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So, Duel ISO is only for photography. It's not a video thing at the moment?

I compare RAW footage graded in Adobe Camera RAW with RAW footage with the Flatz Preset installed, reduced to DNxHD, and graded in Davinci Resolve. Can you tell which is which? I'll give you a hint, one of them has post-sharpening added.

Download preset: www.dlwatson.net/flatz-preset.html

DL, thanks again! I just updated 2.1 to AE. The second preset, 2.0 was very good! Resolve took to it perfectly. I currently do not have Prores HD. The DN x HD codecs are 8 and 10 bit? Cineform has one codec that I was not sure about so I rendered 16 bit Tiffs.

Whew! I finally got a workflow! Would you use this workflow for H.264 footage? Thank!

Derrick

Tiff sequences might be a little large. Definitely use DNxHD 10bit. DNxHD does not come with Adobe After Effects, it's a free Avid Codec.

Download codecs for Mac here: http://resources.avid.com/SupportFiles/attach/Mac_AvidCodecsLE_2.1.zip
Download codecs for PC here: http://resources.avid.com/SupportFiles/attach/PC_AvidCodecsLE_2.1.zip

To use it, in AE render settings, choose Quicktime and click on Format Options, choose DNxHD, click on Codec Settings and choose 1080p 444 10Bit.

DNxHD is a fantastic codec - but it only allows up to 1080p recording. Nothing higher in resolution unfortunately.

Cineform is just as good with more options. Just make sure you use the 4.2.2. Full HD option (and if you have the premium version, use the 4.4.4. option).

Now remember, when you are finished grading, you can render a version for the web using the H.624 to make uploading quicker, but you should always keep your final DNxHD, Cineform, or ProRes renders for archivals.

Here's a 1080p shot using the newest Tragic Lantern.

It's my good friend Casey. Welcome to the forums!

Great video! Was this true 1080p (5x crop) or did you shoot at 1280 and upscale?

[Just an FYI, I've updated the Flatz Profile!]

Just an FYI, I've updated the Flatz Profile!

Version 2.1 gives you a little more distinction between you highlights and you whites, solving an issue I recently discovered while grading which cause specular highlights to disappear.

I updated this with the blacks and shadow information.

Download it: www.dlwatson.net/flatz-preset.html

I should know Resolve a lot better by the time the short movie is ready to be screen. This is scene 1 take 1. This was filmed 960 x 540, 16 x 9, 23.97, with an Panasonic LA 7200 anamorphic adapter and a vintage Cosina MC 28mm 2.8 lens at 5.6 with a set of Tiffen ND filters. The adapter works best with the taking lens at 5.6. So when the light changes you have to change filters.

The aspect ratio says 2:37 in AE but it don't look anamorphic here on youtube. However the tree in view verifies the image is no longer squeezed. The final image render is 1280 x 540. I'll try rendering 1920 x 1080.

DL thanks for everything! How do you bring the videos into this post area?

Thanks Magic Lantern team!

Derrick

Looks good! Glad to see some footage of people using the preset.

You can add the videos to your post by using the

Code Select Expand

[youtube]your_youtube_url[/youtube] or

Code Select Expand

[vimeo][/vimeo] code.

Can't wait to see more!

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RAW is great. So much detail. So much more information. But lets face it, it takes up a lot of space and Davinci Resolve doesn't quite perform well with it (yet).

I've developed (and recently updated) a Adobe Camera RAW preset that will capture the available dynamic and allow you to render it into a high-quality format (such as DNxHD, ProRes HQ, or Cineform).

COMPARISON

Now, this preset will not be for everyone. You will be converting available dynamic range to perceived dynamic range, however, if you render out to a 10-bit or higher format, you will be making a huge leap in quality than what you can get out of a H.264. And let me stress that the preset does a fairly good job getting all the information that could be used in RAW in whatever format you decide render to.

And this allows you to use your prefered color-correction software to get the look you want without breaking the bank on drives.

EASY TO USE

• Open and Import your footage into After Effects
• Click on the small drop-down menu and select Load Settings
• Locate and choose the Flatz Preset
• Adjust White Balance and Done!

WORKFLOW TUTORIAL

DOWNLOAD FOR FREE: http://www.dlwatson.net/flatz-preset.html

Just an FYI, I've updated the Flatz Profile!

Version 2.4 Skin tone bug solved! Significantly improved flat profile! Works with Duel ISO!

[Adobe Camera RAW preset]

Hey folks! I just wanted to share my free Adobe Camera RAW preset as another potential option for you. An easy to use preset to flatten your footage, maintain color, and all within ACR. No need to add layers or luts.

This plugin will capture avaliable dynamic range while keeping your colors vivid and accurate so you can render into Pro-Res, DNxHD, or Cineform and color-grade in whatever program you wish.

