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Messages - ibrahim

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1
crop_rec and derived builds / Re: Danne's crop_rec_4k & ISO experiments
« on: September 26, 2019, 12:31:03 PM »
I've used the cinema lua script using an external monitor. The issue I am having is to see the lower end of my footage. I know that there is a stretching going on vertically, which is why I cannot see the lower end of the filmed footage. Is there a way to say shrink the entire frame so that the lower end can be seen? Any other solution?

2
Raw Video Postprocessing / Re: dng color grading
« on: August 26, 2019, 02:01:37 AM »
It depends what you mean by best workflow? Best as fastest or best as highest quality? But then again if it is the latter then your PC should handle the workflow before you take that road.

3
crop_rec and derived builds / Re: Danne's crop_rec_4k & ISO experiments
« on: August 09, 2019, 04:07:03 PM »
With a slight modification of the aspect ratio (1:2 in raw menu and 2.35 in crop rec menu) and resolution to 1808x2300 in 14-bit lossless of the cinema lua script I managed to get automatically the following in MLVapp:

5424x2300

Just to make sure I have understood this script correctly. Does this signify that the streching by 3-fold 1808x2300 to 5424x2300 does not result in any loss of pixels? Meaning that pixels had been squeezed and then streched back making this true genuine 4k footage?

4
crop_rec and derived builds / Re: Danne's crop_rec_4k & ISO experiments
« on: August 07, 2019, 10:27:03 AM »
Anyone knows how to record continuous at 14-bit lossless at 1440p 24fps? I get pinky/black preview on my LCD screen.

These are my selected settings:
Global draw: liveview
fps override set at 24 fps
crop mode: 4K 1:1 and x3crop set

RAW video:
2656x1494
16:9
14-bit lossless
preview: realtime
croprec preview: auto mode
kill global draw on
sound on at 48khz

Any tips on what I am doing wrong?
Using build 2019-07-20 on 5d mark III firm.123

5
crop_rec and derived builds / Re: Danne's crop_rec_4k & ISO experiments
« on: August 07, 2019, 10:03:18 AM »
Anyone knows how to record continuous at 14-bit lossless at 1440p 24fps? I get pinky/black preview on my LCD screen.

These are my selected settings:
Global draw: liveview
fps override: 24 fps
crop mode: 4K 1:1 and x3crop set

RAW video:
2656x1494
16:9
14-bit lossless
preview: realtime
croprec preview: auto mode
kill global draw on
sound on at 48khz

Any tips on what I am doing wrong?
Using build 2019-07-20 on 5d mark III firm.123

6
Hardware and Accessories / Monitor to color grade in 4:4:4
« on: June 05, 2019, 08:47:01 AM »
Hi,

I want to build a budget-friendly home color grading studio with 2 monitors, one of which is the preview monitor in 1080p or 1440p. I have been looking for some benq and eizo models but most seem to have problem with compability with video cards (decklink cards) which I intend to use to get clean 10 bit 4:4:4 signal while color grading. I haven't found any solution in forums even after many compability complaints there I haven't found any solution to these.
My budget for the preview monitor is 2k-2.5k US dollars and for the other monitor used to timeline, editing and scopes below 1k US dollars. I need my preview monitor to have true 10-bit display, 3d-LUT, good black levels for professional use.

Q1: Is the uncompressed/lossless 14-bit raw cinemaDNG obtained from say MLVapp a 4:4:4 RGB or a 4:4:4 YUV signal?

Q2: Do you guy know anyone who has managed to make a specific brand of monitor to work on the decklink?

7
Don't load mlv_lite and mlv_rec at the same time. They will conflict with one another.

With the 650D and crop_rec_4k_mlv_snd try loading just mlv_lite and mlv_snd and report back.

Does the same rule apply with 5d3 firm 123?

Are there any cropmarks I can use that shows the correct framing on my LCD while recording in 3.5K 1:1 centered x5 in 16:9 and 2.35:1?

8
Those prices are way above my budget.  :D

Say I want to send a film to a film festival that demands a DCP or Apple prores file. Am I better off buying DCI-p3 or rec2020 monitor if I am color grading in 14-bit cinemaDNG and in which working space should I set my NLE in AE or davinci, P3? rec709 or rec2020?


