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All good.  Was a card issue and an FPS issue in the Canon Menu.  ( Strange combination of errors as both were previously set accordingly. )

Link to modules working -

Komputerbay 128 CF 1066x

Link to image showing "Failed to Link Modules."

This is the latest 2.6K modified crop_rec.  Fresh "ML install" as instructed.

Downloaded 04-07-2019 CROP_REC.MO for 5D II.  Un-zipped the .RAR and installed to Module to the CF card.  I'm getting an error when loading.

Question.  Does Crop_Rec.MO not go to the Modules Folder?

I get an Err for all Modules when loading Crop_Rec.MO.  When powering off, the Error says it failed to link modules.


Proudly own a 50D...  Will test functionality of further Crop_Rec.MO developments...  With your help.  Thanks.

The internal temp reading on the 50D is reading, "Calm and collected."

Komputerbay 128 1066x, by the way.

Canon 50D_01-14-2017 109 Firmware Test

All Processed w/ CMD and MLVFS:

             RAW REC 1.1 works in 14-Bit Full Sensor Readout and Canon Preview.

             MLV 2.0 works in 14-bit Full Sensor and 5X Zoom w/Canon Preview. However, it is super close to working in 12-bit.

- - - - - - - - - - - - - - - RAW RECORD 1.1 LITE - - - - - - - - - - - - - - -

10-Bit - Full Sensor Readout - - RAW RECORD 1.1 - - Canon Preview Only - Hacked / B&W Freeze Image on LCD - -
   RESULTS: Repeating Frame; every other frame. Top 1/3 of the image is an inverted data sector / bad write.

10-Bit 5X Zoom - RAW RECORD 1.1 - - Canon Preview Only - Hacked / B&W Freeze Image on LCD - -
   RESULTS: Purple Frames. Repeating Frame; every other frame. Top 1/3 of the image is separated from bottom 2/3. Bottom 2/3 features a "wiggly zoom-in" distortion appearing in a timed pattern.

- - - - - - - - - - - - - - - RAW RECORD 1.1 LITE

** Best Results w/ 5X Zoom:

12-Bit Full Sensor Readout - - RAW RECORD 1.1 - - Canon Preview Only - Hacked / B&W Freeze Image on LCD - -
   RESULTS: Repeating Frame; every other frame. Top 1/6 of the image is an inverted data sector / bad write (still repeats image).

12-Bit 5X Zoom - RAW RECORD 1.1 - - Canon Preview Only - Hacked / B&W do not work - -
   RESULTS: Purple Frames. Repeating Frame; every other frame. Top 1/3 of the image is separated from bottom 2/3.

- - - - - - - - - - - - - - - RAW RECORD 1.1 LITE

14-Bit Full Sensor Readout - - RAW RECORD 1.1 - - Canon Preview Only - Hacked / B&W Freeze Image on LCD - -
   RESULTS: Full Sensor Readout is great.

14-Bit 5X Zoom - - RAW RECORD 1.1 - - Canon Preview Only - Hacked / B&W Freeze Image on LCD - -
   RESULTS:  Purple Frames. Repeating Frame; every other frame. Top 1/3 of the image is separated from bottom 2/3. Bottom 2/3 features a "wiggly zoom-in" distortion appearing in a timed pattern.

- - - - - - - - - - - - - - - MLV 2.0 - - - - - - - - - - - - - - -

14-Bit Full Sensor Readout - - MLV 2.0 - - Canon Preview Only - Hacked / B&W Freeze Image on LCD - -
   RESULTS: Full Sensor Readout is great.

14-Bit 5X Zoom - - MLV 2.0 - - Canon Preview Only - Hacked / B&W Freeze Image on LCD - -
   RESULTS: 5X Zoom Results Record Great. However, FRAMING IS OFF.

- - - - - - - - - - - - - - - MLV 2.0

12-Bit Full Sensor Readout - - MLV 2.0 - - Canon Preview Only - Hacked / B&W Freeze Image on LCD - -
   RESULTS: Top 1/8 of the image is a repeating inverted data sector / bad write every other frame.

12-Bit 5X Zoom - MLV 2.0 - - Canon Preview Only - Hacked / B&W do not work - -
   RESULTS: Top 1/3 of frame appears to be separated from both 2/3 and repeating every other frame. NO PURPLE FRAMES.

- - - - - - - - - - - - - - - MLV 2.0

10-Bit Full Sensor Readout - - MLV 2.0 - - Canon Preview Only - Hacked / B&W Freeze Image on LCD - -
   RESULTS: Repeating Frame; every other frame. Top 1/3 of the image is an inverted data sector / bad write.

