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 - Tyronetheterrible

Pages: [1] 2 3 4
What a game changer

Agreed - thank you so much, @DeafEyeJedi! I really appreciate it.

Thanks, @ngemu, appreciate it. I used my Canon 24-105 f4/L lens with a Black Pro Mist 1/4 filter.

Thank you, ZEEK! Means a lot coming from you - I love your work with the EOS M!

A music video I shot, directed, and edited for a local music artist.

All shots were in 14-bit lossless using the crop_rec 3x3 build and in 1824x1026, except for 60fps slow motion shots which were in 1824x616, and stretched by 1.66x.

I would have loved to take advantage of the 3x3 binning crop, however it does not give me enough of a vertical resolution for practical use, even for the 2:39 aspect ratio that my project was. I guess I can zoom the image in post, however I did not want to sacrifice any more of the limited resolution with the 6D as it is.

Overall I am generally pleased with the final result.
Graded in DaVinci Resolve using Cinelog-C, Vision Color's M31 LUT, and Filmconvert for grain and additional adjustments.

That was incredible! Your work is always by far among the best cinematic stuff I have seen using Magic Lantern! What was your recording resolution? Did you use the crop_rec module at all?

I don't have a 24-105 but i have the canon 28-135 and I can test it out for you on that lens. The only thing that sucks is that you lose two stops of light using it so I rarely use it on anything that's not a prime and it vignettes so heavily at anything below 55mm. I also have the one that's for Sigma lenses and goes on the back which reduces the vignette. I'll throw together a test video for you this weekend.
Wow, I appreciate that a lot! That would help me greatly, as I have Canon EF 50 1.8 and 40mm 2.8 primes as well, so it would be interesting to see how it would perform at that range of focal lengths.

There is this one guy named Tito Ferradans on youtube that explains everything budget anamorphic ever. My favorite mod of his is the Helios 44-2 mod.
Yes, I am a definite subscriber to Tito Ferradans! I will have to check out the video for his Helios 44-2 mod. That is a lens that I have been eyeing for quite a while.

Thanks so much again, yourboylloyd!

Hardware and Accessories / Re: Cheap anamorphic solutions
« on: October 08, 2019, 05:18:17 PM »
The fine guys at Vidatlantic: have some interesting filters that mimic few of the great characteristics that we would like to have on our short.
Thanks to a scalpel, black cardstock, an adapter ring and fishing line we already manufactured basically the cinemorph filter, and it works a treat for bokeh and flares. thing is, we would like to have the same effect on wide lenses as well.

In this days we will be creating using the same materials a copt of this other cinemorph filter:

basically being the same thing, only placed on the rear element.

Will post the result as soon as it's ready.


Just curious if you managed to make your version of the cinemorph filter for the rear element? If so, do you have any test footage? I am also looking to find an anamorphic filter solution for my Canon EF 24-105 lens, and an option for wider focal lengths would be awesome!


I didn't even know that the crane 2 could power the camera!!! This is mindblowing to me. At first I would spend about 15 mins taking off the camera, swapping batteries, rebalancing then shooting (which was annoying). If I would've nkown about this I just would have bought hundreds of those little crane batteries!
Glad I could share that tip with you! Now you can make your setup even more lightweight!

Does the Crane 2 work with the BM4K? I remember a lot of people saying they were having record trigger/autofocus/control issues when using it with it. And of course you have to buy that offsetting plate thing because the bm4k doesn't fit most ggimbals.
I heard about the offset plate thing too, and all I would need is the servo motor for focusing, and all other functions like recording I would do using the touch screen on the BMPCC 4K itself!

That video is pretty nice. Be mindful that there is more than RAW video going on here. This guy shot on the vidatlantic anamorphic filters, which change the look of video entirely and only work on a select few lenses properly.
For sure, and the Vid-Atlantic anamorphic filter is actually going to be my next gear purchase. I've heard varying degrees of success from various people using varying focal lengths, contrary to Vid-Atlantic's website, so I'm going to grab one to test myself. I have yet to see any Vid-Atlantic anamorphic filter tests using Magic Lantern, so I am excited to see the results!

