Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Messages - TequilaKez

Pages: [1] 2
1
Quite happy with MLVFS > DaVinci workflow these days, but just seeing a lot of talk here about updates to the Windows version.
There's been a lot of progress lately with bit-depth and lossless on the 70D. Does the current MacOS version have everything needed to handle these formats correctly? I notice no updates since July 2018.

I'm guessing not as they appear as 0 frames with no info.

Is there any kind of working Mac version of this around now, or are we forced to use a different workflow with lossless compression on MacOS?

I took a quick look at the source, but the C stuff is a bit beyond me.
Be awesome to have this workflow rolling again as I don't think we can turn back from lossless now we have it.

thanks.

2
Camera-specific discussion / Re: Canon 70D
« on: June 19, 2019, 01:51:06 AM »
Hey guys, big ups to everyone getting lossless / sd hacks / 3k going on this cam!

I've been checking this thread fairly regularly since it started, and reread the last 5 pages, + searched the 10bit thread,  but still a couple of things I can't find info on.

1. Why does 14bit lossless say ISO < 100. To me that means choose an ISO smaller than 100, but that doesn't make sense. Why does ISO matter to lossless anyway?
2. Magenta highlights in 12bit /10bit lossless modes. Is this a known issue? What causes it? I remember reading somewhere way back about incorrect white level, I can alleviate it somewhat by messing with it in MLV App, but I've no idea what I'm doing and it seems to hurt other colors. What's needed to fix this on the 70d now and can I help?

thanks

3
Raw Video / Matching ML Raw to BMCC Film (log) footage
« on: April 29, 2019, 08:47:13 AM »
I shot some stuff the other day for a project using a Blackmagic Cinema Camera and a 70D for the second cam.
My well thought out plan was that If I brought the 70D Raw footage into Resolve , set the colourspace to BMDFilm and set the white balance to the same as the BMCC camera was set to, the shots should match.
But even with the exposure tweaked to match, the color and tonality is very different.
When I cut the footage from the 2 cams together and drop a BMD Film > Rec709 LUT over the sequence, the shots from the Canon look more contrasty and saturated than the BMCC footage.
The BMCC footage also seems to have a pretty strong green cast compared to the Canon

Has anyone had experience matching footage like this?
Is there a recommended workflow for this or just a matter of matching things manually?

Thanks in advance

4
Raw Video / Re: Raw video post processing help!
« on: July 06, 2018, 03:40:50 AM »
Hello,

I am just wondering how to turn the Magic Lantern files into a film sequence. The small problem is that I don't have adobe after effects or premier pro and all youtube tutorials use these programs. The software I do have is Final Cut Pro X, Adobe Lightroom and Adobe Photoshop. Ideally I don't want to spend any money on buying new Mac OS software (I have a MacBook Pro).

Many thanks,
Jonny

This should go in the Post Processing sub thread but....

Install MLVFS / MacFuse https://www.magiclantern.fm/forum/index.php?topic=13152.0
Search for DaVinci Resolve on the App Store and install it (it's Free)
Edit direct in Resolve if you like it, or get it to spit out Prores files and use them in Final Cut.

5
Raw Video / Re: Color grade when in the RAW-to-ProRes process?
« on: July 06, 2018, 03:35:52 AM »
Also depends a lot on your preference of editing software, and if you want to playback multiple streams in realtime.
e.g
 1. You have a new GFX card with plenty of ram, running from SSD, and don't plan to overlay multiple streams. Then you won't be bothered by the MLVFS/MacFuse CPU overhead or on-the-fly debayering so can edit direct in Resolve and take advantage of editing natively in RAW.

2. You running from hard drive, and/or enjoy the lightning fast realtime playback/scrubbing of multiple streams in FCPX. Then you might prefer to convert from MLV to Prores in a log colourspace.

In theory cDNG has more information to grade with, but in my experience trying it both ways I find Log has just as much grading latitude for %99 of shots, but is far more efficient use of your available CPU/ram resources.

