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I'm using ML raw on commercial shoots more and more often now. This is my (German) interview with actor Max Riemelt from the Netflix series Sense8.
I shot this on the Canon 5D Mark III with the famous Nifty-Fifty attached. No additional lighting, it was a very rushed setup with just about 10 Min.
to get into the room and shoot the interview in a hotel in Berlin. Corrected & graded in DaVinci Resolve Studio 12.5 (incl. Neat Video plugin) using MLVFS, edited in FCPX.
I also used the Free Ektar 100 LUT as a starting point for color grading.

Check out my huge collection of ongoing Berlinale interviews in this other topic here!

Working on an experimental feature film project that's been in development for a while and still shooting until next year or so. Just finished a huge part of the first chapter, here's a teaser for that intro sequence. Some GoPro footage in there, for obvious reasons, all the rest is Canon 5D Mark III with Magic Lantern raw and all natural lighting. Hartzday is a movie which starts off as some kind of audio visual poetry, developing into a full cinematic story experience later on. I'll probably post more teasers along further development, still way to go until the whole thing is finished...

I'm running an annual interview project about the filmmakers of the Berlinale Shorts competition at Berlin International Film Festival. Started in 2008 with a small handheld MiniDV camcorder, now in 2015 I'm shooting raw on my Mark III. The first interview of this year has already been released, there are more to come within the next couple of days and weeks. Some GoPro footage mixed in there obviously, but the main camera work was done using Magic Lantern raw.

More about my project: http://www.short-talks.com

Just stumbled upon an app called Lattice. It's a software to easily review, transform & export 1D/3D LUTs. Isn't this a tool one could use for adjusting LUTs like Osiris, ImpulZ, Koji and Speedlooks so they suit ML raw footage better - especially ML raw footage in Resolve's BMDFilm color space?

I'm no expert on this whole topic and didn't buy Lattice yet - anybody here who uses Lattice or has an opinion on it? Worth a try?

I've bought the new Speedlooks Version 4 Studio LOG package for usage in DaVinci Resolve 11. Since there's no "official" camera patch (aka conversion LUT) for ML raw footage, I've reached out to Looklabs and asked which workflow they suggest.

"Once you convert your RAW to REC. 709 you should then apply our new universal camera patch (Rec. 709 To VS-LOG). From there you can add a SpeedLook over top and color correct in between the two layers."

So pretty much the obvious way to go when there's no specific single conversion LUT in between. Haven't yet tried their suggested workflow, but got some good first results using BMDFilm 4k -> Cinelog 2.0 + Arri Alexa camera patch (that came with Speedlooks). Still prefer the look that I get with BMDFilm 4k -> Cinelog 2.0 + Koji Color LUTs.

Can't share test shots since all my footage is part of work in progress projects. Does anybody else use Speedlooks with ML raw? Please share thoughts/workflows/impressions! 

Not long ago I've started a finger puppet show on Youtube. Except for the bits and pieces I've pulled from other sources (legitimately used for satirical reasons) all the finger puppet parts were filmed with a Canon 5D Mark III using Magic Lantern raw.

This other episode is only available in German:

I'm gonna continue making more Filztheater, so feel free to subscribe! 

[One more time I wanna thank the Magic Lantern team for their outstanding work! Preparing a donation to you guys, as everyone and his dog who uses this for commercial purpose should!]

Hi ML friends,

finished my very first commercial work shot on Mark III & ML raw. Client was more than amazed by the quality as he was expecting the usual DSLR look.

Took me a year to figure out how to get there without doing too much guess work on set or in post. Let me know if there are any questions about workflow or whatever else. Since this board and other websites helped me a lot to figure all this out for myself, I'm happy to help others now. There's more ML raw work in the pipeline right now, most of it looks even better since I keep progressing in terms of color grading.

All videos here were shot on 24-105mm f/4L IS USM AF and EF 85mm f/1.2L II USM from Canon. I post processed & graded in DaVinci Resolve 11 with VisionColor ImpulZ LUTs, CineLOG 2.0 & Film Convert Pro 2.
I've used different variations of LUTs and corrections depending on the individual clips. Some for example worked very well with BMDFilm 4k to Rec.709 conversion via X-Rite Color Checker plus an ImpulZ Rec.709 LUT. For others I did a more complicated chain of LUTs with BMDFilm 4k to Cinelog 2.0, Film Convert & ImpulZ. I tried not to use the Camera raw tab too much,
but used it carefully for final touches (like retaining details in blacks/highlights) as well as white balance.

There's some more on my website and Vimeo channel.

I'm currently working on a short film with ML raw, there's a first teaser for that right here. This was graded with FilmConvert Pro 2 in Resolve 11 only. Shot on Mark III with 24-105mm f/4L IS USM AF.

I've recently bought Dale Grahn's amazing Koji Color LUTs and since then changed my workflow to work with these. Hope I can share the results soon - they are way superior above everything else I've posted here.

One more time I wanna thank the Magic Lantern team for their outstanding work! Preparing a donation to you guys, as everyone and his dog who uses this for commercial purpose should!