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Thanks!

Just a quick question since I couldn't find an answer, how do I remove the MLVFS from services should I wish to do so?

For anyone interested the LUT is Kodak 5213 from the excellent Impulz collection.

mlrawviewer 1.3.4 works flawlessly. I've had crashes with 1.4.2 when batch exporting so I can only assume the bugs may be present in 1.4.3 as well.
As I said, 1.3.4 works flawlessly and converts on my end hundreds of clips weekly.

All best,
Goran

Hello all,

I'm not sure this post fits here cause it deals with other aspects apart from post process, so if not please feel free to move it.

This is a short test I did in order to learn how to properly expose when using ML Raw on 5DmkIII. Apparently in order to get a cinematic image with the 5DmkIII the exposure is EXTREMELY important. Well exposure is always super important but it turns out that with 5DmkIII exposing in a certain way can lead to either a very cinematic or very video-ish image. I don't have any scientific explanation for this, but in my testings I found that underexposure is the key to a cinematic image with the 5DmkIII. Again I stress in MY testings. This works for ME and the way I shoot. This might not work at all for you.

Here's what I did:

I shot 5 clips. One at correct exposure and the others where either over or under exposed. Here are the exposures:

1. f/4 (this one is overexposed by one stop)
2. f/5.6 (this is the correct exposure according to incident light reading)
3. f/8 (well obviously this is underexposed by one stop)
4. f/11 (well two stops underexposure)
5. f/7.1 (underexposed by 2/3 of a stop)

The shutter was at 1/50 and this was shot at 25fps, 1920x1080 ML Raw.

Workflow:

1. Converted from Raw to DNG using mlrawviewer.
2. Opened DNGs in Davinci Resolve lite 11
3. Applied the same LUT for all clips
4. Adjusted exposure on each clip (except for f/5.6 which remained untouched) to match the exposure amount on models face, specifically forehead in the f/5.6 clip. I adjusted the exposure mainly by changing the exposure value in Camera Raw tab but also by adjusting the shadows and highlights.
5. Development setting for DNG where: Decode: Clip, Color Space: BMD Film, Gamma: BMD Film 4K, White balance was As Shot which was 5400K. I checked "Highlight Recovery".
6. Exported as ProRes 422 stitched together in Premiere Pro and uploaded to Vimeo.

To me it looks that the proper way to expose 5DmkIII for cinematic image is to expose for highlights (to the right) and than underexpose by about 1.5-2 stops depending on the scene contrast. In post you must increase exposure and correct highlights and shadows. I increased the exposure by about 1.5. Highlights were increased by about 30 and shadows increased by about 10. Without increasing highlights it looks a bit lacking contrast. This changes everything in my opinion. The highlights look nicer, they roll-off nicely and the same goes for the shadows. This puts the middle grey at a more balanced place. Overall the image looks more organic and pleasing. The colors look less "Canon" this way and more "cinema". Of course this may introduce noise, but in my testing you're good to go up to about 1600 ISO. Maybe I'll publish my other test at some point.

I'd like to hear what do you think of it? Recently I've been able to intercut the 5DmkIII with Alexa on a commercial shoot (just for kicks) and they played nicely together.

Hello,

Is there a way to play raw video with external monitor connected?
I'm using 5dmkiii 1.2.3 with latest nightly build and if i press play with monitor connected i get "file not found" error. Without monitor, the file plays just fine.

Thank you,
Goran

Just a quick note, HDMI out from 5dmkiii is 8-bit 4:2:0 and not 4:2:2. The Atomos Ninja/Blade/Whatever will record in 4:2:2 but the signal is 4:2:0 unfortunately

Cool thanks!
I thought it applies only to 5dmkii.

All best,
Goran

Hi

I realize it's a protection mechanism but I'm wondering what might have gone wrong in the way camera shut down?

Thank you,
Goran

Hello all,

I'm using 5dmkiii 1.2.3 with the latest nightly build (29th March 2015). I upgraded yesterday.
After taking some test shots, I turned the camera off and took out the CF to download the footage. After putting the CF back into the camera and turning it back on I got a message along these lines (cannot remember the exact message): "Disabling modules load, the camera didn't shut down properly/Camera shut down ugly, disabling modules loading"
I turned the camera off and back on and everything is working fine, I was just wondering what's going on and what has happened? This is the first time I'm seeing this message in more than a year of ML usage and nothing has changed in a way I'm turning my camera on or off

Thank you,
Goran

1.3.4

Press W to choose export folder. Your already processed file will probably be in the already specified folder.
After that you'll have to manually import the file into Davinci or FCP. There's no option for something like "dynamic link".

Goran

Nikki you can press E in mlrawviewer and it will export your file with your current settings.
You can press C to export entire directory of files with mlrawviewer.