Updated to v2 for Improved Dynamic Range, Color, and White Balance/Tone bug-fixes.


This is the Color Corrected DNG file using Adobe Camera RAW


Here is the DNxHD file using the Flatz Preset.


And here that same DNxHD file color corrected (rather quickly to match the RAW grade)

Download and read more information here: http://www.dlwatson.net/flatz-preset.html

It's the roughly same thing as those flat picture styles for Canon. Trying to squeeze wide DR into 8-bit video by reversed-S curve.
Appreciate your efforts, but this is basically one of the reasons why ML RAW exists -- to avoid using those ugly picture styles 

Yes, it is like a flat picture style for Canon. And no, it's not trying to squeeze wide dynamic range it into a 8-bit (unless that is what you are rendering your files to). I recommend using a DNxHD 4.4.4. 10bit which is 20 times better than what any camera can provide internally.

Obviously, working straight with DNG's will be better, and there is no denying that. But like I've said in the beginning, this is especially for people who want to save space on hard drives and speed up their workflow.

It's just another option and to be honest - if Magic Lantern was able to somehow allow for the RAW data to be written into a film-log and rendered into a 10bit DNxHD or 12 bit ProRes file in camera, A LOT of people would use it and prefer it over raw DNG's. It would still provide you with your 11 stops of Dynamic Range and give you a more color information than some $6,000 cameras and use half the space.

It's no different than Black Magic Cinema Camera's ProRes option, which graded and compared to it's RAW, you cannot tell the difference between the two.

My latest test used the Flatz Preset, rendered to 10 bit DNxHD 4.4.4. and color-corrected in Resolve, and gave more 20 times more gradability than anything I've ever graded with H.264.

I like your work DL. I am trying to figure out your post raw workflow. Do your roundtrip begin with Resolve? If so, do you use BMD? I think not because you use your own flatz preset in ACR. If your roundtrip begins in After Effect I want to know why because I am new to CS6. ACR is awesome! However Resolve has become my "favorite" program. Maybe I should have just ask you at what point of post production do you use your preset?

Thanks!

I do not convert to CinemaDNG because Resolve doesn't seem to use all the information available.

Here is my two different workflows. Ill be doing a workflow tutorial soon.

1# Without using the Flatz Preset

1. Export RAW to DNG frames
2. Import DNG frames to AE
3. Export HD H.264 Proxies
4. Edit in Premiere
5. Copy edit, Paste in Adobe After Effects
6. Replace HD Proxies with DNG frames, Color Correct in ACR
7. Render in DNxHD. Add back into Premiere for sound and final render.

#2 Using the Flatz Preset

1. Export RAW to DNG frames
2. Import DNG frames to AE, apply Flatz Preset (adjust white balance/tone as necessary)
3. Export 4.4.4. DNxHD files
4. Edit in Premiere & Render
5. Color Correct in Resolve & Render.

Hope that helps. Ill be posting my workflow video by Wednesday at the latest.

Hi everyone,

New video online.

I've done quite a bit of low light stuff and so now wanted to have a look at big dynamic ranges and how the 50d could handle. Not too bad me thinks!

Cheers

Absolutely beautiful. I love the anamorphic look. Good job!

I like the concept D.L. Watson but aren't you throwing away data when you render out?  How is preset preserving / optimizing the color values?

Thanks for your contribution!

Essentially, you are throwing away data anytime you render to a file format that is not RAW. Log is just a really cool way to preserve your dynamic range and most of your color information into a nice, manageable package.

Here is a quick comparison I did just now.


This is the Color Corrected DNG file using Adobe Camera RAW


Here is the DNxHD file using the Flatz Preset.


And here that same DNxHD file color corrected (rather quickly to match the RAW grade)

So, it's optimizing by taking the information that is already present in the raw, and boosting shadows and darks while lowering highlights, essentially centering the histogram like we are all already used to when shooting with DSLR's - but allowing you to render that raw information in a better format than the highly compressed and artifact-y H.264.

If you are limited on space and performance, a ProRes or DNxHD with the Flatz Preset might be more productive for you, and still give you excellent results.

Download here: http://www.dlwatson.net/flatz-preset.html

Have you tried to convert the raw files with Bachelor or RAW2DNG? I recently filled my card and corrupted my raw files.

When I exported them using Bachelor, the frames were listed a .dp-2 rather then dngs. I ended up using a cmd trick and rewriting their extension to dngs and I was able to recover all of my raw images.

Filmed this video this afternoon. Definitely have a workflow down now.

To my surprise, when using Bachelor, all of my exported frames came out as an extension of .dp-@ rather than .dng files.

Ill be posting a video tutorial on if this happens to you, how you can fix it as well as a look at my workflow.