I find these days If I'm messing around with holiday footage and want how far I can stretch things and play with colour, I'll use Resolve with MLVFS.
Any chromakeying I'll do with MLVFS in after effects.
For any serious work like music videos where there might be some layer blending or FX involved, I really love that liquid smooth playback of Prores within FCPX so I find it's well worth the extra conversion step before I start.

6
Raw Video / Re: Color grade when in the RAW-to-ProRes process?
« on: June 07, 2018, 10:42:36 AM »
Thats a pretty long winded process.
Try to take advantage of a log format like BMD Film or if the excellent Cinelog if you can spare a few bucks.
A quick and powerful workflow is to use MLVFS and software that can load cDNG and export Prores (e.g DaVinci Resolve Lite, After Effects) to bulk convert all your MLVs to Prores in a Log colourspace in one fell swoop.
Then bring your Prores files into Premier / Final Cut or whatever you use, and grade there while you edit.
You will retain nearly all advantages of raw (No compression artifacts , 4:2:2, 10bits of color informations and no clipping of highlights or shadows) but your file sizes will be much smaller and you can grade / edit multiple streams in realtime in your NLE.
So to condense that: convert to Log and grade after that because it's far more efficient use of your time, disk space and processor power.

7
Raw Video / Re: No way to do auto restart recording for RAW?
« on: January 27, 2018, 06:58:32 AM »
There is an option "Frame Skipping" which will prevent MLV_REC from stopping when buffer is full. Side effect: Corrupt frames.

Well I mean gaps don't matter as in the kind of gaps you get if you keep pressing record again immediately after recording stops due to dropped frames. i.e. lot's of ~10sec files with no dropped frames, but large gaps in continuity. I can still use this footage by patching over where the gaps are with another cam or b-roll. But it would be nice if I could just hit record and not have to keep watching for when I can record again.

The 'Frame Skipping' option just creates a jumble of corrupt and non corrupt frames, completely unusable.

Is this something I could do with a LUA script maybe?

8
Raw Video / No way to do auto restart recording for RAW?
« on: January 09, 2018, 02:07:11 AM »
Feature is there for standard video recording, but can't seem to do it for RAW.

On the cameras with limited SD bandwidth, in my use case I'm often just reading to continually restart, gaps aren't that important.

Any way? LUA maybe?

9
Just give up.. I used to run around in circles trying to get rid of moire. You can't not without losing tons of detail and looking like SD footage. Maybe the mosaic engineering vaf? Seems like the only real solution.

Yeah I've come to that conclusion (though I've found the ACR defringing tools can work wonders in for the coloured variety, even though its not designed for this)

Well I'm on 70D, VAF's ludicrous pricing with intl. shipping makes it almost the same as trading the 70D for a 5D3. I'm amazed anyone buys them.

10
Testing different ways to deal with Moire and being that blurring and upsampling are visually similar, am I giving up one of the reasons for shooting raw in the first place (444, I know the bit depth is still there).


11
Raw Video Postprocessing / Re: To Log or not to Log (from MLV)
« on: May 01, 2017, 06:52:15 AM »
Alright it is important to note the difference, log versus raw is very different.  It not only comes down to the dynamic range of the footage, but more importantly the bitdepth.  I will shoot with a log picture style for most of my work if I don't have to/plan to push the image to hard in my manual grade in post.  If you push the h264 files to hard the colours will heavily band and you will get blocking artifacts due to the heavy compression.  RAW on the other hand is 14bit (depending on RAW settings) versus h264's 8bit, it can be worked very hard before breaking down.  Personally my workflow is to take the RAW MLVs colour balance them and convert them to an arri standard log with some noise reduction before outputting them in Cineform, a GPU accelerated codec that outperforms ProRes and is resolution agnostic, to use in my NLE where I preform my final grade.