9
What display is the best to color grade 14-bit uncompressed cinemaDNG, DCI-p3 or rec2020.
Is DCI-p3 enough to display all the bits or should I choose rec2020?

10
Post-processing Workflow / Re: ACES in After Effects or/and davinci
« on: March 18, 2019, 12:25:09 AM »
Your question is more "how to work in a ACES enviroment with raw files, specifically from ML RAW?"

Since your workflow is a non ACES one you have to discard it all I'am sorry to say and start from scratch.

So you mean for instance that I cannot have arri log C as a starting point while working in an ACES envireonment?

11
Post-processing Workflow / Re: ACES in After Effects or/and davinci
« on: March 17, 2019, 02:56:43 PM »
Thanks man.


Are you referring to the Color Space Transform?
But why do I need to return to linear in node 3?
Shouldn't the final output be in rec709 before rendering?

12
Post-processing Workflow / ACES in After Effects or/and davinci
« on: March 15, 2019, 02:04:33 PM »
Hi,

I wonder what the exact workflow setting I should follow to color grade 14-bit RAW cinemaDNGs in ACES and linear in After Effects primarily, if not in davinci.

This was my previous workflow in non-ACES environment:
1- Set AE to 32 bpc and working space to rec 709.
2- Import cinemaDNG in AE via adobe camera raw. Select cinelog-C and fix WB, camera profile, remove nosie and sharpen and select correct lens profile. Nothing else.
3- In AE on top of footage apply colorIO plugin and set input to cinelog-C and output to arri logC film matrix.
4- adjust exposure, saturation, vibrance, IR pllution etc.
5- apply filmconvert or via opencolorIO plugin a 3d LUT such as kodak 2383

If I want to work with ACES what should be changed in each step of my workflow?

13
For the past weeks I've intensively gone through all threads regarding dual iso and ettr and I still haven't been able to know exactly a step-by step approach in how to use both for video in camera and when to use or not to use the histogram for this purpose.
I've understood all parts, but still how do they work together 'in practice' (on camera) is something that I have been struggling with. Anyone mind sharing through an example with concrete values?  :)

14
Post-processing Workflow / Re: Adobe is garbage. Alternatives?
« on: February 11, 2019, 12:57:57 AM »
To be honest, AE, (not ACR), has "Detail preserving upscale" for a long time.
And on topic:
No, Adobe is not a garbage they are very mature and feature reach set of tools,
but too hungry for money and ACR is painfully slow with RAW.
And Resolve is on pair in quality with RAW since v12 but chews it in realtime on good GPU.
And the core functionality is Free!!!
Yes, and Adobe development is completely stalled, while Resolve evolves rapidly.
Literally, every time i read description for the new Adobe release, i only yawn.
On the opposite, for example, as long as i start to include VFX in my projects, BM added Fusion functionality.
Simply incredible.


No doubt about the fact that resolve is faster and its VFX has evolves quickly especially with a strong GPU. But if image quality is your concern AE beats resolve. I've tested both in many footages and the difference is noticeable.

Yes AE is slow since it is RAM-hungry. But AE can be used in a smarter way. I've used it for a several years now and for the past 8 months or so mastered a perfect workflow due to how RAM-hungry the software is.

Import the cDNG inside AE via ACR. Then drag and drop the footage into composition. Select the cDNG file and select create proxy video. In the export settings choose quicktime cineform (quality 3) and half the resolution or even lower depending on your system. This will create proxies which will easy load for playbacks and it is very fast. No intermediate conversion/render is required; straight cDNG 14-bit uncompressed into AE.

Do the editing with the proxy on. Then when you want to color grade uncheck the box to inactive the proxy to see in max quality while color correcting/grading. At the end uncheck the box besides each cDNG file to inactive the proxy, select CAPS LOCK (to speed up the rendering) and render to cineform, prores or DNxHD depending if you're in mac/PC.
 
If this method is now fast for playback then the SSD configuration, RAM or something else should be better structered.

15
What is the highest resolution you guys have been able to record with dual iso on 5d3 12-bit lossless 2.35:1 or 16:9  with the experimental builds?
Does it also involve x5 crop mode? and at what binning for dual iso? Thanks in advance.

16
Hi guys,

I have a x5 1:1 3.5K footage in 12 bit lossless that I want to export in this app. Which export setting is the most recommended while using apple prores 4444 in win10?
I am referring to which debayer and smooth aliasing options I should use.

