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So what you are saying there will be no ETTR on the 1100D/T3, Oh that is sad!

Thanks for you reply though!

Any updates on progression on auto-ETTR etc?

If the 1100D has been abandoned it is sad - But please let us know.

I am hoping for auto-ETTR for the 1100D for timelapse usage..

Well, the thing is the 1100D has the same capabilities the 600D has, so around 960px wide images BUT we also have half the memory of the 600D available which means no RAW video. I'll enable all the other RAW-related stuff though (zebras, ETTR, spotmeter)

As I see several are requesting this, I am sure I speak for most when I say we are thrilled to read that you are working on ETTR for the 1100D!!
The 1100D is a highly capable camera, 4K capable (timelapse) with very good low light performance.

With ETTR/auto-ETTR enabled on this camera, we have an affordable timelapse bad-a** 4K capable monster, that can produce flicker-free timelapses from dusk til dawn!

Any news on progress on ETTR is welcome!

Your hard work is appreciated!

How about ETTR / Auto-ETTR (for timelapse etc.) on the 1100D / T3 ?

This would be a really useful feature on the 1100D, really hope it will be possible to have this soon!

Hi Hunter,

just saw your vimeo tutorial regarding the 5D Mark III RAW video workflow. I followed your tutorial using your LUT but I always get "green fringing" around bright edges and distracting noise in my footage. In DaVinci Resolve Lite 9.1.5 the output looks horrible compared to After Effects workflow.

How did you get such a clean image output in DaVinci Resolve? I've also used different converters for DNG but it makes no difference to the image quality. I don't know what Im doing wrong.

See the attached JPG for a comparison between Resolve and After Effects output.

Best Regards
Daniel

This just shows, again, that for those who do NOT want to compromise on image quality (which should be the major point with RAW video anyway), there really is no other option than ACR. The debayering/demosaicing and handling of shadows and highlights done by ACR is simply unmatched, as of today. No realtime RAW adjustments when using ACR, well, so be it, I will not accept that poor quality from Resolve. I certainly see the benefits of Resolve, but until quality from Resolve is equally good as ACR I will stay with ACR.

I have been away from this topic for a few weeks now. In latest build for 5D3 (aug.6), audio recording is no longer present.

I have tried to search, but can not find anything directly regarding this.

Is audio gone (for now), or am I doing something wrong?

You are probably right, as for DCRaw and cjpeg, this were the only builds I was able to find.
As for Raw2dng - okay I get it.
I am still hoping to switch to raw2cdng entirely because the ACR Workflow is not really suitable for any serious work, wouldn't you agree?

As long as the demosaicing/debayering done from ACR is FAR superior to any other debayering process/software currently available, I can not understand what you mean with "ACR workflow not being suitable for any serious work".

I will not choose convenience over image quality, NEVER !

Isn't the 1920 resolution scaled down from a larger RAW image captured from the Live View feed?
And if so, should we not be able to scale down and shoot in 2048 horisontal?

Hi,

Is 1920 the maximum horizontal resolution we can expect in regular RAW mode?
I see vertical resolution can be increased above 1080p to eg. 1152.

Reason I ask is due to software image stabilization (SIS) in post. We can film in 2048x1152 in crop/zoom (5x) mode, but this means my wideangle lenses becomes normal lenses. But of course in general there will be more need for SIS when using normal to tele lenses, but would be nice to be able to record 2048x1152 in regular mode so that I get SIS also on my WA glass.

The 24-70 II 2.8 on my 5D3 in 2048x1152 in regular RAW mode would be awesome.

If we could record at 2048x1152 @24fps (94-95MBsec) it would give us 4%-6% room for software IS, which should be enough for most cases. And then we could get an awesome stable image without loosing resolution from 1920x1080 point of view.

Is higher resolution than 1920x1080 in normal RAW mode possible if CF cards become faster, or CF to SATA,  RAW to SAS becomes a reality?

Downloaded this great tool and it works nicely.

BUT, you must replace the RAW2DNG converter you have in your install package, because there is a new version available now (from june 6th).
This new version of RAW2DNG seem to fixe a crucial error which are the vertical stripes occuring on the 5D3.

I too would want the DNG-folders to inherit the filenames from the RAW files..

In the latest 5D3 build of June 17th the vertical stripes are back!!!

I thought these were gone for good by now!??

The stripes are not present in crop mode, only in regular 16:9 1920x1080 mode.
It does not matter if I use fps override or not, vertical stripes are there.