10-Bit 5X Zoom - MLV 2.0 - - Canon Preview Only - Hacked / B&W do not work - -
   RESULTS: Top 1/3 of frame appears to be separated from both 2/3. NO PURPLE FRAMES.

Canon 50D to MLVFS Workflow w/ 12-12-16 Build:

Module Report: RAW Lite

1. 10-bit and 12-bit display a repeating first frame; every other frame.

2. 5X features "pink frames" in 10-bit, 12-bit, and 14-bit; every frame.

3. 14-bit works great; aside from 5X zoom.

For future reference... Just wanted to jump back in and say that the 10-bit + 12-bit RAW recordings from the Nov 29 & Nov 30th build created magenta frames during 5X Crop mode for the Canon 50D. This includes the 14-bit RAW as well.

Jumping out...

Canon 50D: 11/29 & 11/30 Firmware: Getting the same 10-bit and 12-bit results as the 550D (@ teatotalTED), it's the bottom portion of the screen that repeats. FYI: The image splits in the middle of the frame. However, one time it split at the top 2/3rds. The split image repeats every other frame. :o

Meanwhile: 14-bit is as solid as ever. (** First time using MLVFS and the image is really something worth broadcasting! **)

Nevermind: (Turned camera On/Off and it's fine... and also... I assumed that I would be able to see the footage in camera and that I would not need to use MLFVS.)

Interesting results with a SanDisk UDMA 7 120MB/s... I'm getting "Matrix" looking images with 10-bit and 12-bit... It's about time I'm seeing the Matrix. Unfortunately, that not something I was hoping to show people. I'd rather just have the power.  8) Secondly, I started getting text on the screen. I turned the camera off and back on and will eventually get text on the screen. The readout does go away when recording, though.

Tried the latest firmware build for the 50D... Unable to locate the Bit-Depth option in the menu (either w/ the RAW or MLV module). Also, MLV Sound is listed as a module w/ the 50D and causes an error to occur. (Just thought to try it out and see what happens).

The MLV and .RAW Modules in the menu say they were last updated in August of 2016.

Camera-specific Development / Re: Canon 50D
« on: May 24, 2016, 03:43:38 AM »
Update for Camera Run Time with 1mm Thermal Pad:

Ran the camera for about 45 minutes... The temp stated it was at 48 degrees Celsius. However, the camera turned off and I could smell the electronics having heated up to a high temperature.

Shot 111 GB of footage at 1400 resolution at 24fps hoping to reach 128GB on a single record.

Don't expect to get 45 minutes out of the camera, even in 75 degree temperatures.Suggest something like 30 minutes, at most, then you better turn the camera off manually.

For the test I used a battery grip and had the rubber side opened to help the camera breath. Even still, the recording temps were way too hot.

Camera-specific Development / Re: Canon 50D
« on: May 21, 2016, 09:43:44 PM »
Found a video talking about the A6000 overheating:

The video shows how to install a 1mm thick silicone thermal pad from the eBay:

FYI: There is just about enough on the thermal pad to use for two cameras.

Why not try this out with the 50D? Purchased the pad and installed it. Seeing results that last for about a 45 - 50 minutes non-stop recording, with the camera starting at room temp, at the max non-cropped 16X9 resolution. It was 80 degrees when tested. I'm using a Komputerbay 128 GB 1066x card and a battery grip. (The grip may help keep heat out of the battery compartment.)

- - - - - - - - - - - - - - - - - -

Removing the back LCD panel and adding the thermal pad is quite simple on the 50D.

There are two screws on the bottom of the camera. One screw hidden behind the rubber pad by the "Zoom" buttons. Two screws on the side of the view finder (behind the eye cup). One screw that holds that focus adjustment for the viewfinder.

The back panel pops off and there are two ribbon cables that have quick-release attachments to the main board.

Entire process should take about 10 - 20 minutes to instal the thermal pad. It only requires a small Phillips screw driver and something to cut the 1mm thick thermal pad to the correct size. (** There are two main metal plates that protect the Digic 4 Processer and another group of electronics. I removed the shield on the Digic 4 Processor, there are two screws holding this plate in place. The second metal plate can't be removed without taking the camera further apart. Thinking it's not worth the time and hassle.

After 50 minutes, the the camera feels hot. Removing the lens releases a lot of heat. The LCD feels warm to the touch. Wondering if it helps to open/vent the side rubber ports covering the HDMI and other connections? Honestly, the camera, at this temp, doesn't handle well and needs to cool off.