17
12bit MLV file  used(13mb) cut in Mlv app:
https://bitbucket.org/Dannephoto/magic-lantern/downloads/M18-1354.MLV

Hi. Since recording rates are getting better with lossless but also with using the sd_uhs it seems even more interesting to get dual iso movie recording working also with at least 12bit files. While 14bit really looks awesome filming with 3xzoom mode 12bits are still problematic(check stripes after conversion):


Checking dual iso code sources and it´s really some of the most impressive stuff I´ve seen. I don´t know where to start even looking for tweaks in there so I thought I´d post an example MLV if maybe Alex or somenone else wants to have a look.

Hi Danne,

Which crop-build do you use to record video in 14-bit 3x + dual iso? I have both 5d3 1.1.3 and 1.2.3.
I still haven't moved to the experimental builds and want to try 3x and dual iso.

18
General Help Q&A / Re: Dual-ISO for video for a low-lit scene
« on: January 15, 2019, 10:28:34 AM »
Thanks Walker. I'll study the content surrounding autoETTR and dual iso via the provided link.

19
General Help Q&A / Re: Dual-ISO for video for a low-lit scene
« on: January 14, 2019, 05:37:23 AM »
Could you guys explain how autoETTR and dual iso is used in both the nightly build and in the experimental (and which build). I have had hard time to use these in the right manner along with the ordinary ISO. 
I want to shoot in 24p and continuous. I use both 5d3 1.1.3 and 1.2.3.
 

20
Post-processing Workflow / Re: Obsession about LUTs
« on: January 10, 2019, 12:58:23 AM »

a precision to this, the lut (which is a baked filter that will crush the image dinamic range) should be applied as a last node and any other correction should be done *before* that.

I agree on that. I have tested this very carefully. This is a very important method.

21
Raw Video Postprocessing / 3x crop mode on 5d3
« on: January 05, 2019, 05:48:15 AM »
Hi, I can't seem to find any tutorial on how to make 3x crop mode work on 5d3 in higher resolutions than 1080p. Anyone?

22
@Ibrahim
Just hit export dng, lossless, uncompressed, whatever. If the dng files looks ok you don´t need to mess with settings. Defaults are ok. ACR and resolve can chew all bits.

Thanks Ilia3101, masc and bouncyball for great progress and refienments. Dualiso, colors etc. High end stuff.

After processing my dual iso/raw footage to arri log-c cDNG uncompressed I intend to import them AE. During the import ACR will be used. Which leads to the question, how much more accurate is MLVapp than ACR? Or rather what's destructive with ACR?

Will any destruction also occur with resolve?

23
Hi, to process dual ISO footage what should the camera matrix be set at?
I use 5d3.

24
Share Your Videos / Re: Lightroom Grading, opinion please!
« on: November 14, 2018, 09:51:51 AM »
Hi Rob,

I first used Lr when it took off with Magic Lantern. So it is a good quick start to become familiar with color grading but I would not recommend it since you will be dealing with several programs, exporting, in and out, etc...

If I were to choose to work with RAW then color grading and working with scopes would be my target. Scopes are included in davinci, After Effects and even Premiere.
If you intend to produce documentary, promo like videos then Premiere would be just fine. Davinci even faster but its editing features are not YET as sharpened as premiere's.
If you want to produce short film and therefore color grade and use LUT or/and filmconvert etc. then use either AE or davinci. Davinci is faster but AE has better image quality however AE is much slower to work with since it requires a lot of RAMs. Davinci requires a strong GPU.

Besides that nothing beats davinci in its color grading features and its export (render) time.

So to sum up this as soon as you know what highlights, black, etc. are doing exactly to your picture then leave Lr and move to either of these three programs. You will see the big difference.
If you want full control then use the scopes (RGB curves, luma lumetrie and vectorscopes) to color correct and grade. Use cinelogC or ARRi alexa logC as a starting point.

25
Yes (thanks to @Danne) no special recipe is needed. Turn on dual iso with "AMaZE" and "Alias Map" on and export dngs (sometimes dual iso lossless dngs can not be created and error shows up, so your best bet is uncompressed ones). That's all :)

Note: do not use "CinemaDNG Fast Pass" it will completely bypass dual iso processing.

Thanks man. Great stuff you guys are creating.

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