Messages

@reddeercity I Know your busy and you do not like redundancy, but this will be last time I'll ask question:
1. Which is your most stable build in FHD, 48fps, 5K, 4K time-lapse and 5x Crop?
2. For Best Image results is it best to use 14bit and 12bit or is 10bit Raw good enough?
3 Lastly, What is the best workflow that you use.
Thanks for your answers, I wanted to have your best recommendation as I test out builds in this time of population Quarantine.

Thanks Again,  Can we use 3x3 1856x1248 with magiclantern-crop_rec-3k_Updated_Center_4.20pm-5D2-eXperimental.2019Nov14.5D2212.zip, or do we only use it for crop and also crop rec is more useful with crop lens or 24mm, right. Its so much redundancy on the front page, so if you can so I won't need to ever ask these question again, please answer these questions: 1. which firmware & tutorial is for the most stable 48fps, 2. which firmware & tutorial is for the most stable 3x3 FHD 1856x1248 3. which firmware & tutorial is for the most stable Crop-Rec 3008x1080 4. which firmware & tutorial is for the most stable 3x1 and 5. which firmware & tutorial is for the most stable 1x3.

I know these questions might irratates you but PLEASE MAKE THIS CLEAR for user so we can better utilize as instructed, THANKS for any info you can clear up.

Can someone explain how to use 48fps firmware, its doesn't have setting like on the video on front page, I will use firmware that correspond with video, maybe that'll work. Thanks again Redeercity, are you done with 5DM2 firmware and are you getting better images with 50D?

Thanks like always RedderCity, but just for full operation option which build allow 3x3 FHD Dual ISO?

This is the perfect thread for a discussion in a good option in workflow for a multi-folder production. I filmed 3 episodes to my TV drama I've developed, it's a total of 5.8TB but if I pick wisely 1.6TB each episode. My workflow is MLVFS transforming MLV files to virtualDNG to DaVinci Resolve. Now to respond to your message, I don't think ProRes 422, 4444 or 4444XQ can retain the true functionality of the DNG footage so I decided to maintain DNG as much as possible through my workflow (please correct me if I'm wrong about balance expose or color correction in ProRes 4444 or 4444XQ). I'm even doing MLVFS to DNG in AfterEffect for special FX, by the way my colorspace in DaVinci Resolve is ACEScct and I do notice that the naming scheme is only maintain to one of the folders and I've been asking if there is anyway to view multiple folders in MLVS via Browser window, no answer. Can't wait to interact with you because we might be able to get each other or any fearless MLV user through a brave Magic Lantern film post production process.

What is the latest Version of MLVFS and How do I know I'm running latest version? I'm using MLVFS in DaVinci Studio 16, sometimes when I open project it changes name of clips and I can't relink files to project. Please let me know what's the most stable workflow with MLVFS.

@Reddeercity I missed why we are talking about a 50D on a 5D2 Thread, I'm game but I just want to see what's the relevance to the 5D2. Have we reach the full width of 3x3 5D2 at 1856, is it official that the most possible stable for 1x1 and 3x3 is 2.6k_5d2_R_T_PreView_4-7-2019_crop_rec and the one thing we have to remember is that we need to push play twice to return to FHD 3x3 mode from 1x1 crop mode, additional we have to delete files in computer because reformat in camera delete firmware also. Thanks for everything you do Magic Lantern & Reddeercity for us 5D2 devotee.

Thanks for the quick response @dfort, What I mean by Durability of FuLL Frame Sensor's Pixel is that a full frame Video Pixel is so much bigger then a Micro 4/3 sensor aka Super 35 crop sensor, so by every FULL FRAME sensor pixel being bigger it gives room for better In Depth Field and less noise. But if like you say Magic Lantern is using less sensor real estate then a Micro 4/3 sensor to achieve 2K, 3K or 4K, that will answer a big question because it means we get more resolution but a much worse image. It might make sense to battle the aliasing factor with 3x3 sampling then get more resolution with a smaller crop factor of the sensor then a Micro 4/3 Sensor. My study say the goal if you decide to minimize video presentation to the spec wars, is to have a FULL FRAME Sensor with 4K recording from a Full Frame Sensor. I was just wondering if ML 5D2 FHD 1856x1248 is using the FULL FRAME Sensor? I know the most we can get from the 5D2 is 1880x1040 instead of 1920x1080, but is 1880x1040 FULL FRAME video recording and we just lack 40 pixel wide and 40 pixel high? This whole conversation is the hunt for what is the best image from ML RAW video from 5D2? Is it 10/12/14bit 2019Mar24 from Experimental, Bleeding Edge Experimental ReddeerCity's 2.6k April16's 2.6k_5d2_R_T_PreView_4-7-2019_crop_rec or is it still our trusty Feb 16, 2014 for MLV 2.0 and Oct 24 2013 for RAW 1.0? Thanks for any response, I just want to help communicate the best image from ML Raw.

Question @dfort, would the 5D Mark II image look more competitive and have reduced noise if we compared FHD 3x3 1856x1248 vs the BMPCC4K. We are really in the Vortex when we compare 2.6K Crop vs 4K crop sensor of noise, when the real comparison is how much scaling can the 5D Mark II ML FHD 1856x1248 take vs BMPCC4K 4K crop sensor. To make a long story short, What is the pixel durability of a FULL FRAME Sensor Pixel VS a Super 35 Crop Sensor? I've may have missed this discussion in the quality of a FULL FRAME ML FHD RAW sensor pixel durability.

It seems to freeze when in 3X mode and also have black lines vertical in the frame.

Did some hdr blending(48fps HDR on my eosm). Hdr iso settings can be found under Crop mode sub menu since HDR mode is broken on this model otherwise when it comes to raw recording. Export render time is about the same as any other file thanks to averaging filter instead of enfusing, aligning etc.



