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[Synopsis:]

Shot with Canon T2i w/Magic Lantern

Synopsis:

When her little sister finds a mysterious Trinket in the woods, Amber is forced into an adventure beyond imagination. To survive, she must find a hidden gateway, free a lonely wizard, and confront a powerful and desperate sorcerer.

http://www.dlwatson.net
Trinket Facebook Page: http://www.facebook.com/trinketmovie
D.L. Watson's Facebook Page: http://www.facebook.com/dlwatson.filmmaker
D.L. Watson's Twitter: http://www.twitter.com/dlwfilms

Development for Trinket started in 2012 and began production after a successful IndieGoGo campaign, raising little over $3600. Production lasted for seven days over the course of six months with post-production taking over a year to complete. I wrote, directed, edited, did sound-design as well as all of the visual effects for the film.

I spent just a little over $5,100 to produce the short film. It was shot on Canon T2i with the Magic Lantern software (not RAW), shot entirely with a Rokinon 35mm Lens. Sound was captured using Rode Microphones. The film was edited on Adobe Premiere Pro, VFX shots done entirely inside of After Effects, utilizing assets from VideoCopilot, Rampant Design, as well as my own original content.

Color-Correction + Grade was done by Casey Faris (caseyfaris.com) and was finalized with Film Convert and VisionColor's M31 LUT.

The original music is by Nathan Allen Pinard.

Starring: Peter Anthony Holden, Madeleine Young, Hunter O'Guinn, and Abigail Young.
Executive Producers: Kym Cornett, D.L. Watson
Associate Producers: Richard Hart, Brian Wardell
Casting: Kate Young, D.L. Watson
Audio: Nick Blacketer
Makeup: Juliette Sanchez

WATCH IT HERE: https://www.youtube.com/watch?v=5R6Kkiz2AyU

Buy a Metabones Speed Booster to get that Super 16 to Super 35 and gain 1 stop of light!

Also, it is very apparent that you didn't ETTR equally. It seems you sacrificed a lot more highlights on the BMPCC to gain better shadow performance or does the BMPCC simply preserve highlights. Try making the same comparison with highlights instead of shadows.

Actually, I used Zebras to ETTR the same for both cameras. Because of the extra dynamic range, I was able to overexpose more on the BMPCC than the 50D. It wasn't perfect, but I tried to get Zebras telling me I was clipping the same amount of highlight data on each camera.

I plan on getting a Metabones Speedbooster, but I'm not sure how that would improve the dynamic range of the 50D.

I'll probably get some hate for posting this, but here it is anyway. A comparison between the 50D and the Blackmagic Pocket Cinema Camera RAW.

50D is still the incredible useful for it's price, but if you like the flexibility of the 5D Mark III RAW video but don't want to pay $3,000+, consider the Pocket Cam. Especially since it's now in stock.

Nice video. Got a question, what did you use for you audio?

I used a Tascam DR-680 with a Audio Technica Microphone. Not sure which one off the top of my head. 

I think he means Live View. I noticed it today while shooting and was getting occasional screen glitches but footage is unaffected.

Yes. Sorry. Live-View mode at 5x crop. I wasn't sure if it would affect video and I was pressed for time so I didn't try it. But it's really bad on my 50D, blinking in and out, purple, pink flashes, hard to frame or pull focus. And it's with the latest Magic Lantern build. Jump to 10x crop or return to normal crop and it's fine.

And it even happens when I disable the ETTR module.

Hey folks, just wanted to give you a quick look at the differences when using Neat Video on your RAW ML footage. It's a great and powerful noise reduction plugin and in my experience works much better cleaning and preserving details in the shadows than denoiser.

Hey folks, just wanted to give you a quick look at the differences when using Neat Video on your RAW 50D footage. It's a great and powerful noise reduction plugin and in my experience works much better cleaning and preserving details in the shadows than denoiser.

Well that was super cool. Great effects work, really like that head switch in the bathroom. Only drawback for me was the weird skin tone on highlights, were they blown out in frame or pushed in the grade. Looked a bit to vieoish.

Quite Possibly. It was graded by another colorist. I know this was the colorists first film he's done.

It's probably not the best example of RAW from the 50D, I did learn a lot making this little short - especially the file-sizes I'd have to manage.

