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Messages - masc

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1
Did you use such lenses wide open? Closing the aperture also brings moiree. What you show in you video looks very unusual for AMaZE.
Use CA Desaturate / Radius in MLVApp. https://github.com/ilia3101/MLV-App/wiki#ca-desaturate--radius Works for CAs and color moiree.

2
But yes - I see exactly what you mean about the aliasing and moire - thanks for that ...... You know, though such shots might be 'objectionable', but there's a low percentage overerall. I'm wondering whether it would be possible to make 'changes' during the shoot like 'removing' such zipped clothing (hit and miss, I know), OR to somehow deal with these shots in post production by slightly blurring the affected region - granted, this would be easier on a 'static shot'.
The best idea should be using other lenses and maybe better settings: with a very fast lens wide open @ 180° shutter it becomes very hard to produce and to find moiree. Color moiree can be filtered by MLVApp, but luma moiree can't (atm). And what debayer algorithm was selected for this video? Looks like "bilinear" or "simple"...

3
Modules Development / Re: Danne's crop_rec_4k & ISO experiments
« on: February 19, 2020, 12:58:45 PM »
I'm uncertain if MLRAW is RGB 36 bits or RGGB 48 bits pre-compression, would love to learn more.
MLRAW is 10/12/14 bit. RAW is B/W (one channel). Color comes with debayering.

4
Thanks Luther. Looks very interesting. Code is hidden here.
Looks not impossible to port, but it is a lot of work. And if I see all the funny for-loops, it won't be very fast. But I like the results...

5
Because to be honest BMDFilm is a bullshit concept. For each Blackmagic camera it seems to have a different gamut and a different curve. I found a matrix on some blackmagic forum, and the log curve may have been added by masc. Both are definitely wrong.

What gamut and curve does BMDFilm have for non Blackmagic cameras in Resolve? Who knows...
Yes, I added that. That time I tested just with clips of my 5D2 and it looked extremely close to Resolve. So I could get the same look, I had before in Resolve, in MLVApp. But I can't garantuee it works the same for other cams, because Resolve is a blackbox for me.

6
That's not Dual ISO, that's HDR video.
Haha... that was my first idea when I heard 5D2 and DualIso.

@Lucjan
If you are on OSX, you can choose a post export "HDR_MOV.command" script in the export settings of MLVApp. On other OS you'll have to search your own solution.

7
Hello everyone!

I have problem with the dual Iso processing. I have dual Iso Raw I can import the file but don't know wot to do next. Always I receive blinking exported file or black and green mess.
MLV App 1.10
file from - Canon 5D mk2 - 1280x960 Iso 100/800 - Raw 2
I am confused it is quite simply program.  :(
Have you activated dual iso in RAW Corrections tab?
Please upload a short clip for analysis.

8
@scotophorus:
the main problem with your clip is a overexposed sky. Note, that overexposed areas can't 100% be recovered. The problem with the color comes exactly with that. One (the green) channel is overexposed, while 2 channels are okay, what results in pink. Now the challenge is to reproduce the correct color without the green channel  ( =2/3 of the information ).
The best you can do: make sure to not overexpose important areas in your picture. Use e.g. the ML histogram which does a great job.
Unfortunately I don't know any way to embed any metadata into a prores file. Is this possible at all? I have never seen this. Let me know if someone knows how to do!

9
If your bright tones are outside the visible range, you won't see highlight reconstruction. Highlight reconstruction corrects pink highlight to somewhat more natural color, but won't change exposure. What you mean is having "Highlights" working. But for this "math", you'll need to have "Creative adjustments" active.

10
@2blackbar: could you please write which option you click in which order? Tried to reproduce, but "Highlight Reconstruction" is always available.

11
MLVApp does not offer edit options like Lightroom.
What do you miss?

12
If MLVApp don't shows a sound track, there is no sound track recorded.

If there would be a best setting/format for rendering, there would just be one. You need to set this up to your needs and for how you use it in your project and with your software.