- - - - - - - - - - - - - - - - - -

(Might work with other Canon Cameras as well?)

Camera-specific Development / Re: Canon 50D
« on: April 30, 2016, 07:13:19 AM »
Camera stays cooler by using a dummy battery adapter too. Any menu settings worth turning on/off for keeping heat down? Thanks.

- - - - - - - - - - - - - - - - - - - - - - - - -

Something special about the 50D image though, right? Just has a "look" that's classic, rich, and easy on the eyes. Really enjoy shooting with the 50D. Just hope to get longer recording times without overheating the camera.

Camera-specific Development / Re: Canon 7D
« on: January 26, 2016, 08:05:42 PM »

I downloaded your DNG image and put it into Adobe Camera Raw... I noticed that the processing presets were set to "Camera Default" and not "Landscape, Portrait, Faithful, and/or others." The processing presets are located on the tabs adjustment area. It's a pull-down menu.

I think what's happening is that the "Camera Default" preset is putting too much emphasis on highlights and the details stored in the highlights. Switch over to "Landscape or Portrait" and there is no funky banding, stitching, or pink sun at the native exposure values.

FYI; Almost all DNG images, when lowering the highlights far too much, will produce pink sky and pink sun effects. What changing the processing preset does is better defines where shadows, mid-tones, and highlights actually reside.

Raw Video / Re: 5dmkIII 1080p raw or GH4 4k 8bit for wedding?
« on: December 24, 2015, 01:04:17 PM »
V-Log internal is worse than the originally built-in Natural picture profile. V-Log introduces banding. It brings up the shadows quite a lot and helps to get more consisyent results in different lighting. It truly works great for 10-bit 422 HQ external recording. However, V-Log is technically about a 7 - 80% IRE value. In other words, when you grade the footage in post, you are once again, essentially expanding your IRE back to 0-100%. Using an external recorder with LUTs built into the recording is about the only way you'll ever see the true nature of the GH4. At that point, your file sizes are massive in 4K 422 or 422 HQ.

After shooting in the GH4 for the past year, its an easy cam to work with. But it is water colors at best with just enough dynamic range to make you think "filmic." The 8-bit codec is great for Natural and Cine-D, but your pushing your luck on set not shooting Raw.

What I've learned from shooting Raw on the 5D3, 50D, 5D2, BMCC, and BMPCC is that the Canon's skin tones are so far beyond these "Shelf-Stocking" Sony sensors that finding the way into 90% of the market. The BMCC may have better Dynamic Range, but finding a beautiful "wedding look" is quite an art. The GH4 is using a Sony sensor, by the way.

When I first tested the Gh4, I sold off the 5D3 because of the easy-to-use work flow in adequate lighting... To process 4k, I've simply honed in on Open CL / Cuda Technology,  Intel I7 processors, and proper cooling designs. The GH4 edits in Premiere at 1/4 res on 2012 Macbook Retinas with NVidia graphics in real-time with no issues and a couple of LUTs on top to make the grade. The 5D3 is playing back in real-time in DaVinci Resolve 12 on the same system with a couple of nodes...

The 5D has high chroma Dynamic Range while the Sony sensor's have high luminance dynamic range. Dpending upon the look, the 5D3 is going to saturate the scene with so many millions of more accurate colors. And it will look amazing. The GH4 will attempt to show you all the highs and lows and even tweak the picture profile around to make you think Canon, but you are not going to get God-Send skin tones to the client without an external recording solution. Even then, the Canon has a higher bit depth, but the GH4 is a picture-taking video camera in the sense that it's freeze frames are perfect. However, motion takes 80% of the resolution away... Another reason to shoot for colors and not for the resolution.

Taking a step back, I am shooting on BMCC MFT with a speed booster in an attempt to hit record and have it record at every turn. It's a professional solution and has been a great combo of "Skin tones / Resolution." The BMCC now has a 2x Lossless compression too. The 2400 x 1350 Raw files are smaller than the 5D3 1920x1080. I believe that its only a 12 bit readout that gets unpacked to a 16 bit color space. Perhaps that's another reason to shoot native 14-bit on the Canon?

But look at the sensor size too. The GH4 and BMCC are easier to operate because the depth of field is completely different than the 5D3. With the 5D3 you may have to work harder on focus, but when its on, I'm confident the folks on camera will appreciate being separated from other subjects.

Versatility-wise, you'll be much more flexible with a 5D3 than a GH4 and a BMCC. But, how reliable and for how long are your takes? Both the GH4 and BMCC have no recording limits and reasonable codec choices for long-term capture. A 128 GB SDXC UH3 lasts for 2hrs and 51 minutes in 4K. The BMCC in Raw blows through 1hr and 33 minutes of Raw at 480GB. In my opinion, the Canon is so versital its worth changing out cards and actually being able to record at ISO 3200 and have wonderful results.

