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I am shooting a horror short film on my 5D3, and want to take advantage of the beautiful image captured in 5.7k anamorphic mode, as well Dual ISO, as it will be a very high-contrast scene.

Has anyone been able to successfully implement both features at the same time? I seem to get a blue-ish glow around every detail of the image when I am viewing the clips in MLVApp, after enabling Dual ISO on in MLVApp. I've tried experimenting with different pairings of ISOs to no avail, and I've been able to get both Anamorphic and Dual ISO to work just fine on their own respectively.

Any suggestions or tips would be great! Thanks in advance, community!

Hello everyone,

I am in the process of acquiring a 5D3 for the purposes of a project that I will attempt to shoot almost entirely with the 5.7k anamorphic preset.

I have decided on purchasing the Lexar 1066x CF cards as storage. however, I am now stuck in analysis paralysis in regards to what size to get them in.

After some extensive combing on the forum and finding nothing definitive, I thought I would ask here for my own peace of mind: Is there any notable speed differences between the different size cards? The project largely consists of talking head shots that are roughly 20-30 minute sessions that I intend to shoot continuously, with some landscape shots mixed in. I would ideally like to purchase a 256GB card or two to capture as much in one go as possible, provided there is no noticeable drop in performance compared to its 128GB or 64GB counterparts?

Thank you guys so much in advance, and apologies if this information is located in plain sight elsewhere on the forum.

A relaxed, chill cabin wedding of two good friends that I got the pleasure of shooting in Falcon Lake, Manitoba.

All shots were on a 6D in 12-bit lossless, 60fps slow motion in the max resolution of 1824x616, and then stretched by 1.67 in Resolve.
I used a Canon 24-105 with a Black Pro Mist 1/4 for the entire day.

Aerial shots were filmed on a Phantom 4 Pro V2.0 in D-Log.

I used a combination of @Andy600 's Cinelog-C shaper LUTS along with Dehancer, using "Cineon Film Log" as the Input Source in order to best integrate with Cinelog-C's colorspace. I am very pleased with its close-to-authentic film emulation.

Sidenote: For shits and giggles, I thought I'd try processing the MLV files in both MLVFS and MLV App to see if there was any significant difference, and wow, does MLV App handle highlights and highly saturated areas remarkably better to the point that it almost looks like it adds an extra stop of dynamic range in the highlights.

MLVFS use to be my go-to from when I had a computer that didn't have the space nor processing power to playback in any practical way, but now that I have an M1 Max MacBook Pro which plays back DNG files like butter, I will strictly be using MLV App from now on.

A music video I shot, directed, and edited for a local music artist.

All shots were in 14-bit lossless using the crop_rec 3x3 build and in 1824x1026, except for 60fps slow motion shots which were in 1824x616, and stretched by 1.66x.

I would have loved to take advantage of the 3x3 binning crop, however it does not give me enough of a vertical resolution for practical use, even for the 2:39 aspect ratio that my project was. I guess I can zoom the image in post, however I did not want to sacrifice any more of the limited resolution with the 6D as it is.

Overall I am generally pleased with the final result.
Graded in DaVinci Resolve using Cinelog-C, Vision Color's M31 LUT, and Filmconvert for grain and additional adjustments.

A music video I shot, directed, and edited for a local music artist. Wanted to experiment with double exposure techniques. Looking forward to using this technique in more advanced/tricker ways, now that I have a bit of rudimentary experience with it.

All shots were in 14-bit lossless using the crop_rec 3x3 build and in 1824x1026, except for 60fps slow motion shots which were in 1824x616.
Graded in DaVinci Resolve using Vision Color's DELTA LUT, and Filmconvert for grain and additional adjustments.

I recently DOP'd a short film using all MLV on Magic Lantern.
All shots were in 14-bit lossless using the crop_rec 3x3 build and in 1824x1026, except for 60fps slow motion shots which were in 1824x616.

Let me know what you guys think! I always value all fellow Magic Lantern users' opinions and want to get better at using it!