Thanks for watching!

Hey folks! I just wanted to share a free Adobe Camera RAW preset that I believe will be very useful for others as it has been for me in post processing.

This plugin will take your footage and flatten your image so you can render into Pro-Res, DNxHD, or Cineform and color-grade in whatever program you wish.

Give it a try and let me know what you think!

Download and read more information here: http://www.dlwatson.net/flatz-preset.html

*footage shown in video is from a Canon 50D.

Hey folks! I just wanted to share a free Adobe Camera RAW preset that I believe will be very useful for others as it has been for me. An easy to use preset to flatten your footage to kickstart your color-grading.

This plugin will take your footage and flatten your image so you can render into Pro-Res, DNxHD, or Cineform and color-grade in whatever program you wish.

Give it a try and let me know what you think!

Download and read more information here: http://www.dlwatson.net/flatz-preset.html

*footage shown in video is from a Canon 50D.

Took a camping trip to Diamond Lake and got some shots of Crater Lake just a few miles away using 50D Raw. Some good shots, some not so good shots, but hey, still testing.

In an old post:

New post:

So, are you really experiencing continuous recording in 1080p? This means 1920x1080 (16:9 aspect ratio). I was really trying all options and can't do that on 32gig 1000x Komputerbay card. About 2000 frames max.

Continuous means the buffer is not increasing during filming, you can see it on the screen. And after a while you see "continuous OK" or similar.

I apologize. 1080p was a typo. It's 1920x802 (2.39:1) crop for continious. Sorry for the confusion. I can get continuous recording at 2:20:1 as well.

What specific resolution did you get and what MB/s?

My KomputerBay at 1050x 128GB is coming Monday. Can't wait to see if I can break the 81 MB/s speed barrier.

Right now, I'm recording 2000x835 in the 2.39:1 aspect ratio. I'm not sure what my MB/s is - all I know is I can basically record more than what I need. The 32gig goes quick though.

Looks really good great job What exact build did you use?  What settings did you use?  I can only get a few seconds @ 2K Raw

Using the July 10th Nightly Build. Shutter 1/48th. 24fps. Raw recorded in the 2.39:1 ratio - global draw turned off, with the ML Grayscale for the live-view during recording, and between ISO -100 through 1600. Hacked settings turned on.

Thanks for watching!

Hey folks! Tested the 2K RAW in 5X mode and I'm getting over 5,000 frames of recording time with my Komputer Bay CF card.

Does anyone have a tutorial or have some knowledge about how to confidently frame your shot using 5X mode? I'm having trouble knowing exactly what I'm shooting and I don't like flying blind.

That's too bad it only works on the 5D Mark III. Oh well, loving the images out of my 50D.

I don't know how to thank the developers for this feature. You are further democratizing the tools and technologies of independent filmmaking. I thank you and will continue to do what I can to support Magic Lantern (especially when I get my bonus checks).

I thought I would share my first real attempt at 1080p RAW with the 50D. By the way, I'm using the Komputer Bay 1000x 32gig and I'm experiencing continuous recording in 5X mode, 1080p.

I shot with a 8mm Rokinon and a 200mm Canon FD lens.

What workflow did you use for Twixtoring+Instant HD? I tried using both in AE (Instant HD on a Solid and Twix on the clip), but it rendered without the Twixtoring. So I had to use a twixtored intermediate which I upscaled with Instant HD, but I would like to save some time by avoiding this extra step.

Here is my workflow step by step:

• 1. Import DNG Footage / Interpret at 12fps (or whatever your FPS was)
• 2. Drag into a 16bit Comp and change Comp fps to 24p
• 3. Apply Twixtor, set the Source Footage FPS to 12p
• 4. Precomp that into it's own Comp
• 5. Add Instant HD: ReSizer onto the new Precomped layer, set to fit to Comp
• 6. Render to 10bit 444 DNxHD or Cinestyle

Hope this helps! Also, it helps to limit the amount of camera movement and shoot at a higher shutter speed and use the amazing Reel Smart Motion Blur to put natural motion-blur back into the shot.

So how big are the raw files you guys are shooting??

Over 500mb for 303 frames

Thanks so much for allowing this feature on the T2i. My video below shows a comparison between H.264 and the RAW shooting indoors through a window.

The flexibility is amazing.

I ended up lowering the fps to increase resolution. I was able to shoot for about 300+ frames at 1600x672 (2.39:1) at 12fps. Twixtor has no problem filling in the missing data. I used Instant HD to bring the footage up to 1920x806.

Ill have to do more tests. I'm hoping there will be a way to unlock the limitations on the write speed on the port - if so - Ill have to seriously rethink a purchase of the Pocket Cinema Camera.