Keep me updated on what you decide to do! I'm extremely curious.
Will do! Looking forward to seeing more of your work too!


That's a clever rig! I use a dummy battery that connects to the DC 8.0 V power outlet on the side of the Crane 2. I find in most cases that the Crane 2 carries enough juice to power my 6D and the Crane 2 itself for an entire shoot day. Then I just use all of my LP-E6 batteries to power my monitor. It’s particularly nice during wedding shoots not to have to unmount the camera from the Crane 2 every single time just to change batteries.

I was one of the unfortunate ones to have purchased the Crane 2 BEFORE they included the servo follow focus in the box, but the camera control cable does an adequate enough job of pulling focus for me. I'm still considering getting it separately though, as it would be nice to control the zoom using it.

Here is my setup:

If I were to purchase the BMPCC 4K, I would of course purchase the Metabones SpeedBooster 0.64 XL alongside with it to get close enough to full-frame, and to use my preexisting EF lenses. The fact that it can also shoot in 12-bit RAW (BRAW) would be good enough for me. The 4K would also be nice for re-framing and keyframing in post, a handy tool especially for music videos.
Playback of RAW files would help out big time too, as I work mostly with clients who usually and understandably want to view the shots after each take.
Honestly, checking out this particular BMPCC 4K user's work was enough to convince me. This is exactly the kind of cinematic look I want to achieve:

Thank you! I used a Canon L 24-105 f4 lens for all of the shots, mounted on my Zhiyun Crane 2. I took advantage of the newly added vertigo mode through the latest firmware update. The Crane 2 is my favorite gimbal to pair with Magic Lantern, as you can fully use the follow focus wheel by just connecting the mini-USB from the the gimbal to the camera, no servo motor required.

Thanks so much! I was impressed by the dynamic range as well! I had a Black Pro Mist 1/4 filter mounted too, just to soften the highlight rolloff, especially for the window shots.. I was also considering using the Dual ISO feature to pull even more dynamic range, but ultimately didn't want to sacrifice any more resolution than my already limited 1824x1026.

The image I can pull off with Magic Lantern, along with the ability to follow focus using just a mini USB cable for the Zhiyun Crane 2, are the main reasons I'm considering upgrading to 5D3 as opposed to a BMPCC 4K. Although i'm still teetering on the fence...

A music video I shot, directed, and edited for a local music artist. Wanted to experiment with double exposure techniques. Looking forward to using this technique in more advanced/tricker ways, now that I have a bit of rudimentary experience with it.

All shots were in 14-bit lossless using the crop_rec 3x3 build and in 1824x1026, except for 60fps slow motion shots which were in 1824x616.
Graded in DaVinci Resolve using Vision Color's DELTA LUT, and Filmconvert for grain and additional adjustments.

I recently DOP'd a short film using all MLV on Magic Lantern.
All shots were in 14-bit lossless using the crop_rec 3x3 build and in 1824x1026, except for 60fps slow motion shots which were in 1824x616.
Let me know what you guys think! I always value all fellow Magic Lantern users' opinions and want to get better at using it!

Raw Video Postprocessing / Hot/bad pixels (?) In Davinci Resolve
« on: July 05, 2019, 04:48:28 PM »
Hello everyone!

I shoot MLV with a 6D and edit using MLVFS and DaVinci Resolve, and have been experiencing an ongoing issue in some of my footage with white pixels around where I am guessing specular highlights would be present:

When I bring the same clip into MLVApp and turn bad pixel fix on, it solves the problem immediately, which is wonderful!
But when I am editing through DaVinci Resolve using MLVFS, even with Bad Pixel Fix set to Aggressive, the issue is still present.

I am just curious as to what causes this to happen in the first place? Is it just an inherent limitation of some sort on the 6D's part? Is this prone to happen on 5D3s as well? I have performed manual sensor cleaning but the problem still persists.