Sent from my SM-G930W8 using Tapatalk

I wasn't talking about fake log color profiles for H.264 (IMHO you're better off trying to get the most out of your 8 bits by exposing your shot properly and using standard/neutral profiles, and getting your utilising all 0-255 data values. The sacrifice to color tones is just too great to force log into 8 bits).

What I'm referring to is converting 14bit RAW to a 10/12bit Prores using a log colourspace such as VisionLog / Cinelog-C via ACR or other method, which seems to be the workflow of choice for some people on this forum.
Real high bit depth Log colourspace files like this (like their in-camera counterparts Arri Log-C / BMD Log etc) are really not so different to RAW at all when it comes to grading latitude. But of course we don't have that option, we can only go H.264, MLV, or MLV->Log Prores.


And yeah..... if you're a FCPX user you'll know that Prores is lighting fast. I can have 4+ layers of 1080p with FX all in butter smooth realtime. Prores and FCPX were designed for each other though, if you're using Windows or another NLE, YMMV.
If Cineform can beat that, I'd like to see it.

Sidenote: With the trend pointing at universal adoption of H.265 HVEC in GPUs and camera SoCs, things are about to change rapidly for codecs. With an All-I (GOP1) highbitrate 10bit 444 H.265 file rivalling Prores 444 in quality and edit speed, at a fraction of the file size, it's not hard to see where things are going.
These new chips from Ambarella (https://www.ambarella.com/news/94/122/Ambarella-S5-IP-Camera-SoC-Delivers-4K-10-bit-H-265-Video-and-Multi-Imager-Capabilities-to-the-Professional-Surveillance-Industry) means even tiny action cams will be encoding this on their hardware very soon, and you GPU will be decoding it realtime back at the computer. That will be hard for 3rd party codecs to beat!

12
Raw Video Postprocessing / To Log or not to Log (from MLV)
« on: April 29, 2017, 09:04:08 AM »
As I understand it, for cameras that can record Log natively, it can provide most of the dynamic range benefits or RAW, whilst keeping the convenience of single file clips and space conservation of [barely] compressed formats like Prores. (From here on in 'Prores' is interchangeable with your intermediate codec of choice)

But being that ML users must shoot RAW to get these benefits, by the time we get MLVs into a usable format, we've already had to deal with (to varying degrees deepening on model) space/time/res limitations and extra workflow steps involved with shooting RAW. So as we're not really able to cash in on a lot of the conveniences that a true cam->NLE log workflow provides, I'm interested to know why the people that are using things like VisionLog / Cinelog-C in their workflows choose to do so.

I assume some people would like to go Log-Prores to keep dynamic range available whilst maintaining the playback/scrub speed of Prores in NLEs like FCP.
If so do you....?

1. Drop a Log->Rec709 LUT on your Log clips (or output/timeline) by default so you're viewing as Rec.709, and do cc/grading before the LUT in the chain?
   This would obviously have the benefit of allowing clipped areas to be recovered if needed, but should otherwise look like the Log step never happened. Other than that, is there also a specific benefit to applying color correction while in the Log colourspace as opposed to filming 'flat' (contrast/saturation reduced) Rec709? Another way to say this is: If I'm displaying Log footage through a Rec.709 LUT, but adjusting curves before that LUT, the function curve is affecting a very different set of values than if it were after the LUT. Do people use this to advantage? What the theory?

2. Drop a "Film Look" type LUT on the log footage that has the Log->Rec709 transfer built in?
   Since I've been playing with Log and thinking about it, this should effectively give the LUT access to values that lie outside the range of rec.709 and presumably the opportunity to map those values into more a pleasing highlight rolloff. In testing though I can't say such a subltle difference justifies the extra steps and CPU load.

3. Begin grading directly from the Log footage, working contrast and saturation back in manually?
I hear a lot that log is just an intermediate step for maintaining DR, and not intended for output. But I swear a lot of new TV series with flat look resemble Log footage with the blacks pulled down and some sat in the mids. Is this the case or am I just misinterpreting a stylistically flat, but not necessarily log grade.

