Messages

Hi! I installed it in on my old 5dC and now I can't take pictures (I press the shutter button and nothing happens, but it reacts to focus half-press) and I can't see the camera menus.
Can anyone help me to recover from here??

But I have not been able to load my dng files into DXO, as far as I know it's not compatible with dng files.
But, hopefully I'm wrong...

I think an option to skip the WAV file extraction would be good for those that use the 50D . . . for some reason it tries to extract a wav file even if there isn't one.

+1 here

Yes, look up for VisionLog.. it emulates the Alexa.. also, you can make a preset yourself in ACR.. just color correct, then hit the little button and "Save preset", it's an xmp.. that you can apply to any dng files, or make it default.

Thanks a lot for this info, just trying VisionLog and looks awesome!

Ey! Thanks for all the work.
One thing, that maybe it's my fault, when I try to load a multiple file MLV (mlv, ml0...) is just loads the first one and the other files, please check the screenshoot attached.



Is there anything I could to so all the files are loaded?

ps - I also have problems with the WAV extraction, because I'm with a 50D....

Best,

Xermán

Thanks a lot for this great program.
It works fast and right now Im studing the possibility to adapt my workflow with it.

MLV->MlRawViewer (as neutral as possible white balance - Logaritmic Maping - ProRes)->Premiere.

If you apply it manually, in LR/ACR for instance, it doesn't know the aperture shot at, or the focal length in a zoom lens.

You are totally right.

I recorded a few clips in MLV and now tried the correction, but just a small geometric correction is applied. I don't know if that's correct or if we should expect the same ammount of geometric correction we can see in a picture...

Best!

hi guys!
good to see still movement in the develepment and some final touches.
got some new footage. haven´t changed ML on my cards for months. it just works ;-)
aliasing in the last shot is horrible. but, nothing is perfect...

shot with sigma apo 70-200 mm 2.8 (crop mode up to 600mm. that´s why it´s sometimes a little shaky) and canon 28 mm 2.8

Looks great! Its a shame how youtube sometimes spoils the quality by his strong compression. Have you tried with Vimeo?

Haven't seen the video (upload to Vimeo or YT please) but it's either that your frame rate isn't set correctly for your country (use 25p for Spain) or it's caused by Lightroom and ACR. Auto WB, Shadow/highlight recovery and a few other things in LR and ACR are 'intelligent' and will change depending on luminance. It's not intended for processing sequential video frames but you can do something about it. See my signature

Here is uploaded to youtube: http://www.youtube.com/watch?v=gM-iULAzGpg

Hi!
Im making some test in RAW before jumping to real production.
In this clip something happens with the green, the light intensity is "vibrating".
Anyone knows what causes this?
I batch edited the dng in Lightroom and imported them in Premiere as image sequence.
Is this noise?

https://www.dropbox.com/s/iqg48759hx5iyqm/greens.mp4

(Posted in Dropbox, youtube compress the video so much...)

That's because there isn't any metadata to tell LR what lens you used. You can add it with Exiftool (I recommend using pyExiftool GUI). Have you tried recording MLV instead?

Thanks for the answer and interesting tool I did not knew.
Will try MLV recording today.
But I guessed that if I select manually a lens the correction will be applied even if there is no metadata, some kind of "forcing it".

Best,

X.

Hi!
When I load the dng files from my 50D nothing happens when applyting  the lens distortion correction in Lightroom.
Does anyone know how can we apply this correction?
Sometimes I use the tokina 11-16 for interior shoots and it will be great to correct it.


Best,

Xermán

Can anyone recommend a portable device for recording with acceptable quality?

Screenshot:

http://i42.tinypic.com/2monwpv.jpg

I just installed it on my Win64 to try it with Premiere CC.
I had to install both 64 bits and 32 bits version, to be able to import the files.
Now, when I import them I see them completely pinkish, the reproduction just lasts 5 seconds but it's smooth.

ps - email sent for temporal license...

come on guys, this is ITALIAN, not spanish

Thanks a lot for this, I will definetively give it a try!!

Thanks for the test.
It's interesting you are not getting magenta frames. If there was not so heavy crop over the 100% sensor view, raw could be more interesting to me.

I just tried Convolution Kernel but I really can't understand what's going on enough to tweak it in a way that is beneficial...

I put the preset in and tried changing things but I can't find a logic to it. It seems easy to make things ugly but I'm struggling to get the subtle results shown in the youtube video above.