Hello everyone!

I shoot MLV with a 6D and edit using MLVFS and DaVinci Resolve, and have been experiencing an ongoing issue in some of my footage with white pixels around where I am guessing specular highlights would be present:


When I bring the same clip into MLVApp and turn bad pixel fix on, it solves the problem immediately, which is wonderful!
But when I am editing through DaVinci Resolve using MLVFS, even with Bad Pixel Fix set to Aggressive, the issue is still present.

I am just curious as to what causes this to happen in the first place? Is it just an inherent limitation of some sort on the 6D's part? Is this prone to happen on 5D3s as well? I have performed manual sensor cleaning but the problem still persists.

I would like to continue using MLVFS in conjunction with DaVinci Resolve, as it is really convenient for quick edits, but am unsure of the solution to this.

A music video that I shot for a local music artist at Winnipeg's Fort Garry Hotel.
Shot on the 6D using the crop_rec experimental build.

Mostly shot at 23.976 at 1824 x 1026.
Slow motion shots were at 60fps at 1824 x 634.
also used the SD Overclocking module.

Used a combination of @wangtrirat's Arri Alexa emulation method as well as FilmConvert for color grading and adding grain.

Experimented quite a bit with keyframing, a common trend in rap videos lately, which I was a little apprehensive about at first given the limited resolution I was recording at, but I feel that the film grain that I added hid that well enough to make it look more like an artistic touch than anything else.

Can anyone tell me what the highest resolution the 5D3 can record in at 14-bit lossless 24fps MLV, with a fully-functioning real-time Live View?

Thank you very much in advance!

A retro, Wayne's World, Back to the Future inspired music video that I shot for local Winnipeg band, Panicland.
Shot on the 6D using the crop_rec experimental build. Regular speed shots were in 1.85:1 aspect ratio (1824x986), and used the SD Overclocking module to record continuously.
Slow-motion shots were also 1.85:1 aspect ratio (1824x592) and got about 5 or so seconds each recording.

Exposed to the right as best as I could with each shot and did not go over 6400 ISO.
Had some vertical banding issues with some of the underexposed shots that I couldn't get Neat Video to completely get rid of, but all in all it looks pretty decent.

Suppose one were to shoot video with Dual-ISO in a dimly lit area and capture as much information and dynamic range as possible.

Let's say the lighting conditions are so low, that in accordance with exposing to the right for the lower number, you end up setting it to your maximum usable ISO (Let's go with 6400 for example, as that appears to be the upper usable limit for the 6D before significant degradation). On the viewfinder it looks fine enough aesthetically/artistically speaking, however, on the histogram the highlights barely reach the middle.

What would the second ISO value need to be then? Since you've already maxed out your first ISO trying to expose to the right?

Or would this simply be a case where dual ISO is not ideal in this scenario, and is best just to stick to 6400 as a single ISO?

This was myself and my team's entry for the 2018 Winnipeg 48 Hour Film Contest.

Shot on 6D MLV Lite, 1824x1026, 12-Bit Lossless. Slow-motion shots using crop_rec 1824x634 3x3 binning.
Most shots done on Zhiyun Crane 2 and standard shoulder rig.

A music video I shot and edited for a local Winnipeg artist. Shot on my Canon 6D on a Zhiyun Crane 2, in 10-bit MLV Lite.

This is a VERY newb question, but I figured the ML Forum would be the best place to get this topic clarified for me, as exposing to the right when capturing video confuses me a bit.

Lets say for example that you were recording MLV at 24fps, keeping a 1/50 shutter (fine-tuned to 48) shooting a subject in a pretty low-lit location which does not permit the use of your own lights. (There are only fluorescents high up in the ceiling)
Other than opening up the aperture wide-open, and assuming you wanted to lock that 180 degree shutter, would the only way to successfully expose to the right be by increasing the ISO until the histogram shifts to the right side, no matter what lighting situation you are in?
Is having a 6400 ISO, regardless of how noisy it looks, perfectly acceptable as long as it achieves the purpose of pushing the highlights to the right end of the RAW histogram?
Or would the use of ETTR just simply not apply in this context?