General Chat / Re: Where is A1ex?
« on: September 12, 2015, 10:45:03 AM »
I went down the GH4 route with internal 4K... Bought one. Then bought another. A year later, it really brought me back to the same question, "Why compressed 8-bit?" Plus, the price dropped significantly from $1700 new to about $1150 used. Would have had to pay an extra $100 to activate an 8-bit log profile too. Are the new Sony's just another gimmick and trap?

Money where my mouth is... I'm thinking about selling off one of my 2 BMCCs. Naturally, I'm looking back at the 5DIII MLV and the 50D RAW footage with the newly updated MLVrawviewer 1.4.3. Wow has MLV and RAW come a long way for me as an early 50D adopter in June of 2013! It's great to have a fresh eye and a hard drive filled with footage that actually gets better as the computer processing world evolves.

Anyway, Sony appears to be going down the same Panasonic / Canon path with the 8-bit readout from an amazing sensor that is somehow purposefully crippled due to the noise floor. For example, add a Shogun to the A7S and you've got a noise floor that's worse than the FS100. What camera came out first and what camera shoots decent 80,000 ISO?

Got to say that I'm quite confident that the hype is still quite prevalent... Hints the night for grading the 50D and 5DIII raw footage. Checks and balances, right? Seriously though, there's a lot of movement on the Magic Lantern camera platform vs. Sony, Panasonic, and Canon native cam platforms. It's quite wonderful.

Honestly, the tipping point for me is knowing that a 2008 Canon 50D DSLR camera can shoot 30fps at 1600x900 in DNG but that the feature wasn't unveiled until mid-2013. Seriously, how important is that particular piece of information?

Camera-specific Development / Re: Canon 50D
« on: September 09, 2014, 09:14:43 AM »
Not able to use the latest ML firmware. No option to access ML menu. I can use the Canon Menu but that's it. When switching back to July 16th it works instantly. I'm using a Komputerbay 128 1050X card.

Anyone know of a stable firmware after 7/16? The 7/18 build had pink frame issues.

- - Dogmydog - -

The 50D Canon ML firmware is probably the best thing to ever happen to me since I started shooting back in 2001. Definitely counting my blessings with this ML Cinema camera. It's been the best tool, dollar per dollar, that I've ever owned for training purposes and also for providing a real passion for exposure and composition. Got to say, for months on end, every time I went to a shoot the results were getting better and better. What a tool!

You're review of the Pocket Cinema dynamic range test, inside the shop, led me to buy the BMPCC. Eventually sold the BMPCC and kept the 50D.

... Shooting primarily with a GH4 these days. Missing the extended bit-range. Fortunately I still have the privilege to apply in-camera and post-production techniques that I've learned from the 50D. The GH4 would be half the camera it is if weren't for ML over the last year. Glad to be around.

Camera-specific Development / Re: Canon 50D
« on: August 17, 2014, 09:11:39 AM »
The flickering pixel relates to the sensor. Raw is clear enough to show just how much one pixel can affect the overall image. A good practice before shooting is to conduct a deep sensor cleaning, about 30 seconds to a minute will aid in "flickering pixels." Some times a 5-minute deep clean is needed to eliminate hot pixels. Though, hot pixels / stuck pixels tend to come back. But you'll find that almost all CMOS sensors have issues with stuck / hot pixels in some way shape or form. If stuck with the footage, I would find an image processor that automatically removes flickering / hot pixels when debayering the Raw images. Adobe Camera Raw automatically removes stuck / flickering pixels when debayering.

...Hope this helps you hone in on quality, usability, and also somewhat of the sensor industry's norm.

Camera-specific Development / Re: Canon 50D
« on: July 19, 2014, 10:29:10 PM »
Not going to find any flickering using the Adobe Encoder 2014 "quick-processing" technique.

1045 DNG images at 1984x844. Files converted onto internal Macbook Pro SSD using RawMagic Lite. Adobe Encoder 2014 renders to UHD 3840x1634 ProRes Proxy in 56 seconds. Converting to ProRes HQ takes 1'14." It's a "grade-able" start point too if you process the footage in camera properly.

Direct Comparison to ACR reveals very poor aliasing, natural color calibration, great noise floor, and just enough dynamic range to really give it a good grade.

Seems like the concept of upscaling should be left in the hands of ACR.