I think it could do with a more friendly set of controls...

The sharpen preset is a bit excessive but I don't know how to reduce it...

For me nothing beats Neat Video yet. The luminance only, high-frequency only sharpening is great and almost artifact free. add a bit of mid frequency sometimes and you're good to go! easy and quick.

Hi, Im using the default sharpen preset, it looks better with the lower Dblock (I think that makes the video "less blocky" in a way) and also everything becomes more natural when the video is exported to h.264

Best!

Xermán

Yes you can get away with more sharpening,

I like the sharpening in Neat Video due to frequency and channel specific...

What's kernel convolution sharpening mean?

I still need to test that deblock...

Convolution Kernel effect
The Convolution Kernel effect changes the brightness values of each pixel in the clip according to a mathematical operation known as a convolution. A convolution overlays a matrix of numbers onto a matrix of pixels, multiplies each underlying pixel's value by the number that overlays it, and replaces the central pixel's value with the sum of all of these multiplications. This is performed for each pixel in the image.

The Convolution Kernel Settings include a set of controls that represent cells in a 3x3 grid of pixel brightness multipliers. Labels on the controls, which begin with the letter "M," indicate their position in the matrix. The M11 control, for example, affects the cell in the first row and first column of the grid; the M32 control affects the cell in the third row and second column. The pixel being evaluated falls in the center of the grid, at the M22 location. Use this effect for fine control over the properties of various emboss, blur, and sharpen effects. For a given effect, it is easier to apply one of the Convolution Kernel presets and to modify it, than to create the effect from scratch using the Convolution Kernel effect itself.

http://help.adobe.com/en_US/premierepro/cs/using/images/ae_ConvKernGrid.png
Convolution Kernel pixel grid, showing the position of each control in the matrix

from http://help.adobe.com/en_US/premierepro/cs/using/WS1E7C690B-2342-43c3-9253-2BAAFF4168EF.html
If you are into maths: http://homepages.inf.ed.ac.uk/rbf/HIPR2/convolve.htm

I read about it on this forum, don't remember where, but an user was recommending it. I like the results a lot.

[WHAT IS IT?]

This post is designed to answer questions about the H264 codec control in one version of Tragic Lantern in a simple and practical way.

After a few posts I made about using bitrate control on the 600D I had a bunch of messages about settings, and development threads were getting busy, so here's a new thread.

Though one could explain these concepts in greater detail, it's of no real practical use to the average user, so here they in plain English.

They are simplified, so lease don't fill the thread with highly technical responses on video encoding, that information is available elsewhere for those who are curious.

WHAT IS IT?

A balancing act of sorts. High bitrate means nicer footage but bigger files. You can adjust the colours more and remove noise more easily. Advanced control of the H264 encoder that tries to make it use as high a bitrate as possible, without fluctuating wildly or stopping recording.

WHY NOT USE RAW?

Raw can be lovely but there are also a lot of compromises (crop sensor, lower resolution, longer workflow) so perfecting H264 is a great way to get higher quality footage from your beloved camera.

H264 is limited because the encoder uses a rather soft image, but these settings will let you get the best from that image.

WHAT DO I NEED?

A 600D, a fast SD card of 45 or 95MBs will guarantee speed, and (currently) this build of 1%'s Tragic Lantern:

https://bitbucket.org/OtherOnePercent/tragic-lantern/downloads/autoexec.bin-bitrateback

The build is a little older than ones you may be used to so a few things are missing or different. GOP and slice control aren't in the new builds yet but may be at some point, and when they are let me know and alter this thread.

Some other useful things for the 600D are:

The Mosaic Engineering TXi filter, which removes most aliasing and moire, allowing you to make better use of the bitrate. Sometimes it gives Err30 butmost of the time it's amazing. You will still get some moire with exceedingly fine cloth and so on.

The Technicolor Cinestyle Picture Profile and it's LUT, which allows a flatter picture for grading. It's free.

The VisionColor picture profile, which is quite flat but has a nice natural film like tone. It's $6.99. That's a bargain, don't pirate it!

Neat Video denoising plug-in, which can make very high ISOs like 6400 usable when combined with the higher bitrates.

  THE SETTINGS

SOUND OFF *For maximum image quality, don't bother recording sound in camera, deactivate it in Canon menus. Use separate sound.*

IF YOU NEED SOUND use 25p mode and set GOP to 3 instead of 1.

