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I have tried this and there are only two options available. They shutter speed and ISO, When selecting ISO, this does not remove the requirement for having tofirst press the ISO button first before selecting the ISO with the Main Dial. The funny thing is, if you select shutter as the assignment for the Main Dial, no buttons are required to be pressed before the main dial will change the shutter speed. For some reason, this is not the case with ISO.

Feel free to link me if this has been discussed previously or if it's already a feature but how do you map the Main Dial to change your ISO that doesn't require you to hit the ISO button first? It would be really awesome to be able to flip through ISOs in mid shoot without having to fumble around with those tiny buttons! Is it possible for the Main Dial to be not dependent on first pressing the ISO button?

http://www.dehavendigital.com/wp-content/uploads/2012/05/MG_5783.jpg

I like the nightly build that I have from months ago but I would like to try newer version without having to do whole prep process from step 1 of the ML install process. How can I backup my current config without botching the whole ML install when trying the latest build? I tried using a new SD card thinking my current build would be safe on the original SD card but something changed in the camera after trying the latest build and I was not able to regain use of that original nightly build on the original SD so I had to start the whole install process from scratch and relearn all the nuances. Any Tips?

I'm a bit fuzzy on the round trip function using the EDM and XML files. I use After Effects and Magic Bullet looks a lot in Premiere. When exporting the XML and EDM files from Premiere, will my work in AE and Magic Bullet show up in Resolve or am I stuck to using Speedgrade to use those functions?

First of all, I'm a windows User and I don't own a Mac. That being said, I have a workflow for PC that seems to be pretty solid  but I would like to challenge anyone to make suggestions for either improving the quality or shortening the workflow process. We shoot on a 5DMK3 loaded with the most recent nightly build of Magic Lantern.  Here's our workflow:

Step 1: Use Rawanizer to extract the DNGs from the RAW files.
Step 2: Load the DNGs into Davinci Resolve for color correction
Step 3: Add Quicktime DNXHD 444 export of the sequence to the queue as the Online version.
Step 4: Add Quicktime H264 export of the sequence to the queue as the Offline version.
Step 5: Render and wait for about 3-4 hours for both exports to complete.
Step 6: Import and edit the Offline files in Premiere.
Step 7: Colorgrade In Premiere using Magic Bullet Looks
Step 8: Replace the offline files with the DNXHD 444 Online files.
Step 9: Export the final version from Premiere using Quicktime DNXHD 10b.

Any suggestions would be greatly appreciated!

What's the best way to apply the nightly build over a previously working build on the card without having to do the whole process from scratch? Basically, I like the nightly build that I have from months ago but I would like to try newer version without having to do whole prep process from step 1. Any tips?

So is there any reason to set the white balance at all if it's not affecting the image?

Are the whitebalance settings baked into the raw footage when shooting raw on the 5DMK3? Basically, If I chose daylight as my white balance setting, will those changes be permanently made into the raw footage?

Just tested it and the overlays are fine on the native monitor, only happening with the external. The Monitor is in HDMI mode. The monitor is always plugged in and i've tried turning the camera off and back on again. Doesn't help.

I'm shooting on the 5DMK3 and I noticed, after a couple days of shooting raw with ML, I started seeing lines in the overlay. It looks like another cropmark overlayed partially on the screen. If you turn raw mode off, it goes away. If you turn crop marks off it goes away. But I can't seem to get rid of it when shooting raw. Has anyone else figured out what causes this?

https://scontent-a-sea.xx.fbcdn.net/hphotos-prn1/t31.0-8/1492558_10203459574749566_508956247_o.jpg

I have the same issue. When shooting in raw mode (In Manual) drastic changes from dark to light trigger some sort of exposure compensation in the camera that is very noticeable in post. This does not happen when shooting non raw. I am shooting on a Zeiss 50mm F2.0 Prime but it's noticeable on all my lenses. Anyone have any ideas?

Here's an example at 0:57

http://youtu.be/3EDByQGnuUQ?t=56s

Corrections made to initial post, above ^.

I've been shooting raw video on my 5DMK3 for almost a month now and it's been great but I've had this one problem where sometimes, not always, the highlights will flicker and you can actually see it in the original dng generated from the .raw, I shot a video recently where the flickering is pretty obvious you can see it pretty well, especially at 0:57. 

https://www.youtube.com/watch?v=3EDByQGnuUQ

The anomaly is most noticeable at: 0:57 - 1:00 (Notice the wall behind the girl, it's flashing)

Anyone have any ideas what's causing it? I've shot 3 music videos now and it's present in all of them, especially when the camera moves quickly from dark to light or reverse there's a flickering over exposure that is very common. I REALLY need to figure this out! This only happens in raw mode and you can see it in the dngs so I know it's not something that is happening in post.

Thank you.

-Asher

How do you force ML to use the canon Zoom?

It's a lot easier with a Mac because you can convert directly from AE to prores. This is not possible in AE on a windows machine so the extra step of converting from dng in AE to lossless avi is required to get the footage in a video format that can then be compressed into prores. I have yet to find an alternative.