13
Hardware and Accessories / Re: Current situation with EOS M and monitor
« on: January 28, 2020, 01:08:05 PM »
Ok... So having researched this, what you are saying is that those monitors only work when the camera is shooting in 1080 - aka Movie Crop Mode. Doesn't this mean

1. Very short shooting times?

2. Aliasing problems? Because the "anamorphic" modes that avoid these problems aren't 1080

...So in fact the value of a monitor with the M shooting raw isn't high? (This is based on

https://www.magiclantern.fm/forum/index.php?topic=9741.msg224538;topicseen#msg224538)

MCM rewire mustn't be crop.
1. No: this mode has long recording times because of small resolution (compared to other modes)
2. Yes, this mode brings a lot of moiree

->Yes, the value is small using an external monitor, because the EOS M maximum working recording quality is reduced.

14
Yes. Import MLV into MLVApp and press I. Or use mlv_dump...

15
Exactly this box. If you would close it, you close the tunnel to ffmpeg.

Edit: converted now 14GB MLVs, 20files to 1.7GB ProRes LT on Win8.1 without any issue.

16
@IDA_ML: I think this is just possible, if ffmpeg stops working. I have never seen this, and I render really a lot. You are on Windows? Did you close the terminal box by accident?

17
It isn't MLVApp, limiting DNxHD to 1920x1080, it is the codec itself. https://en.wikipedia.org/wiki/List_of_Avid_DNxHD_resolutions
It is better choosing another codec, when you have other aspect ratio than 16:9.

18
I guess it's either because of default chroma denoise or some trickery with the demosaicing (it uses AMAZE, IIRC, but the implementation might be doing something different).
Somewhere I read in the net that ACR uses a modified AHD demosaic. And this seems to be true, if you choose AHD in MLVApp you get nearly identical artifacts as in ACR. AMaZE looks very (in details) different.

They also probably have better color processing and hot/cold pixel removal, which might affect the looks of the noise.
The noise removal is indeed very nice, and fast compared to MLVApp. For the bad pixel removal, I am not very satisfied in ACR... here I like more our new bad pixel picker function, because it does exactly what the user wants instead of some auto algorithm.

20
Here your DNG, screenshot from LR5 at a similar (not identical) looking white balance. Noise, noise, noise...

21
In my ACR denoise is set to 0 in default mode.
Then you have probably a newer version... as I said: LR5 Denoise=25 looks the same like LR6+ Denoise=0.

22
I would say LR looks even worse when I set chroma denoise to 0. For LR6 and later, I bet Adobe implemented an chroma denoise offset of 25... becaues LR5=25 looks like LR6=0.

(EOS 5D2 @ ISO3200, a bit underexposed frame)

23
No I meant does anyone know why Adobe image processing looks so much cleaner, it just shows nice grain instead of noise, while MLV App and other raw converters show blotchy colour ugliness.
At least in LR5 Adobe uses a chroma denoiser for this. This is the default. At 0 it looks also worse. (Farbe = Chroma/Colors)

So if you increase RBF Denoise Chroma in MLVApp, it looks nearly the same. MLVApp just gets very slow with this single threaded RBF filters...

24
Share Your Videos / Re: EOS M with Carl Zeiss Jena 20mm 2.8 and 50mm 1.4
« on: January 08, 2020, 09:49:53 PM »
Thank you ( und viele Grüße zurück! ;) ).
I could not test the CZJ 28mm yet, just tested the old CZJ 20mm 2.8, 35mm 2.4, 50mm 1.4 and 135mm 2.8, and love all of them. Especially this 3D look (if you know what I mean) and colors are great. You just need more time for recording, to check again and again if the current setting is good or not.

25
Hello! do you mean about this?

I want to ask about, am I do something wrong? This is light from RGB LED Strip.  Sorry for my english...
HSL elements make such artifacts even worse (because of further color transformations).

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