Hello All,

Here's a short test I did:

This is a short and not very scientific test I did exporting the footage from Mlrawviewer in different log spaces to see how well they would look and grade and to see how wide of a range of usable Log spaces I could get from the 5D mark III footage.
All footage was shot with 5D Mark III in raw with a Canon 50mm f/1.4 lens at 1920x1080 resolution. Footage was opened in Mlrawviewer 1.3.4 on a Mac and exported in four different log spaces in this order: C-Log, Log-C, S-Log, S-Log2.
The files were exported as ProRes 4444. In Davinci Resolve Lite 11 I applied different LUTs from the excellent VisionColor Impulz package which were matched for the type of footage. For example, the C-Log footage had a C-Log version LUT of the Impulz emulsion, Log-C had a Log-C version of the LUT etc. Every shot received the same LUT and I have not changed the footage in any way except for applying a LUT. The LUTs have changed between different shots but for the same shot I used the same LUT matching the Log space of the clip.
I cannot remember the exact LUT I applied but it doesn't matter that much as I made sure I'm applying the same LUT for every clip in order to be able to compare the footage. The only thing changed, as I mentioned, is I matched the type of LUT to type of Log footage.
Some additional details:
First shot was shot under tungsten light at 800 ISO at f/1.4.
Second to fourth shots were shot at 100 ISO at f-stops between 16 and 22.
The last two shots were shot using a daylight coming from behind the camera at ISO 400 with f-stop around 4 but I'm not sure about that one.
Apart from Log-C not really being suitable for the 5D footage except for only the brightest of conditions I think all other log spaces are usable, with C-Log being clearly the best match for this camera.

I'd love to hear your opinion.

Goran

Hi Baldand,

In my case deleting the .mrx files didn't work. That was the first thing I tried. Still no luck at exporting with either of 1.4 versions.
Staying with 1.3.4 meanwhile as it's working just fine.

Keep up the good work!

Goran

P.S. Why can't I quote other people's responses?

My bad, E doesn't work either!

In 1.3.4 everything works just fine.

I have a question regarding entire directory of .raw files.
Pressing C should export entire directory of files with current settings.
With 1.4.1 on 10.10.1 nothing happens.
With 1.4.2 on 10.10.1 the program hangs.

Pressing E works fine for exporting current file, however C doesn't work.

I probably am missing something...

My config:

OS X 10.10.1
16GB RAM
512 SSD
AMD Radeon 6750 with 1GB of RAM

Thanks,
Goran

Thanks baldand.
I was sure I was missing something 
Perhaps it should be a future feature.

All best,
Goran

Hello All,

I hope I'm posting in a correct place.

I'm using the latest mlrawviewer version on OS X, which is currently 1.4.2.
If I hit "A" to toggle anamorphic mode to correct the 50/60p squeeze the image appears fine. However if I hit "E" to export the file to .mov, it's exported without the correction. Any way around this? I most likely am missing something.

Also, is there a way to export from mlrawviewer at certain resolution? If I'm shooting continuous 50/60p I get continuous recording at 1600xXXX (don't remember exactly) resolution. It would be great if the file could be directly exported from mlrawviewer at 1920x1080 (after applying the anamorphic correction) instead of going through another batch of processing through davinci or premiere in order to get 1920x1080 files instead of 1600xXXX.

All best,
Goran

1. Converted .raw to Cinema DNG 16bit with RAWMagic.
2. In Davinci Resolve created ProRes 4444 files.
3. Cut in Premiere.
4. Exported Sequence as ProRes 4444 and slowed down in After effects 4 times (as it was shot at 100fps instead of 25)
5. Graded final slowed down version in Davinci Resolve.

Goran

Hello all,

This is a fashion film I've done for the Laisha Magazine in Israel. It complements a 10 page editorial in the magazine.

The H.264 compression on the background is ridiculous, but the source material is gorgeous with nice gradients.

The video:

The editorial isn't published yet. This is the only image from the editorial that has been released so far:


It was shot on 5dmkiii using .raw.

If you have any questions, feel free to ask.

All best,
Goran

Hello,

Here's a quick question. Let's say I load the following modules:

mlv_rec
mlv_play
mlv_snd
file_man

If I never play files on the camera I can disable the mlv_play from loading. However for the one time I might use it, is it ok to leave it loaded? Does loading several modules even though not in use has negative impact on performance? If I load only raw_rec for example will camera have more free memory and thus "perform faster/better"?

Thank you,
Goran

Anyone?

Yes me too, best way.

I've not used all these LUTs but if the h264 to whatever LUT looks right to you, like the bottom image then Rec709 for colour space and gamma would seem the choice, that's what your h264 is using Rec709 primaries & Rec709 transfer curve.

To me using BMD colour space and gamma for ML raw -> final output in Resolve is pointless, no point using a logish transform for raw because you have full control over shadows, highlights, lift, contrast all within the raw tab.

Every intermediate this 3D LUT to log to that 3D LUT when working with raw to me is ***kery. Introducing interpolated error. If you start with flat or log source out of the camera then fair enough work log but with raw what is the point?

Try Rec709 colour space and gamma in your raw tab, apply your M31 whatever look LUT to your Output and tweak your raw settings mentioned above which will affect the raw data under your M31 LUT until you like what you see. Closer to your h264 -> M31 workflow previously.

The point is to get faster, closer to the look you're after and that's what LUTs are ultimately for. They're a fast way to get 70-80% of they way for most people. Also for creating dailies there's no substitute for LUTs.

Goran

In this thread I started some time ago I'm addressing exactly the problems you're facing. Read it for the workflow that works best in my opinion with raw footage and the Osiris LUTs.

http://www.magiclantern.fm/forum/index.php?topic=12340.0

Hello,

Here's a quick question. Let's say I load the following modules:

mlv_rec
mlv_play
mlv_snd
file_man

If I never play files on the camera I can disable the mlv_play from loading. However for the one time I might use it, is it ok to leave it loaded? Does loading several modules even though not in use has negative impact on performance? If I load only raw_rec for example will camera have more free memory and thus "perform faster/better"?

Thank you,
Goran