One of the reasons I love doing color correction in camera raw is due to the latitude of dynamic range that the exposure lever gives you. I can take seemingly underexposed footage and as long as I don't blow out the highlights, I can bring out the darks with Camera Raw exposure. Are you saying I retain that same latitude after it's compressed to prores or another similar codec? Or are the darks in that seemingly underexposed shot going to get clipped in prores and turn into a blocky mess? That was my main concern, that I wouldn't retain the same depth in the blacks if I did the correction on a prores file rather than the set of dngs.  I'm no snob and I'm not counting pixels, If it's damn close that's good enough for me. Just need to make sure I get the most out of my footage.

I'm shooting raw video on my 5DMK3 and the footage is simply astounding! I love it! Never going back to 8bit compressed video again!

Since I'm a PC user, I have a slightly different work flow from what I've seen other people doing. The main reason is because I like working with Prores and that's not an output option in Premiere on Windows. This workflow works for me so far but I wanted to get a second opinion.

1. Convert RAW file to DNGs using RAWanizer. (4-8 hours)
2. Open DNG sequence in After Effects and apply color profile. (15 minutes)
3. Export as uncompressed AVI from After Effects. (2-4 hours)
4. Convert AVI to 36Mbit Prores (Proxy) and 185Mbit Prores using ffmpeg. (2-3 hours)

Average hours spent = 8-15 hours to get from raw to color corrected prores.

And that's before I even start editing the video!

I have an i7 Quad, 16GB RAM and a 512GB SSD and this process takes over a day to complete because each step requires you wait for a long time before proceeding to the next step. You have to babysit the process all day long basically. Kind of prohibitive if you have a day job.  Any suggestions for improving this workflow?

I shoot music videos. Most are under 5 minutes but that's a lot of dngs to edit in camera raw. Anyone know how to apply color settings to 5,000 dng's in camera raw, without opening all of them? I made a preset that would work well on the rest but if I drop those 5,000 dngs in photoshop, it's going to take over an hour to open it and I have dozens of takes. Any tips?

Not sure which version I was previously using but has anyone else noticed how terrible the magic zoom is? In the past, I've shot with magic lantern and it worked great. I could zoom in at 10X and see things like I was looking through a telescope, pull focus to an exact point on a far building and with great detail too! I wasn't recording of course, but it's really useful to have a clear zoom. Now, on the 5DMK3, with raw enabled, the zoom quality is terrible. It's Very pixelated where you can't quite see exactly when you hit the focus mark. It's virtually unusable. I have to turn off the camera, eject the card, reboot the camera with the default firmware, pull focus with the canon internal zoom, which looks good and then once again, turn off the camera, reinsert the card and then I can know that I'm in focus. Unless I don't have a tripod. Then I'm screwed. Help.

Yes, this is totally possible. If you're only using it for playback and not for capturing uncompressed raw footage it will work.  I'm considering a similar option for raw playback. There's a cheaper option if you already have monitor you like. It's the black magic Shuttle. It can perform the same task as the ninja but for half the price and you can have your main monitor receiving a life feed through the shuttle.


http://www.bhphotovideo.com/c/product/841023-REG/Blackmagic_Design_HYPERD_PT2_HyperDeck_Shuttle_2_SSD.html

Here are the steps I've tried so far.

Step 1: Format the 32GB card in camera (No low level available in 5DMK2)
Step 2: Drag Release: v2.3 files over to 32GB CF Card from PC.
Step 3: Update firmware on 5DMK2 from 32GB Card. Successful
Step 4: Copy those files from the 32GB Card to the 128GB card on PC.
Step 5: Replace the ML and autoexec.bin on the 128GB card with the nightly build files.
Step 6: Update firmware from 128GB CF card. Failure.

I can't get past this part.

What am I doing wrong?

I recently purchased a KomputerBay 128GB 1050X CF card so I can shoot RAW video on my 5DMK2.
I realize this is very early in the dev process and I'm patient but I could really use some help in figuring out how to use my 128GB CF card to shoot RAW video when ML limits the CF card size for the installation to 32GB.

The documentations simply says "For first install, use a simple SD/SDHC/CF card (32 GB or smaller). 64GB cards and larger will not work for first install (but you can use them with ML, see below)."

The issue is that "below" there is no information about using larger cards.

I'm able to install ML on my 32GB 600X card (Too slow for RAW) but how do you install ML on a 128GB card?

The nightly build I'm trying to install is:

magiclantern-v2.3.NEXT.2013Oct25.5D2212

If I'm starting from scratch, Is this the correct build for shooting RAW video?

In the H264 I get about 90 minutes on my 32GB. Does anyone know roughly how many minutes I will get on a 1000X 32GB CF card when shooting RAW video?

I understand how to convert the dng images to video and review on a computer but that is very costly in mid shoot. I don't have time in mid shoot to pull out the card, upload the images to a computer and convert them just to see the video I just shot while the client is breathing down my neck and asking why we can't just review the footage in camera to which I have to explain: We're using a hack to shoot your video and we can't watch the footage until we're done filming. Based on the info I've heard from people in this thread there is no way around this problem.

Just curious if anyone knows of a projected date.