13
Chiming in to add/confirm reports on 550D every 2nd frame is a copy of the last frame, except the top 3rd which looks like current frame, only shifted on X axis.

If I can contribute to testing in anyway, gimme a job! 550D is 'B' cam, but love to get more than a couple of seconds of Raw at full res.

14
Raw Video Postprocessing / Re: New Mac app for MLV (Alpha 1)
« on: March 10, 2017, 02:37:04 AM »
Great app, I'll be looking forward to trying it out when OpenGL is implemented.

Some suggestions for making this app killer for fast workflows.... if I may, ahem.

-Left pane browser (instead of '+') with folder favourites. See DaVinci Resolve for good example.
-Some way to tag MLV files. Using the standard Apple Finder tag meta would be great so it would reflect in Finder. Just the color tags would do.
-Comment files using the standard Finder comment meta.
-Delete MLV files from the app.
-Quickview plugin. I've experimented with this before, and looks like best we could hope for (since 10.6) would be a single frame preview. But when logging and organising 100s of MLVs, even a single poster frame preview would be a godsend. Seeing as you are using AVFoundation already, this should be perry easy.

15
Quote
Nonsense, your post is what is a joke. MLVFS is extremely fast, and myself (and countless others) get real-time speed. If you are having issues, where is your bug report?

Well in my experience with Resolve, I could get very close to realtime playback from DNGs exported to a real (non SSD) drive. When I tried this with the same DNGs directly from the MLVFS virtual drive, I could get only barely a few fps which wasn't usable for me
I did not put this down to a bug, but rather assumed there must be too much extra overhead from the virtual file system converting between MLV and cDNG 'on the fly'.

I havne't got MacFuse installed right now so I can't retest, but if you are saying that no body else notices any different in speed between real and virtual files, I'm open to it being a specific issue with my system.

The only thing I can think of is that, running on a 1G Radeon HD6870 didn't give enough hardware acceleration for Resolve so was maxing out CPU.
In that case maybe the added CPU overhead of the 'on the fly' conversion was just too much.

16
In my experience...

MLRawviewer
-Fast / Stable / Crossplatform . Great for quickly going through a card full of MLVs as you can preview and export only what you need very easily.
-It's mostly keyboard controlled though which can be annoying if you forget the keys.

MLVFS
-More thorough options for things like Dual ISO and be-banding
-Great idea in theory using a virtual file system, but using it in this way is painfully slow. Forget working in Resolve like this. You'll have to drag the DNGs to a real folder to get reasonable speed. If you're doing the AE/ACR method, you'l be used to a painfully slow conversion process anyway so you may not notice.

If you want a fast workflow while still keeping 14bit raw, you need to get the cDNGs to a real folder on a hard drive, preferable SSD.
You can either do this by just going through each shot in MLRawviwer and pressing 'E' to add to the export queue.
Or, using MLVFS and dragging the cDNGs from the virtual drive created by MacFuse to a real drive.
If you have Resolve configured for performance, they should lay in realtime without conversion.
DON'T attempt this using just MLVFS's virtual DNGs though, it's a joke.

I'd say, unless you have banding issues or are using Dual ISO, just export through MLRawViewer. It's a lot less steps to get cDNGs and no 3rd party software to install (MacFuse).



18
Modules Development / Re: Full-resolution silent pictures
« on: December 24, 2014, 08:41:32 PM »
@bookemdano. I've made a slider with an arduino and stepper that moves a specified amount, then fires the half shutter (operated via iPhone app). I'd been thinking recently that the same design would suit telecine very well. You just have to swap the AC motor for a stepper then fps and sync are non issues.

19
Hardware and Accessories / Re: Remote joystick
« on: December 12, 2014, 02:45:14 AM »
Theoretically, any function supported by EOS utility could be controlled over the USB port if you got busy with an Arduino or similar ( otherwise the only external inputs you have access to are half shutter and full shutter press via the remote cable, (+ face sensor and audio trigger) so the magic lantern features can only be controlled by those.

