:43 PM »
Hi everyone.

Long story short, I bought a Sony 6500 in 2017 and retired my 650D that year. Today I decided to give my 650D to my girlfriend so she can have a photo camera,
then I realized it still has Magic Lantern on it and I fell in love with it again. Also discovered the MLV app which looks great.

I use to shoot raw video with it and the workaround was to get rid of the aliasing and moire was to shoot in crop mode.
Are there any changes in that regard? Is it possible to not use crop mode and have slightly less aliasing and moire?

Thanks to all and keep rocking.

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[A well belated thank you and appreciation] Really exciting news for 650D, 700D and 100D owners.

I think another quite a revolution happened in Magic Lantern world. “Focus Pixels” phenomenon as 650D, 700D and 100D users know is a thing kind of in the past thanks to some awesome people who put a lot of effort and time.

If you need to catch up with this subject and follow the latest development http://magiclantern.fm/forum/index.php?topic=16054.0
Seriously, I am equally excited about this like I was when raw video been introduced first time on a 650D.

As I stated in the beginning, this is a personal opinion on this subject. So what all of this development means and how it will effect my work? Before this fix arrived, I was simply applying chroma smoothing to the mlvs and it was definitely working to a certain extent. But then it triggered other problems like this one http://magiclantern.fm/forum/index.php?topic=15808.msg153823#msg153823 . It was limiting my work because I wasn’t able to use any clipped highlights or shadows in my compositions. So I used MLV only in daytime with extra care being sure nothing is clipping and the rest I used native H264 which was heartbreaking after the raw experience.

Well my point is, these are in the past now and since I film a lot of stage shows, I can switch to MLV raw without clipping shadows or highlights being a problem. Also IMO, even if I would have a 5D mark III, I would definitely get a 650D or a 700D as a B or C camera since they are cheap and has a lot potential now. To me it makes sense. Secondly, now chroma smoothing being unnecessary, I get real-time playback via MLVFS in Davinci Resolve and super fast rendering times. Seriously, I wasn’t thinking doing any more investments on my camera but now I can’t wait to order an 8mm lens [I did, got a Samyang 8mm and using it] to do some filming in crop mode.

I think these developments will affect many and encourage a lot of people to use these cameras in their video work.

I made this video using only crop mode on my 650D with Canon 50mm 1.8 II, Sigma 17-50 2.8 and Samyang 8mm 3.5 fish eye glass >
Sorry for my English and possible mistakes on the terminology and hopefully I didn’t wasted your time. Finally I want to thank to everyone who involved in this project
[quoting from @dfort] which are;

Danne got me started on it when he was first developing MLP. I was just doing testing but he asked if there was anything that I wanted to work on and the "pink dot" issue was something that kept coming up. He uses dcraw in his program which has an option for removing bad pixels. We tried it on MLP and it worked great but only for my camera (EOSM) and for only for 1280x720 cropped mode. I wanted something that could be used for all "Hybrid CMOS AF" cameras and for all raw video modes and sizes. MLP is written in the bash shell which wasn't nearly as intimidating to me as C so it seemed like something that was within our abilities.

DeafEyeJedi provided lots of enthusiasm and allowed me to borrow his SL1/100D which turned out to have a different focus pixel pattern than the other cameras. He also got some very good 700D files from Nelson Sigmundo, a ML user from the Netherlands.

dmilligan started by giving a few pointers about the technical details of how MLV works and how to use Silent Still Pictures to capture the raw buffer. It took me a while to figure it out at first but once I got the hang of it and started reporting my results he really picked up on the project and incorporated focal pixel fixing in his MLVFS. He also fixed an issue with the camera not being reported properly in the MLV metadata. He is really driving Magic Lantern development forward.

a1ex explaiined some key technical details and steered the conversation in the right direction when we got off track. He also took care of a mlv_rec.mo bug that came up when the Crop numbers weren't lining up.

AWPStar generously shared his map files and code. He speaks another language, Russian and Microsoft Visual Basic, so it was difficult to understand what he was saying at times but he is quite a talented programer and gave us some very valuable comments.

Steve_FR discovered focus pixels that usually don't show up. Most of the map files from other developers included these pixels but since they didn't match up with what I was seeing until Steve was able to capture them.

Walter Schulz provided files from the 650D and made surprisingly few of his usual comments on the conversation.

otherman showed a method to display the Bayer pattern in color which proved that the focus pixels were red and blue. That was quite a revelation because I assumed they were green pixels--the sensor has twice as many green pixels as either red or blue.

Oswald did some 100D testing and confirmed that the 'B' firmware camera has the same sensor information as the 'A' firmware camera I was testing.

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Hi everyone,

I will cut it short as much as I can.

I use 650D. I didn't mind this problem until now because I mostly shoot in daylight. But nowadays I want to switch to raw when I do filming in clubs which means low light situations or big contrast scenes. So I wanted to check with you guys if there is a solution to this problem.

I use 2 tools to make dngs from mlv files. One of them is Mystic. When it does chroma smoothing, I get weird artifacts on specular highlights.


The other one and the main tool I use is MLVFS and I love it. But when it does chroma smoothing, this time I get colored jumping dots on underexposed areas.


So what I do is switching between these 2 tools depending the exposure of the shot but it really drains my energy sometimes on long projects and there are times that none of them does the job. And no body except a few is mentioning this problem so I started to think maybe it is a wrong setting in camera? Does anyone know a solution? Any 650D 700D EOS-M owners?

I also put processed and not processed examples in Dropbox. link> https://www.dropbox.com/sh/6ahcs7yexdxo6cx/AAAsxSDkSfFhKJIs6JmHLEuCa?dl=0

Thanks everyone.

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Share Your Videos / 650D | T4i ML Raw Test
« on: December 16, 2014, 01:42:19 PM »

Hi there,

I had tried ML raw on my 650D a few months ago and gave up on the idea after seeing that really heavy aliasing and moire [and other stuff].
I live in UK now and brick walls, trees, grass are everywhere. So it is almost unavoidable to not get a tree in the frame, means you will get aliasing.

I currently visited a beautiful place in UK and had some free time. Normally I use H264 with data rate set to 2.6x. I don't know why, but I decided to try ML Raw one more time. To be honest, as long as you don't pause the video and pixel peep, it looked fantastic comparing to H264 compression. Much much more detail and less need of sharpening. Nothing fancy with the video itself and too bad my tripod gets shaky even when it is little windy so I had to apply some digital stabilization and it wiped out a lot of fine detail. But impressed with how it looks.

Workflow:
I converted the .mlv files to DNGs using Mystic with "2x2 chroma smoothing" box checked to get rid of the pink dots. Processed in ACR via After Effects and then edited and graded. I'm pretty sure that this is not the most up to date workflow. So if you have better ideas on ML raw workflow on Mac platform, please share with me. Just don't forget that 650Ds have pink dot issue and chroma smoothing is a must right now [at least this is what I know].

It is definitely doesn't look like a 5D III video. What people do with 5Ds blows my mind. I am definitely not thinking to use ML Raw on 650D in a professional work soon but will keep using it for short videos and experiment with it to understand when it is usable and when it is not.

Probably that's another story if you use a VAF filter though. I don't have it right now so I don't know how good they perform especially if your recording resolution is different than 1080p.
Regarding to the flickering problem, I read some people fixed it by changing the "process" to 2010 from 2012 under "camera calibration" tab in ACR.

Thanks and I want to say I really enjoy watching everyone's work on this forum. Such an amazing community and feeling lucky to witnessing to all of this.

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