Thanks for watching though!

oops. double post.

Love the new build. Very clean and professional. I like how it says how many seconds I've recorded. Nice.

Only issue I've seen, and maybe it's been addressed in the forum someplace else, but when I go to 5x mode, the preview starts glitching. Anyone else have this issue and is there a solution?

Thanks in advanced.

Took my 50D up to Crater Lake a few months ago with some really old dirty lenses.

After being pointlessly confronted, a quiet mechanic must contend with his darker, more sinister self.

Shot on the Canon 50D with a Rokinon 85mm T1.5 Cine Lens
RAW with Magic Lantern RAW

Anyways, I hope you enjoyed the film. Please consider following if your liked it. Thanks!

Oh I see. Did you shoot without lighting indoors then?

Ideally, yes - if you spent the time to light the scene to prevent blown out windows, you could extend the dynamic range. But I could do that with any camera.

I don't want to come across like I'm hating on the 50D - it's just 200 gigs for a two minute short film is outrageous. The short film I'm in post-production with would have taken at least 10 terabytes of space. That adds up.

People can talk about how great of a bargain the 50D is, but someone can find a great deal on a high-quality car engine - but you still need to buy the rest of the car for it to actually be functional - and those accessories bloat the actual cost.

That extra dynamic range could be the difference between blowing out the windows or not, definitely worth it in my opinion.

Unfortunately, in the case for my 50D short, in order to expose correctly for my subjects, blown out windows is something I had to contend with. While the 50D has more dynamic range, it's not 14 stops.

Even so, the 50D is a great RAW machine.

["DICHOTOMY" 50D MAGIC LANTERN SHORT FILM]

However, the film about the mechanic, shown in a movie theater, would look fantastic.  If shot on GH3, I think the contrast would dilute the emotional feel of the piece.  Just my 2-cents.

Thanks for watching! I guess I should post it here:

"DICHOTOMY" 50D MAGIC LANTERN SHORT FILM

After being pointlessly confronted, a quiet mechanic must contend with his darker, more sinister self.

I'm probably going to keep my 50D and stay with my GH3 for now until Magic Lantern comes out with compressed RAW or something that will write metadata for white-balance settings - etc. If I invested into RAW for an extra stop and half of latitude and post-white balance - I wouldn't have enough money to make my little indie shorts.

Thanks for watching!

First D.L., very nice video.  What I'm pointing out is a technical fact, not an aesthetic judgment.  I agree, shooting RAW is difficult and time consuming and often, just NOT worth it.  But a scene in that video would be a case in point, about the difference in dynamic range between a GH3 and 50D RAW

I understand technically RAW is better in every way. And yes, I would agree that in some circumstances, RAW does have it's Pros.

And I don't want to beat a dead horse, but the GH3 still holds a lot of information in the shadows. I just pulled this from the ungraded footage. It was my choice when I graded to put the folks in silhouette because I don't have neat video (yet). I'm fairly certain if I put this though neat video, this would be a totally usable shot - in fact - if I added grain to the highlights it could be usable now.



But technically, yes - much more color and luminance information is available in the 50D.

Ha ha, yea, don't compare with H264 anything... should be 50D vs ari, red, bmcc, etc.. maybe some 4:2:2 or 4:4:4 broadcast cams if you really wanna check vs compressed formats.

Honestly, this GH3 footage I shot looks better in sharpness and dynamic range than anything I've gotten out of my RAW enabled 50D.

And it only took up 16 gigs of space rather than 200 gigs - and I didn't have to manually change white-balance for every shot - and I didn't have to worry about the camera randomly shutting off, frames becoming corrupted, or frame guess in 5X crop mode.

Hey Magic Lantern users, my short film TRINKET now has an official website and a teaser trailer! Magic Lantern is a tool I used on my toy-like Canon T2i to shoot this upcoming 15 minute short film with. I'm excited to show you the teaser trailer and provide a website with how this project came to be - and eventually how Magic Lantern helped.

Watch the Teaser Trailer here: http://www.trinket-movie.com/teaser-trailer.html

A fantasy adventure film about a young girl whose soul has been captured and imprisoned within a trinket. She must return to her world, free a wizard and stop an evil sorcerer before he consumes the world in darkness.