Where can I find the latest build where these stripes are gone??

Build from June 11th seem to be gone

EDIT: After reading through MANY threads, I accidentally discovered a post where it was mentioned that the latest sourcecode / RAW2DNG took care of this. I thought I had the latest source code in june 17th build?? Anyway, I installed latest RAW2DNG, and yes the stripes are gone!!

I know we are supposed to read through everything by ourself and preferably not be asking questions, but it is getting kinda difficult to know what is going on if you stay out of this forum for a couple of days - This was a rather crucial fix that should have had a headline somewhere imo.

Not CF Raw. The best you can get out of AE is a debayered 4:4:4 file at the moment.

Ok, but at some point the footage need to be demosaiced, and from the look of it, ACR gives you results which are in a completely different class than what GPCF currently is capable of.

Hi, I came across this article reg. the Canon C500 and it's 10-bit RAW capabilites.
Not sure if this was relevant under this thread or under discussion of ETTR, but I found it interesting (and I am sure most you already know this).

http://nofilmschool.com/2012/11/canon-c500-shipping-raw-4k/

"Adding gain adjustments at the sensor level produces a consistent stop range above and below the middle grey level, even at high ISOs, and reduces the overall noise in the image."

As I understand this; Canon's RAW format is special in the sense that the C500 add gain at sensor level before outputting the RAW stream, is this in a way, approaching a little more to ETTR? (to improve DR and SNR)

Q1: Could this "approach" be possible to do also with the RAW module from ML ? (if you hopefully succeed with 10bit RAW!)

BTW! I have no chance to follow the technical discussion in this thread, but:
Q2: Do you at this point have any estimates of what the DNG file size could be eg. @1920x1080, should you succeed with 10bit RAW?
(I am just curious to where 10bit might take us in case of fps/resolution)

At first I thought expo override works just like in 5D2, but Canon firmware seems to refuse 1/24. Go figure.

Image finetuning was written for getting rid of TV flicker and for extreme shutter speeds like 1/25000, but it seems good for the other extreme too.

I figure this; limiting Canon DSLR users to 1/30, even when shooting in 24fps, is just another of Canons intentional annoying SW "limitations" to protect cannibalization of their video dep. The C300/C500 can film in 24p using 1/24 shutter.

It may not sound like a lot at first, but an increase in exposure from 1/30 -> 1/24 is actually a whopping 25% !!!!
My measurements when reading LV RAW histogram even shows that the real-life improvement is closer to 0.4EV !!!

So I really appreciate this option, and it will help people like me filming in very low light tremendously!! (relatively slow moving objects, using wide angle lenses)

I cannot seem to choose the ultra high 1/25000 shutter though, but less important for what I am doing. I will search forum reg. this.

Nice that the shutter fine-tuning stays in memory, so when I restart the camera it is there by default! THANKS!
I wish though, that it was easier to switch off this option (and on). As it is now I have to roll the wheel all the way until the fine tuning levels are back to zero (0). Hope you are able to look at this and make it easier to instantly switch it on (at a predefined value) and off.

With RAW video, 24p, 1/24 shutter I cannot wait for darkness to come back where I live!

(Hey I can even shoot RAW video @20p, using 1/20 shutter should I want ! )

Hi, I appreciate it.

For thumbnails (in this version, that is) do the following:
1. install imagemagick.
2. go to your program files/imagemagick and copy the complete folder to Batchelors folder.
so you got

Code Select Expand

batchelor/imagemagick/imagemagick.exe

hope it works for you. I can implement another method maybe in the future.

Hi, can not get imagemagick "installed", can not find any imagemagick.exe file, and I do not have any Visual IDE studio installed (as described on imagemagick site).. How do I proceed? Extracting imagemagick zip file into your folder does not help..

Yes, it is

1/23.976 and 1/24.011, can't get anything in between though. Look in Movie menu.

Ahh figured it out, had to enable shutter fine tuning under menu image finetuning, under move menu. That's why the exposure would not go higher than 1/25.6. I  could not understand as I was too used with menus for 5D2 and believed settings should be similar on 5D3.

Sorry for wasting your time, thank you so much!

Keep up your fantastic work! You guys are all fantastic!

Canon DSLR's would not be in the same class without ML, and Canon knows it!

BR.

NL.

What do you mean already done? Has it been added just now? It is not possible on may 22nd build for 5D3. I can only choose max 1/25.6. What can I be doing wrong then?