I would like to continue using MLVFS in conjunction with DaVinci Resolve, as it is really convenient for quick edits, but am unsure of the solution to this.

Did you have any artifacting, skipped frames, Magic Lantern freezing on you, or tons of moire with it?

What's your max iso shot at?

How's the noise and grain?

Shooting at 14-bit lossless, I did not experience any artifacting or skipped frames, nor did it freeze on me. And this is with using the pretty much automatic modified module by Danne: (Link:

Moire was pretty minimal/non-existant, as I have the VAF-6D Optical Anti-Aliasing Filter installed over my sensor.

I shot at 6400 ISO at the highest, but I believe I stuck with 800-1600 ISO for most of the shots. Definitely got noisy once you shoot at 6400, but I removed most of it using the Neat Video plugin, and then added intentional film grain using FilmConvert.

Share Your Videos / Re: Showreel 100% ML RAW
« on: June 18, 2019, 05:46:38 PM »
Amazing stuff! I absolutely love the look 18 seconds in. Did you use a particular LUT for that?

Share Your Videos / Re: Madrid and Women March of 2019
« on: May 26, 2019, 06:06:30 PM »
Yes ! I will make a post with a bit of BTS about the workflow and I will answer you that during the week-end.

Amazing video! I too would like to know more about your workflow - I love the filmic aesthetic.

That guy is really lyrical!

Those shots were pretty good. Were you on a stabilizer? Handheld? Gimbal?

Did you use Adobe After Effects or Resolve to edit the shots?

Thanks, @yourboylloyd! All shots were on a Zhiyun Crane 2. All editing and effects were done in DaVinci Resolve.


A music video that I shot for a local music artist at Winnipeg's Fort Garry Hotel.
Shot on the 6D using the crop_rec experimental build.

Mostly shot at 23.976 at 1824 x 1026.
Slow motion shots were at 60fps at 1824 x 634.
also used the SD Overclocking module.

Used a combination of @wangtrirat's Arri Alexa emulation method as well as FilmConvert for color grading and adding grain.

Experimented quite a bit with keyframing, a common trend in rap videos lately, which I was a little apprehensive about at first given the limited resolution I was recording at, but I feel that the film grain that I added hid that well enough to make it look more like an artistic touch than anything else.

Wow! I really like the style of the last video.
May I ask what your FilmConvert settings were?

Share Your Videos / Re: Notre-Dame de Paris - 6D ML RAW
« on: April 17, 2019, 10:56:09 PM »
Incredible stuff from the 6D! Might you be able to share your color grading workflow?

Share Your Videos / Re: Canon 5DMk2 versus BlackMagic Pocket Cinema 4K
« on: April 16, 2019, 02:47:36 AM »
First one, BMPCC4k, second one Canon?

@theBilalFakhouri @a1ex

Thank you very much for the quick response! If we were talking Real-Time LiveView in crop_rec, what would the highest resolution be for continuous recording?
(14-bit lossless, 24fps MLV)

Can anyone tell me what the highest resolution the 5D3 can record in at 14-bit lossless 24fps MLV, with a fully-functioning real-time Live View?

Thank you very much in advance!

Does anyone know how the Cinelog-C Full Colorspace Transform LUTs compare to DaVinci Resolve's Color Space Transform OFX in terms of quality and accuracy of transforming the image's colorspace?

I watched a tutorial recently that stated the Color Space Transform OFX plugin in Resolve had the advantage of controls such as Luminance Mapping to better accurately handle things such as highlight rolloff more so than Colorspace Transform LUTs would. However, given the quality product that are the Cinelog-C LUTs, I was uncertain if this would apply to them and if they do something different than other standard Colorspace Transform LUTs would.

Looks good dude. Did you use a LUT? If so which one?

Thanks, Starclassic! I used the BMD Film to Cinelog-C LUT, the M31 LOG LUT, some curves adjustments, and then Filmconvert for grain and further color adjustments.

Pages: [1] 2 3 4