Topics

Currently it is only possible to trigger focus stacking from the ML menu. Please allow focus stacking to be triggered from a remote in the same way exposure bracketing is triggered. This helps avoid camera shake and allows automated focus stacking using a motion control rig (e.g. Kessler Slider / Second Shooter).

Is there a way of triggering focus stacking from the shutter release button or a remote? It seems like the only way to run it is from the ML Menu?

[Info]

Just come back to magic lantern after some time away and don't seem to be able to get the original Canon overlays to display. As far as I can remember I used to press Info (I'm on a 5D Mk3) to toggle between Canon's overlays and to ML's overlay. The last thing I remember doing was setting up Two LV Display presets (one which had no overlay and one which had histogram, focus peak etc), and they are there, however pressing Info just cycles between them and never to the Canon overlays.

Is it the case that if I use these presets I lose access to the Canon overlays?

I'm sure I'm misremembering something, so please can someone tell me how to display the original Canon overlays (I need the one that shows horizontal tilt).

Thanks.

According to this thread: http://www.magiclantern.fm/forum/index.php?topic=12096.0, when I select EV units for spot metering, the value is:

the EV from saturation (overexposure)

And I assume this is true of the use/display of EVs elsewhere in the overlays.

At 100 ISO if I set the histogram to show dynamic range (Overlay > RAW EV Indicator > Dynamic Range), it gives me the value of D11, which tallies up with what I've read about the 5D Mk3 which is that it has 11 stops of dynamic range.

However, If I set the histogram to show an ETTR Hint  (Overlay > RAW EV Indicator > Show ETTR Hint) and cover my lens, the maximum value that is displayed is 9.3EV, suggesting that the difference between no exposure (because the lens is covered) and overexposure / over-saturation is only 9.3EV.

Additionally, with the lens covered, the histogram displays data over the first three EV bars. With no light entering the camera, I would expect a spike at (or around) the left edge of the first EV bar.

So why does the ETTR hint max out at 9.3EV when the camera has a dynamic range of 11EV, and why does the histogram show 3EVs of data when no light is entering the camera?

I have lots of footage shot on a 5D Mk3 shot in numerous places (with numerous types of lighting). I would like to edit this footage in Premiere CC and grade it in Resolve 11 Lite. I've been trying to come up with the best workflow given that Resolve is sluggish when using CDNGs (I'm on a 2013 Macbook Pro), but great with Prores files.

The workflow I'm thinking about using is:

1. Mount all .MLV files as .CDNGs using MLVFS
2. Import these .CDNGs into Resolve.
3. Set Project RAW settings to:
    Decode Using: Project
    White Balance: Custom
    Colour Space: BMD Film
    Gamma: BMD FIlm
4. Set Project LUTs to:
    3D Input Lookup Table: BMD Film to Cinelog 2.0
5. Manually set white balance for all clips
6. Export individual clips as ProRes 422 HQ
7. Import exported clips into Premiere
8. Edit in Premiere
9. Export XML from Premiere
10. Import XML into Resolve
11. Grade clips in Resolve
12. Export deliverable from resolve

Does that make sense? Is there a more sensible workflow?

Thanks.

Once I have converted MLVs to CDNGs is there any point keeping the original MLV?

I need to use and archive a set of mlvs. Due to the nature of the shoot, the vast majority of each take (3-4 minutes) is junk, with a short section (10-20 seconds) of each that is of value. There are a large number of takes, so that gives me a huge amount of material that I will never use of need and which doesn't need to be kept.

How can I extract the section of each take that I want to keep whilst keeping it as mlv (cdng would also be fine)?

I've spent a lot of time today dredging the interweb in an attempt to understand the optimal way to convert from mlv to Prores. I understand how cumbersome cdng files are through my own experience and I understand the benefits of converting to Prores for editing, however some of the subtleties of this process are currently escaping me. If anyone could take a moment to put me right I'd much appreciate it.

I'm currently looking at going from MLRawViwer -> DNG Sequence -> AfterEffects -> Prores. I like this workflow because I know ACR (and Lightroom) very well, so I know how to get the RAW files into the shape I want them. My question is what shape should this be? My initial assumption was that I would grade the RAW to look the way I wanted in Aftereffects and then export, but heavy grading at this point seems very premature. So am I right in thinking that what I really want to do is to ensure that as much information as possible is extracted from the RAW files and present in the encoded Prores file. This would then allow more latitude in grading later on down the line. If this is a sensible approach, what should I do to make this so? How should I grade the RAW file to maximise the amount of information in the Prores file? As far as I can gather I absolutely have to get the white-balance and colour-balance right at this point, but what else should I do (if anything)?