BR.

NL.

Hi, I have both a 5D2 and a 5D3 running ML! (And a 1DX waiting for ML!!)

There is a feature I am missing on the 5D3, which is available on the 5D2.

The feature I am missing is 1/24 exposure (shutter) when shooting movie in 24fps/23.976fps.
On my 5D2 I can choose 1/24 shutter when filming in 24fps/23,976, but on the much more powerful 5D3, we cannot, why?
On the 5D3 we are limited to maximum of "only" 1/25.6 shutter in 24/23.976fps.
The strange thing is that when shooting movie in 25fps on the 5D3, we are able to choose 1/25 shutter/exposure, so it seem is not a hardware limitation on the 5D3 limiting the max (longest) shutter at 24fps.

The reason I am missing this is I am filming a lot in the dark (auroras/astro), and now with the breakthrough of RAW video, it would be particularly nice to have 1/24 exposure also on the 5D3 as we have on the 5D2, since the 5D3 has much better ISO performance. When doing my work, I am almost always underexposed (exposed to the left), so every single thing which can help me bring the exposure more to the right (without relying on levels/exosure adjustment alone) is wanted and appreciated! In this case, extending exposure time from 1/25.6 to 1/24 will help.

I know it's not a massive difference from 1/25.6 - 1/24, but would be nice to squeeze the most juice as possible out of the 5D3, particularly when this is possible on the 5D2.

So, can we expect the nice option of 1/24 shutter when filming in 24fps will be possible soon on the 5D3 also??

NL.

Playing around with this workflow. Although the controls are not very intuituve from my starting point as primarily a timelapse/still photographer and Adobe user, I realize diving into the world of RAW video editing is, well, a brand new world, that may require a lot training and reading/learning to be done.

However, I am having a really annoying issue with Cineform Studio (1.3.2.170). And I know this is something should be adressed with Cineform, but I just wanted to know if anyone experience the same, and or has a suggestions for solution/workaround. The program (CFSP) crashes the second I try to set framerate to 23.976 (GoProImport has stopped working). I can choose 24fps, or 15fps, but when I select 23.976 it crashes! It even crashes before I add the files to the import, so it has nothing to do with the DNG files, but the program it self it seem. In adition the greenish and flat look of the 5D3 files are far from the way my eyes perceived the scene and the way the files should look (as in ACR after a slight adjustment of hue of -40)

And why is my footage detected as default to 29.970fps in Cinefrom Studio ?? I can not find anywhere to define default values.

I am on a very powerful computer, so should not be the reason: win7x64 / Adobe CS6 / dual Xenon 2387 3.1Ghz 32cores / 128GBRAM / 30TB SAS RAID 30 (1.8GByte/sec sustained). All Windows updates installed.

Edit: I have found that a much better approach for me is starting with ACR, doing the initial adjustments, and a very good noise reduction if needed, then importing to AE as 23.976 without the annoying problems with CFSP crashing, and most importantly I get the colors CORRECT as they should be, as my eyes perceived the scene, much quicker, with better and more intuitive control of lifting shadows and lowering highlights. And from here I can export the file in Cineform Filmscan1 if I choose. And then I can again open the exported AVI file in Cineform Firstlight again and have the same Cineform controls as when importing with CFSP, should I want to, with the AVI file updating in my NLE / PP / AE.

So by doing it this way; DNG->ACR->AE->Cineform RAW AVI (Filmscan etc.), the colors get a MUCH better and more correct starting point than if I start the import in CFSP, as well as the controls in ACR (in my opinion) are better and more intuitive.

[potential]

Ok.. here are my thoughts about this workflow...

I have been playing around with CineForm Studio Premium for the last few days.  This has potential to be a much faster workflow than any other methods I have seen discussed.  One of the advantages that jumps out at me immediately is that importing a large number is DNGs into your product is very quick (almost immediate) and this allows you to play the raw sequence in your video player right away.  Other workflows take much longer to get to this point so this is a good way to be able to play through all your footage to see what you have shot, discard any bad sequences and not waste any time converting sequences you won't be using.  It's also pretty amazing how the raw workflow extends right into Premiere... when you import the converted Cineform Raw files into Premiere and still can update the files live from Cineform Studio and have those changes reflected immediately in your Premiere timeline... very nice.

