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[The idea: Alex's 1x1 1080p 3x crop mode with correct preview, but have it record an extra 5% (say) of pixels from the sensor. Why? Then you could use stabilization in post without needing to zoom. It would effectively be like digital stabilization in camera.]

Hi, so, I have an idea and wanted to ask anyone who has already got their hands dirty with coding if it would be feasible.

The idea: Alex's 1x1 1080p 3x crop mode with correct preview, but have it record an extra 5% (say) of pixels from the sensor.  Why?  Then you could use stabilization in post without needing to zoom.  It would effectively be like digital stabilization in camera.

This might not be of interest to everyone, but it strikes me there are really two ends of the spectrum on how to use ML.  (1) seeking highest resolution in some way, and willing to compromise on preview, continuous recording, overexposed areas. (2) Using it as a Super 16 HD or FF camera with 14-bits and seeing what extra features can be squeezed out.

Personally, I use it almost all the time as (2) and it is amazing.  Am curious if the stabilization 'border' would be possible though!

What do you guys think?
Stewart

I've just finished my first full length project using just 5D mk iii with ML, after years as my only camera.  It has been the most amazing ride, and I can't express enough how grateful I am to everyone involved. 

I'm curious though - having never used anything else - what others' experiences are of the entry level commercial cinema cameras.  A RED Komodo, or a Canon C300 for example.  Even a Fujifilm GFX100.  As I'm acutely aware I'm going to have to deliver 4k at least on my next project.

Has anyone experience with these to share, in light of the amazing ML 5D? 

https://vimeo.com/558756617

Hi guys, am hoping you might be able to help me out with my confusion.  I've been asked to send over a heap of footage in log prores 4444 to a grading house (huge shock).  It's currently in DNG form (converted from Canon 5d mk iii MLV) and I'd been editing in Resolve in Rec7090.

What is a safe way to get my timeline nicely output as log without losing data?  I was happily working in Rec709 until this bombshell hit, but now I'm confused about curves and color-spaces.

Specifically: can I import my DNGs into Rec709 in Resolve and not lose data (aren't we in 32 bit at this point?) - and then use Color Space Transform to output some log space version (BlackMagic Cinema-camera film Gen 4 for example?) 

Or should I go into the Blackmagic Film space first (but then which transform to use?  The output as is looks suspicious)

Any help would be really appreciated.  I have to send this out on a drive tomorrow...

Thanks in advance,
Saf34

Quick question for those shooting *lots* of footage:

What is the space-efficient way to quickly render out low-resolution rushes for the director?

For example, yesterday I shot 5TB of MLV (14-bit lossless).  If I mlv-dump this lot to dng (my usual workflow to Cinelog) it's around 10TB. 

So my questions:
  - If I mount everything using MLVFS to render out low res, does this need 10TB of temp files?
  - If I import the whole lot to MLVApp, does this require 10TB of temp files?

Or how do others do this for long shoots?

Best,
Stewart

Hi all, just a quick one.  Could anyone help me identify the banding issue I'm having with my MLV file in the highlights?  I'm almost certain it's been discussed, but I haven't managed to find an image example that helps me identify it.

My workflow:

Canon 5d mk iii > mlv_dump to DNGs > After Effects

The mlv_dump vertical stripes fix seems to be working in mlv_dump fine.  And these stripes are not just vertical.

Image (zoomed) attached.

https://www.dropbox.com/s/3q0spbrfje1bvel/Screenshot%202019-12-07%20at%2015.04.22.png?dl=0

Thanks in advance!
Stewart

Hi all, I had a little look around the forum but can't see an immediate way to do this.

I'd like to quickly extract the wav audio from my session's MLV collection. 

The reason?  After I did my 24-hour batch MLV -> DNG using mlv_dump, I have audio missing from a bunch of files (but not all).  So I need to investigate.

Is there a command-line tool for doing this?  I half wondered if there might be an option on mlv_dump but I can't see any.

Any help really appreciated.
Stewart

Hi all, I shoot handheld footage on a Canon 5D mk iii.  And I'm wondering how others manage colour while previewing from live view?

Basically: I find that when I import footage that looks good on Live View, I always need to bump up exposure by about 1EV to get a similar exposure in the shadows in REC709.

I can just expose to the right of course.  But then I can't make aesthetic decisions from the live view in real time.  I'd much rather be able to see something that is close to the final result for this kind of work.

My workflow is:
- shoot RAW,
- Adobe ACR to Cinelog-C (usually have to bump up exposure by 1EV)
- After Effects to Cinelog-C DNxHR 444 master

How do other people deal with this?  Or am I missing something (I am pretty new to this)?

Many thanks,
Stewart

Hey, first post on the forum after a year using ML on a 5dMkiii.  Has changed my life!

If anyone has a minute, I'd love any recommendations on a desktop PC I need to build.  My workflow is:

- Film handheld 14-bit 1920x1080 uncompressed MLV
- Go home & transcode to 12-bit Cinelog DNxHD for storage
- Edit, stabilise, grade & render H264 in DaVinci Resolve 14

At the moment I am using an old i5 HTPC, grading in Premiere Pro. The problem: I have to leave it for a day to render the DNxHD and can't even play back while grading...

Any opinions on the best value DaVinci Resolve System for a sensible transcode and realtime render?