Check it out, enjoy and please help by sharing!

Kewl Video! Nicely Edited.
Too bad it isnt in 1080p, the compression seems to have degraded the image.

Thanks! We sent Rampant Design a 1080p version so I'm not sure why only a 720p, highly compressed version is all that is available.

Next...

Well, since you are so eager to see what I have in store next, here you go:

A RAW 50D short film entitled DICHOTOMY. These are some ungraded screenshots. My colorist will be completing the color-grade in Resolve tomorrow. Hopefully will be up by Sunday or Monday.







Ill be posting a tutorial showcasing my workflow on the film as well.

Hey folks, here is a testimonial video I shot in Magic Lantern RAW on my 50D. Everything featuring Casey Faris is raw video.

Shot on a Cine Rokinon 85mm, Files transcoded in resolve in 10bit 4.2.2. Cineform, edited in Premiere PRO, and graded in DaVinci Resolve.

I shot a short film over the weekend that I'm calling it Dichotomy. Not only will the short be about the contrast of emotions, but also has been a great example of the dichotomy between H.264 & RAW workflows.



I purposefully shot the film on the fly, handheld, in bad lighting situations, and entirely with an Rokinon 85mm lens.

Ill be releasing a workflow tutorial along with the short when it's released this week. The above screenshot is only a proxy render from the RAW - I can't wait to the grading phase using the actual DNG files.

@D.L. Watson, I'm sorry, honestly, for my ignorance, but what exactly does the preset, apply one inverse S-curve and lower the saturation in HSL?
Perhaps the XMP has not been applied accurately in my ACR, because I am with version 8.0...

It's no biggy. Honestly, I woke up this morning cranky. Sorry about that. Yes, it applies an inverse S-Curve and lowers saturation and there is some darks and shadows adjustments as well.

Mann if you research this forum, you will see that some do not have or know Resolve well enough to include it in their workflow. Audio, titles and pink dots in raw files are still "problems" in Resolve. I do finish in Resolve. Most of us have After Effects. Resolve will be a complete editing software program in the near future. I am looking forward to that day!

Derrick

I understand there is not a lot of people out there who use Resolve and Ill be covering a tutorial on how to grade in After Effects as well as Resolve.

Who said anything about grading in After Effects. The preset is a ACR preset to flatten your image so you can export to Pro-Res and DNxHD and grade in resolve. The exact process you just said. Did you even read the initial thread?

[FLATZ PRESET UPDATED!!!]

FLATZ PRESET UPDATED!!!

It was brought to my attention that a noise reduction process was accidently added to my preset when I was rebuilding it. I've fixed this issue as well as made the preset compatible with Duel ISO and again, have rebuilt the preset from the ground up. All flicker issues have been solved.

DOWNLOAD VERSION 2.4 HERE: www.dlwatson.net/flatz-preset.html

So far, we've have had over 200 downloads of the preset - 8 downloads in just the last 40 minutes. Unfortunately most of you have not created accounts so I have no way to communicate with you directly when updates occur. I hate spam and I would never spam your emails. So, if you sign up - Ill let you know personally when updates are made. If not, then subscribe to this forum!

Here is a comparison between what the Flatz Preset changes your DNG's to and what it looks like after you color grade it in Resolve or After Effects.

Firstly! Loving the new site. Looks very clean and professional and makes Magic Lantern feel more legitimate then ever before. Great work. Second, I would like to just extend my thanks to the developers of ML and Andy600 for compiling the builds for the 50D. Much appreciated.

Thirdly, Because I keep hearing people say how absurd it is to use a flattening preset on RAW, saying it's no different than using Cinestyle, I decided to do a quick, ungraded comparison. Click images to see in full-res.

Here we have the H.264 with Cinestyle.


And here we have RAW, with the Flatz Preset applied in ACR, rendered to DNxHD.


So...um....yeah. Thanks for playing.

Because I keep hearing people say how absurd it is to use a flattening preset on RAW, saying it's no different than using Cinestyle, I decided to do a quick, ungraded, comparison. Click images to see in full-res.

Here we have the H.264 with Cinestyle.


And here we have RAW, with the Flatz Preset apply in ACR, rendered to DNxHD.


So...um....yeah. Thanks for playing.