20
General Chat / Re: NEW H.265 CODEC
« on: December 11, 2014, 11:01:02 AM »
^what he said :)

21
General Chat / Re: NEW H.265 CODEC
« on: December 10, 2014, 03:09:16 AM »
I've just learned that h.265 AND h.264 can support 10bit color. Pretty annoying camera dev's aren't utilising it.

22
Raw Video / Re: qDslrDashboard on iPad
« on: December 02, 2014, 12:19:20 AM »
Doesn't work over USB, only wifi for cameras that have it (no video). Best at the moment is dslrcontroller for iOS as it's almost as fast as hdmi but it's for jailbroken devices only and it's purely a viewer, no controls yet. And it doesn't work with raw. Afaik raw disables this h.264 output stream as it doesn't work with the canon eos utility either. So someone would have to make a modded version of the mlv module (likely sacrificing data rate)

23
Raw Video / Re: ML .RAW plugin integration OS X
« on: November 28, 2014, 09:06:56 AM »
Considering the wide support for ARRIRAW, batch converting from MLV to ARRIRAW would certainly handy workflow solution though it's
hard to tell if it's open on the input side (encoding). Probably not as it would be counter productive.

Does MLV use any form of encoding? I wonder how different the data is besides headers and data structure. (ML module possible?)
Then u have native QT including thumbnails and quick look, native FCPX support, native Resolve support and plugins for pretty much everything else.

From the website:

Quote
Is ARRIRAW an open format?
We recently submitted the ARRIRAW format and header specifications to the SMPTE, requesting the initiation of a new Registered Disclosure Document (RDD). Once the document has been accepted, the SMPTE will publish the RDD on its periodic distribution media and on the SMPTE website. This will ensure that the format is open to anyone who wants to develop applications around it.

Quote
ARRI offers a software development kit (SDK) for ARRIRAW processing that software vendors can incorporate into their application. ARRI also supports vendors who wish to implement the ARRIRAW processing procedure on their own. Depending on the implementation, the following processing settings can be adjusted:

Exposure Index (ASA rating).
white balance.
tint (green-magenta shift).
current or legacy debayering mode.
output color space for HDTV, digital cinema (P3), ACES and Log C wide gamut.
different standard aspect ratios.
output resolution.
sharpening of the image output.

With the ARRIRAW SDK, you can also apply a custom ARRI Look File, which offers primary adjustments through printer lights, saturation and additionally lift/gamma/gain (or slope/offset/power).

No info on where to get such in SDK though. I imagine they expect direct contact from developers.


24
Raw Video / Re: ML .RAW plugin integration OS X
« on: November 27, 2014, 01:38:46 PM »
Quote
I would like to see a ArriRaw type file support which by the way FCPX has native support with Raw adjustments.

http://www.arri.com/camera/alexa/learn/arriraw_faq/

Looks like they made it pretty easy for Apple with an SDK and all. MLV would likely need the same though Apple's not likely to want be seen supporting it when you consider their stance on modding firmwares.

25
Raw Video / Re: ML .RAW plugin integration OS X
« on: November 21, 2014, 12:43:31 AM »
Eventually I hope we can get some sort of native support in fcpx  and davinci. MLVfS is a great idea but I can't preview in real time in davinci with it so I don't find it practical. Batching to cdng or proves with MLRV  is still works best for me.

I do really miss quick look though. I have my thumb permanently resting on he space bar when I'm working as I find instant preview integral to fast workflows when rummaging through files.

Here's a quick look plugin that already supports most of ffmpeg via vlckit so it just needs the mlv implementation in ffmpeg to mature and then our mlv icons will show snapshots. See here for the devs comments https://github.com/Marginal/QLVideo/issues/10

No video unfortunately due to aforementioned avfoundation migration but there's chance it could work in a hacky way if we can work out how to find the memory address of the quick look window.

Pages: [1] 2