However, there are a couple of things that give me pause about this workflow.  I think a large number of people will ending up liking the Adobe Camera Raw interface for getting their image into a very usable state quickly.  Besides very intuitive exposure controls, ACR includes time saving features such as decent noise reduction. This could eliminate the need for more render intensive noise reduction plugins later.  In my test footage of a fairly bright window in a dim room, ACR let me bring the highlights down and adjust overall exposure much more easily than in Cineform Studio.  Other than a white balance correction, minor tint shift, and a bit of noise reduction, it only took minutes to get my footage looking beautiful.  In contrast, using Cineform Studio, I found that I needed to play around for quite a bit longer to get the the point where the footage was acceptable, and it still didn't look as good as what I had achieved using ACR.  Highlight preservation was especially problematic.  I'm not a professional colorist by any means but that is the point... I feel this experience I described will be repeated by many like me.  Another observation...I had initially opened my DNG sequence in ACR, made my adjustments, synchronized these changes to all my files, and then imported those files into Cineform Studio.  I was expecting (or hoping rather) that my changes might have been preserved in Cineform Studio but alas they weren't.  I'm sure there is a reason for this but it would be useful to be able to do this.  Cineform Studio still to me has the advantage of non-destructive raw editing which extends to the NLE, small edit-friendly files, not to mention the ability to preview your footage very quickly in your video player before any conversion or rendering takes place. 

Just some food for thought...

Agree 100% with everything you write!

Hi, I have a 5D3, two 5D2's and a couple of Lexar 128GB 1000x Pro UDMA7, and a Sandik 128GB UDMA7 card.
I am sucessfully running full HD 1920x1080 24p/25p RAW video on my 5D3 using the Lexar Cards (30p stopping/dropping frames).

I wanted to test how well this worked on the 5D2, and as others have reported 1880x840 is maximum. I am able to record from 200-360 frames @23.976fps, and then it stops.

However, I managed to get some pretty good benchmark results on the 5D2 with the Lexar 1000x card (which currently is the fastest card available to mankind):



Strange that if the 5D2 and this card is capable of over 80MB/sec it should drop frames down at 60MB/s !??
Anyway, just thought I should share the results.

The benchmark using my Sandisk 128GB UDMA7 card was as expected slower, but still records just as good/long as the Lexar before dropping frames and stopping:



Edit: Sorry, I just realized after reading through some more that benchmarks done in playback mode is not valid, and the benching was done in playback mode, not Liveview mode. Here are the results in Liveview mode:

5D2 + Lexar 128GB 1000x:


5D2 + Sandisk 128GB Pro:

RAW video sure is exciting, partcularly for me making my living in the darkness! I have installed it on my 5D3, and it records really well @24fps using my 128GB Lexar Pro 1000x UDMA7 card.

BUT, the vertical banding on the stills captured with my camera worries me. In my opinion it is so bad, that it renders the whole feature useless!

The banding is so bad that it is not something you just get rid of using noise reduction. In a way I really hope it is something wrong with my camera, but I doubt it. Will post pictures later.

What on earth could be causing this banding?

Here are a few screenshots.  Overexposing does not help at all. I have lifted shadows and decreased highlights (which is the whole point of having bigger lattitude in DR), and I have added +20 clarity.

50% resolution full frame:


100% partial crop:



This is REALLY REALLY bad !!

RAW video sure is exciting, partcularly for me making my living in the darkness! I have installed it on my 5D3, and it records really well @24fps using my 128GB Lexar Pro 1000x UDMA7 card.

BUT, the vertical banding on the stills captured with my camera worries me. In my opinion it is so bad, that it renders the whole feature useless!

The banding is so bad that it is not something you just get rid of using noise reduction. In a way I really hope it is something wrong with my camera, but I doubt it. Will post pictures later.

What on earth could be causing this banding?

This part is the most important sentence that has been said since this crazy announcement.. So, people, this huge news is for "time lapsers", not for film makers, i guess.. Unfortunately, don't expect our 5d3 to be a BMC competitor..

Whatever, ML team, you do a great job..

I agree that it is important to be aware that we are unlikely to see 24fps RAW video. But I do not necessary agree that this "new DNG/RAW feature" is a hallelujah for time-lapsers. I would never accept being limited to only shooting at 2K when doing time-lapses! I and many more would require to be able to do the footage in full resolution (minimum 4K)!!  I would rather take the relatively low cost of switching the mirror shutter mechanism when it is worn out, than being limited to only 2K RAW files !!

So if this new feature will not implement RAW video, I will probably never get any use of it!