IN SLICE CBR

Lock Slice: Disabled
Min BR: 130
Max BR: 160
Drop by 1: 140
Drop by 3: 145
Taper Rates: Enabled.

IN BITRATE MENU
Mode: CBR
DblockA: -6
Dblockb: -6
PicPC: 0
GOP: 1
Bitrate Info: On (I find it interesting)
BuffWarnLevel: 70% (just in case)


BUT WHAT DOES IT MEAN?!!

If you don't need to know, it's probably best to to worry. Hey, the important thing is it works! But here's some simplified explanations:

SLICE
Quality. The numbers used are weird, but not that confusing. The lowest numbers (86, 87) try and use as many bits as possible for encoding. The trouble is, if you lock the slice to 87 and give the camera a hugely complex picture the bitrate goes too high, the buffer fills up and recording stops, or quality has to drop for a while. The second of these situation makes the bitrate "bounce" up and down between loads and 40 or so, which means your image goes pixelly every so often.

Slice control lets the camera raise the slice (drop the bitrate) gradually and in a controlled manner if things get too much.

The settings I've provided here have been stress tested very heavily. They keep things at 87 a lot of  the time, but reign it in if the scene becomes too complex. The settings are designed to keep the bitrate below 160 but as high as the camera can keep it without overflowing the buffer in complex scenes.

You can push it harder, but it won't be as stable. These setting have, for me so far, been the most consistant. I recently shot for 15 hours on a fashion video and never had any buffer drops. The average bitrate of the footage was around 100mbps I-frame, which is a lot better than stock.

The buffer can still get too full (resulting in a drop to a very low bitrate and some pixellation) if you shoot a very complex high ISO scene with the slice starting at 87 or so. If you are shooting a complex scene start the slice at 115 or so using the first setting in Slice Control, and the camera will quickly level itself.

GOP

GOP is "group of pictures". To compress more video into less space, some codecs look at one frame, then compare a lot of subsequent frames to it, only storing the bits that have changed. The GOP number is how many are in this group.

So what's the practical result? A long GOP is more efficient, but to my eye tend to look more video like, motion can be a little smeared. I prefer GOP 1, also known as I-frame, as each picture is a whole picture, like a piece of film. The downside here is that file sizes are big, but hey, it looks the best and memory cheap.

GOP 3 is a good compromise and allows sound recording in 25p mode with these settings.

BUFFER

A small memory where the camera stores things before they are written to the SD card. If this fills up, recording will stop. You can use GOP 1 to let frames be written straight to the card, but for some reason GOP 3 seems less hard on buffer. This is reaching the limit of my knowledge. GOP 1 probably stresses the card a lot, but your card will probably be obsolete before it matters. Just format it ater shoots.

Hi, as other users suggested before a Dblock of 1 gives less noise.

Best,

Xermán

600D, its not perfect. I saw some artifacts.

http://www.filedropper.com/600ddualiso

Thanks a lot 1%, trying right now, the results looks incredible! Thanks for keep integrating the updates into the 600D.

To make a comparison, the same exact video in 2 versions:

without convulsion sharpening: http://www.youtube.com/watch?v=qSX7FmWqBPw
with: http://www.youtube.com/watch?v=pchhGTB3VvI

I see them very different, the second one sharper, at 1080 it's very noticeable.

Best,

Xermán

ps - It's in Galicia, Spain.

Improved sharpness

Due the high quality achieved with those settings I'm able to apply kernel convultion sharpening to the footable without visible artifacts and that gives, for my eye, a great sharpness, highly improved from my previous footage.

http://www.youtube.com/watch?v=pchhGTB3VvI

It's an improvised shoot w/o tripod. Tell me what you think about sharpness.

Best

Xermán

I actually got the latest ML version, SixThirty and was happily suprised that I could use even higher resolutions for about 10 seconds.
Same settings as I stated before. All frames are captured from a 10 second 23,980 (FPS override) recording.

Canon 600D/T3i, Helios 58mm f/2.0.

1344x576 (2,35:1), 10 seconds, ungraded (straight from camera)

Click HERE for full resolution image

1344x576 (2,35:1), 10 seconds, graded (BMD Film --> LUT --> FilmConvert)

Click HERE for full resolution image

1408x528 (2,67:1), 10 seconds, ungraded (straight from camera)

Click HERE for full resolution image

1408x528 (2,67:1), 10 seconds, graded (BMD Film --> LUT --> FilmConvert)

Click HERE for full resolution image

Do you have the video upload anywhere?

Best,

Xermán