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Hi guys, take a look on my travel video to Morocco. I used my 6D with ML RAW and GoPro4 in some shots. Adobe Premiere and Davinci Resolve were used for post processing.

Hi, did anybody fork it to 6D?

I found this link http://www.magiclantern.fm/forum/index.php?topic=10111.msg125590#msg125590
But I cant understand how to change.

I have another roundtrip with Davinci+Premiere+After Effects.

GOPRO
-Copy mp4 files from microSD
-Convert mp4 files to MOV
-Move each MOV file to new subfolder (For Reel name in Davinci). I do this with PS script "Copy-GoproFilesToReelSubfolders.ps1"

CANON
-Convert MLV to DNG with PS scrip "Convert-MLVtoDNG.ps1". Script use mlv_dump.exe
-Recover "Hot Pixels" with MLRAWViewer for MLV sequences recorded with high iso

DAVINCI RESOLVE
-Import DNG and MOV files in Davinci Resolve
-Change project settings to BMD Films + Reels from folder name + uncheck use local version for new timelines
-Insert all videos to Timeline (name: 1-Timeline For Proxies)
-Export (name: 1-Timeline For Proxies) with Cineform RGB 16-Bit to "proxy files" *.MOV) or prores for MacOS

ADOBE PREMIERE
-Create new project
-Import all video to project (only *.mov files)
-Edit sequence, add VFX, Noise Reduction and other effect for you need
--work with After Effect to add effects

COLOR GRAIDING
-Export sequence from Adobe Premiere to XML
-Import XML in Davinci Resolve (name: 2-Imported From Premiere)
-change color for each clip in sequence
-Mark all video in sequence with blue flag (or other color)
-Add all clips with blue flag to new sequence (name: 3-Timeline For Grading Video Output)
-Export sequence (name: 3-Timeline For Grading Video Output) to proxy files folder
-Return to Adobe Premiere and see colored clips

My benefits:
-You can do "round trip" infinite number of times
-Adobe Premiere has only one sequence
-All VFX and other settings in Adobe Premiere on "same place" after round trip because you don`t change  anything
-Always change only proxy files
-Proxy files always same (length and other) because you export original files, that color traced with imported sequence
-Color grading for actual sequence (after change in AP just do new import to DR)

Unfortunately ACR didn`t remove hot pixel in file. ACR just don`t show hot pixels....

I find this function in different tool - MlRawViewer (Just press 0 and add to export queue). Great!

thax, your function "remove hot px" work fine.
But I just change my workflow to use Adobe Camera Raw before import in Resolve. ACR has built-in function "remove hot pixels".

Ok, i`m understand my mistake. But what can i do to fix in exist mlv file ?

I through that hot\dead pixels are stable on matrix. But on video they are chaotic moves during all file.

hello,
i get some highlight dots in my raw video when shooting with high iso (12800).
1. convert my mlv file with mlv_dump to dng files. Open first file and it looks good in PS camera raw. Original dng file here
2. import dng files in Davinci Resolve and get some highlight dots. My project settings is Cinema DNG  with BMD Film and "highlight recovery" checkbox enabled
3. After export from DR to MOV file highlighs dots keeps. Screenshot from MPC-HC

MOV file for example

I try use --fixcp and --cs2x2 but nothing changes. How to fix ?

on 6D you can shoot 1824x776 px for 12 sec only. You can reduce image size for increase shooting time. SD cardreader on 6D limited 41mb\sec  http://rbrune.github.io/mlraw/