To further confuse me, if you knew that later in post you were going to try to achieve a look that, stylistically, makes use of shadows and soft minimal light on a subject, such as this image for example:



Is ETTR still a practice that you would use in this situation when shooting this?
Basically what I'm trying to figure out is if ETTR should be as much of a concrete step I use with any footage recorded (in the same realm of always white balancing, and color correcting your footage), and then any stylistic choices you want to make with lighting is done with post, by adjusting shadows, mids, highlights, etc.?


Thanks to anyone in advance!

A music video I shot for my two cousins. Shot on my Canon 6D on a Zhiyun Crane v2, in 12-bit MLV at a resolution of 1696x710 upscaled to 1080p.

Some footage I shot while flying from Vancouver, to Calgary, to Winnipeg.
Shot with MLV @ 60fps, 1824x616 on Canon 6D, stretched vertically by 1.67.

Music: Sébastien Tellier - Roche

A behind-the-scenes short I put together of a photoshoot for FRIENDLY MANITOBA, a new clothing line by my good friend, Kyle Doucette.
Shot on my 6D in 12-bit MLV, a resolution of 1824x616, 60fps, vertically stretched by 1.67.

Some casual, off-the-cuff handheld filming I did with only my 50mm during my friend's wedding rehearsal.
Shot on my 6D in 12-bit MLV, a resolution of 1824x616, 60fps, vertically stretched by 1.67.

This is a collection of slow-motion test footage I've compiled over the past few years using Magic Lantern on my 6D. Excuse the low resolution and soft focus at times. I was still quite new to both the camera and the firmware starting out, and was experimenting with different shutter speeds, resolutions and the FPS Override feature.

The resolutions varied from 1600x402, 1792x450, to 1792x480, at a 2.39 aspect ratio, which was then stretched/upscaled to 1920x1080.

Hi everyone,

This is little short film is one I made for my final project in school. Let me know what you all think!

This was shot in MLV on my Canon 6D. Due to the 6D's inherent limitations, I adjusted the RAW resolution differently for almost every shot to the highest resolution possible given the amount of recording time I would think I need during a specific take.

Used a Resolve>Premiere Pro>Resolve workflow, using Cinelog-C Masters, Neat Video, and FilmConvert in post.

Cheers!

This is nowhere near the caliber of quality that is usually posted on this forum, but I thought I'd share with you guys my first crack at a short film using Magic Lantern on my Canon 6D. This was made for my University class. It was definitely a learning experience, and there was only one incident of an SD card going corrupt. So I am considering myself lucky 

I'm still brand new to color correcting/grading, and adjusting exposure is still a challenge for me, but I flattened with the Cinelog-C LUT, denoised with Neat Video, adjusted curves and added the VisionColor M31 LUT among other corrections.
Any constructive feedback to getting a better image/color grade would be appreciated.

Thanks guys!

Sorry in advance for the extremely newbie question, as there is likely a simple answer to this.

Currently using a 6D with 6D.116 build.
Now, back when I was using the 6D.113 build, I distinctly remember being able to record MLV at the 2.39 aspect ratio from a larger selection of resolutions (1504x630, 1536x642, 1699x670, 1728x724, 1792x750, etc.), however now, in terms of that particular range, I can only choose from selecting 1280x536 directly to 1600x670.

I'm not sure if it is directly correlated with the builds I am using or if it is due to something else that I haven't done, but any help would be greatly appreciated!

Hello everybody,

As I understand it, the common way to achieve slow motion with Raw video for Canon DSLRs is by setting the standard Canon menu to record 720p at 60fps, setting the FPS Override to 48fps, then slowing it down to 24fps in post.

So, does that mean that setting the FPS Override to a higher value like "60fps" as opposed to "48fps" would allow for an even slower motion?


Thanks in advance.