Also exported with H265(7 sec clip). The file size 897kb! Very high quality.
https://bitbucket.org/Dannephoto/magic-lantern/downloads/h265.mov

High iso


Low iso


final result:

Is that Dual ISO, and please can you share your workflow and setting of camera also?

Thanks for all the efforts in this project. MLVApp is amazing. I use it in every production to convert MLV to ProRes in Log-C.

@Ilia3101
A higher color space is the only thing holding me from using MLVApp exclusively to process MLV files.
It would be great if you actually achieve that. Is there any specific problem you can't solve?
I started reading some stuff and found this camera spectral sensitivity for 5DMKII. Maybe this could be used to create an IDT? It would not be precise for other cameras than 5DMKII, but could be just precise enough. The ODT's can be found here.

I was thinking something like this:



High bit-depth output is important too, as on some companies (like Netflix) it's mandatory now to send HDR (meaning 10-bit Rec.2020).

@masc
Do you think it would be possible to implement a filter like Black ProMist? The idea is something like: gaussian blur on shadows and then change the blending mode, where gaussian intensity controls the amount of diffusion and opacity controls the overall intensity. Of course, it wouldn't be the same as the filter itself, but it would be close enough to "hide" crispy edges that digital cameras produces. I simulate that on photoshop this way:

Luther I am a proud ML Canon 5D Mark II User, I use MLVFS to convert MLV files to Temp DNG, Use AfterEffect to edit DNG in Adobe Camera Raw, then AfterEffect Render DNG to ProRes 4444XQ. I would like to know what do you think is the best log profile to use and What is your Workflow.

Thanks for the rundown Reddeercity, I've been asking for two some of the info you just posted. Please answer one more question, Which Log Profile are you using and where to get it from?

Thank for Anything that you give us RedDeerCity but What's the best 1:1 Resolution? I do notice if I'm going to use x5 then to get the equlavate of a 50mm I need to use 24-35mm right?

@reddeercity
Is it correct to say you are working a 48fps release, what will that resolution be and is it Squeeze or Unsqueezed? Also is the most stable 10/12bit the Oct10 release in MagicLantern Experimental Nightly Build?

@70MM13
RawTherapee sound interesting, I use MLV App but I'm using Camera Raw in AfterEffects the most. I just installed RawTherapee, what is the workflow you use with Magic Lantern? I'm filming a Feature Film exclusively with Magic Lantern, I want the best option to process Magic Lantern footage,  so my Question is what's you favorite stable firmware, and if you were risky and brave to film a feature with Magic Lantern what would be your workflow? Please anyone feel free to answer above questions, I'm very competent but I love to have options and keep my options open so every time I ask a question on this forum its for real productivity. Sometimes I ask question on this forum then it gets loss in the clouds and ignore. Thanks for Any Advice or Guidance

When Filming with 10/12-bit RAW video Experimental Firmware, are you filming FHD or Using most of the Sensor when filming 1:1 Ratio or Should I be recording in 3:2 Ratio to get FHD? Is there massive different in the 10bit vs 14bit?

No signal with HDMI when push button (Set) to disable Magic Lantern and No HDMI signal with non-bootable card, also only cable connected is the HDMI cable.

My Apologies for the Detail Screenshot deluge, but when asking for assistance I feel one should be very accurate and informative with all setting, this will allow you guys to see what the average user is doing in setting. Please advise me if my setting are correct for getting the best use out of Magic Lantern as we find solution for monitor issue, I turned off Headphone Monitor and I see feed but no HDMI signal. Do you think I have HDMI issues and how do I check to see if my HDMI Jack on my camera is burn out or has a shortage?

Here We Go! All my setting on Canon Menu, Magic Lantern Menu and LiveView showing that monitor works with Magic Lantern Disable, but No Signal on Monitor when Magic Lantern is Enable. Also I'm using RCA right now but when I'm out in the field same from HDMI. PLEASE HELP

I'm going to take screen shot of my Canon setting as well as my ML setting then post them, I'm extremely sure that this inquiry will answer external monitor complication with 5D Mark II from this day forward. Will post screenshot in next few minutes within this hour.

I would never waste time, but I still would like to solve a problem. PLEASE TELL ME IF YOU GUYS KNOW IF THERE IS A RESOLUTION TO THIS ISSUE. Monitors work perfect without Magic Lantern Active, but I would love to have monitor as I'm Filming. I will use old firmware to see if it's because I'm using latest 10/12 bit Firmware. With All Your Great Minds PLEASE Give Me Solutions.

I'm on a shoot in 4 hours PLEASE HELP QUICKLY!!! When I take out my Magic Lantern Card or hold down set button to disable Magic Lantern, my external screen display my Canon 5D Mark II screen but with magic lantern on I get NO SIGNAL on External Monitor?

Wow, @Reddeercity you're affirmative I use both FPS setting, Thanks for the smack on the back of my head. So is it necessary to use Exact FPS on 10bit 12bit? When using 5x is it recommended to use 24mm to get a 50mm framing? Thanks Again to Reddeercity, Alex, Waza57 for the phenomenal job of making my trusty 5D Mark II at least a FHD RAW recorder, with full frame sensor RAW our images will meets up to wide range of end Presentations Format.

I don't know what I'm doing wong but I can't wait to find out, I've follow all tutorial steps. I attached photos to represent setting, also showing that in 1856x1044 1:1 and 10x zoom everything looks OK, but x5 3.5K 2880x1080 is all static lines. PLEASE HELP ME SOLVE THIS!

 

I must be doing something very wrong, so I'll take the hit. Please breakdown what our setting should be, I only see static lines when I try to use 3.5K 1.1 Crop setting.