Camera-specific Development / Re: Canon 50D
« on: July 18, 2014, 10:01:45 PM »
After Effects relies on Adobe Camera Raw (ACR) to process the DNG files.
Adobe Encoder 2014 and maybe Adobe Encoder CS6 bypasses ACR to process DNG files. The processing speeds are two completely different beasts.

Importing DNG image sequences directly into Adobe Encoder 2014 provides the ability to bypass Adobe Camera Raw and yet it still produces a usable image based on simple exposure, tint, and temperature adjustments (no highlight recovery or shadow compensation).

In other words ACR is not optimized for Cuda or Open CL. AE is always so slow at exporting footage. DaVinci has been capable of exporting the 1586x? at around 10 - 20 FPS using single node processing. AE is about 1 - 5 frames depending upon certain ACR settings. Anyway, by finding a way to convert DNG into MOV using Open CL or Cuda definitely produces quicker results.

Not sure if Adobe Encoder CS6 has the option for Open GL or Cuda optimization upon export or if it can even import DNG image sequences directly into the encoder?

Camera-specific Development / Re: Canon 50D
« on: July 18, 2014, 07:19:17 PM »
07.18.2014 build produces pink frames in crop mode when shooting with RAW + JPEG photo mode enabled & RAW (only) photo mode enabled.

Whether shooting at 24FPS or 30FPS, .RAW, Global Draw turned On or Off, Raw HistoBar On or Off, and SRM On or Off.

Global Draw Turned Off - 24FPS - Crop Mode 1988 at 2:35 pink frames only on the first and last frames.

After experiencing a skipped frame, almost always on first record even with card-warmup enabled, ML takes about 10 seconds to re-enable camera functions. Camera acts frozen and no buttons should be touched.


** Shooting continuous 2.20:1 at 1984 is possible with a Komputerbay 128GB 1050X. 50D write speeds have increased significantly since last year.**

Processing Side Note / Discovery:

  • Shoot with a proper white balance, in camera, and with proper ETTR.

    Process .RAW with RawMagic Lite.

    Take the image sequence directly into Adobe Media Encoder 2014.
    (ACR is not utilized in processing the DNG files. Basic setting adjustments for Exposure, Tint, and Temperature)

The noise floor is very organic and film-like; similar to the way DaVinci Resolve Lite processes DNG files.
Footage is "grade ready" despite not having highlight recovery.
The white balance looks spot on.
Another fast turn-a-round option like DaVinci, but with no grading potential outside proper white balance, for offline/online ProRes files.
(1405 frames or 1 minute of footage shot at 1984 2:34 upconverted to ProRes4444 @ 3072x1307 in less than 1'45" on a Macbook Pro 15 Retina with OpenCL.)

07.15.2014 build has no pink frames.

Camera-specific Development / Repairing damaged header / footer
« on: July 12, 2014, 09:54:44 PM »
... All of the DNGs are inside the wrapped MLV or RAW file... It will take a hex editor to replace the missing information in order to extract the DNG images. Once completing the hex editor footer replacement you'll be ready to process the original MLV or RAW file on your regular DNG extractor application.

Take a look back at page 3 of the 50D topic... There are a couple of entries that I wrote explaining the process of fixing damaged footers.

Camera-specific Development / Re: Canon 50D
« on: June 28, 2014, 02:38:00 AM »
@Kolen -- The timers with Canon are probably right on. No problem. if you have to go into the 64 to 128 GB range there shouldn't be any issues. It's @ThomasWorth every RawMagic moment!

Camera-specific Development / Re: Canon 50D
« on: June 26, 2014, 07:51:15 AM »
On the first page of the menu...

Do you have "Expo.Lock" turned on? If so, turn it off.

 - - Make sure "Expo. Override" is turned on - -

Camera-specific Development / Re: Canon 50D
« on: April 21, 2014, 10:06:55 AM »
... There is also an option to leave the spanned files separate and use your Hex Editor to repair the file...

1. Open the last spanned clip in your donor shot with your Hex editor...

2. Copy the information from the "A5 A5 A5..." down to the very last line of information.

3. Open the last spanned clip in your damaged shot.

4. Paste the "A5 A5 A5..." from the donor shot onto the damaged shot in place of the existing "A5 A5 A5..." or at the end of the file if there is no "A5 A5 A5..." listed within the last 100 or so lines of your HexEdit window.

5. At that point, you have to "Save the File." This is actually writing your final spanned file with an ending header.

6. Place the newly written final spanned file into the batch of your other pre-spanned files.

7. Convert the files using your MLV converter.

Should be good to go. Boy is it ever exciting when it's good to go!

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