Messages

In theory. one of these:

http://www.ebay.co.uk/itm/2-Port-USB-3-0-Laptop-Notebook-34mm-PCMCIA-Express-Slot-Expansion-Add-On-Card-/121141924676

will work in any old laptop with the fitting. Kingston do a good card reader on Amazon for £20.

Can you recheck the files for me or have I messed up? I put all your new .mo files in the modules folder, left the .bin in the root and deleted the .sym. Then the camera refused to fire up. Tried the build on three cards and ended up having to insert a clean card whilst the camera was switched on to roll back to the latest regular nightly.   

5d2, Komputerbay 64GB, a.d's 728e571a1276 VS g3gg0 28th build. 1872, 24fps, GD off:

1250 @3:2

294 / 229
262 / 234
273 / 246
260 / 218
299 / 236

1054 @16:9

1110 / 913
1184 / 975
1014 / 821
1341 / 660
1215 / 1025
1569 / 683

1012 @1.85:1
a.d. is near enough continuous at this ratio
/ 2754
/ 3005
/ 3042
/ 2334 card full; reformat.
/ 700
/ 3078

5d2 Komputerbay 64GB:

a.d's 728e571a1276 @1872 x 1250 24fps = 260 / 295
g3gg0 25th build same set up = 230 / 250

http://www.magiclantern.fm/forum/index.php?topic=6215.0

Take a look at the doc in the first post. It would appear as Lenny says they are identical.

http://www.magiclantern.fm/forum/index.php?topic=7066.0

Lots of workflows here, Resolve seems to be the most efficient but people prefer AE's functions. Have you monitored your resource usage whilst exporting? You probably already optimized AE, but it's worth mentioning.

raw2dng does not debayer the raw data, it just converts it to another raw format readable by more programs. Just wanted to say that to prevent any confusion.

You are right, thanks for that. About converting straight from the card: what would happen if you lost power whilst doing this? I use BATCHelor and raw2cdng alternately, but I don't like the idea of processing the files till they are on my hdd. Ideally, I'd have backup copies before I do that - has anybody used bluray disks for longterm archiving?

[Workflow 03 (optional):]

Workflow 03 (optional):
ML RAW - DNG - Resolve - Proxies - Premiere - XML - Resolve

Actually, the best workflow of all. The will work out pretty well, but you have to really know what you're doing here.

Advantage: it is the "right" way...
Disadvantages: ... but only if you can

Pretty much the method  I prefer, but yes Resolve is a minefield. Colour Grading Central and AETUTS have lots of tutorials.

Why can't the Mark II get the new Dual ISO Dynamic Range, what different with the 7D that allows it?

http://cdn.bitbucket.org/hudson/magic-lantern/downloads/dual_iso.pdf

3.1 What about other cameras?
Unfortunately, most other Canon cameras follow a different pattern for the CMOS #0 register,
without any obviously duplicate fields. As we know from Canon specs, most cameras have
a 4-channel sensor readout, except for 5D Mark III and 7D which have a 8-channel readout.
Therefore, it's likely that our ISO trick may work on the 7D.

Quote from: a1ex on June 27, 2013, 09:02:48 AM
@guentergunter: I have explained the reasons for mod16 resolutions, and I'll stick with that.

If a.d. wants to provide 1880, that's his own choice and I do not support it in any way. I know what trouble I had on 5D3 with random lockups because of DMA misalignment, so I'll stick with a portable solution that works everywhere.

As for the other options, some of them are good and will be added to vanilla builds (e.g. black bars, but in a clean way that does not fight with other overlays), others are just ugly hacks (e.g. dropping frames instead of optimizing playback code, or some status displays moved over ML overlays, therefore flickering like crazy if you enable both.

--------------

1880 doesn't seem worth taking a chance on at this point. Not that I don't appreciate a.d's efforts, I just prefer to work with the most reliable code. I did direct comparisons between a.d. & A1ex's builds:

http://www.magiclantern.fm/forum/index.php?topic=6662.msg53551#msg53551

Benchmarks aren't everything, what kind of performance are you getting during recording?

To be fair that video is outdated somewhat, xNiNELiVES. The mkiii is a better prospect with the new ISO hack & RAW. Having said that, Act of Valor and the finale of House season 6 were shot on the mkii in h264, so the differences are academic. The mkii is now discontinued though.

Joining files
WIN
    Start dialog: cmd
    1. cd C:\Users\my_destination_folder
    2. copy /B xyz.RAW+xyz.R00+xyz.R01 xyz.RAW

OSX/LINUX
    Start Terminal
    1. cd /Volumes/my_destination_folder
    2. cat xyz.RAW xyz.R00 xyz.R01 > xyz.RAW

Giving him commands to implement might be a bit optimistic!

@michaelkk try this and read the thread if you get stuck:

http://www.magiclantern.fm/forum/index.php?topic=5557.0

My 64GB Komputerbay is almost continuous @1.85.

1872 x 1012

5917
6331
5089
reformat
261
6579
5418
5498


1856 x 1004

14000+

Here's a raw video I filmed with my Canon 5D Mark II:

I filmed this two weeks ago while I was on a holiday in Kenya. This was my first time filming raw, read about it 2 days before I left.
My first time really working with Magic lantern as well.

- I feel like youtube isn't doing the video justice, most parts are so much better quality on my computer...

One of the best I've seen so far, would love to see different grades of this.

Yeah I messed that up a bit. Once I import an edit into Resolve, I see what I can do there and anything I need AE for, I dynamically link from PP. Once I'm in AE I have further choices: go straight back to PP or render out a lossless file to import to Resolve with the rest of the edit... many more options. The goal is to be working with the original DNG's when it comes down to the actual colour correction and the only reason for any intermediary formats/software is to allow you to import to your NLE.

http://youtu.be/qBFUsbBXH-w

Apologies for the delay. VAF test: one with and one without (can you guess which is which?) @1872 x 1250 in a 1920 x 1080 AE comp. All settings at zero in ACR, 400% scale applied for the digital zoom and rendered out @ h264 8mbps. The aliasing looks terrible without the VAF in Resolve & AE, but that's a display trade off, although the 8Gb lossless version from AE has artifacts around the plain of focus. It's hard to differentiate and perhaps I'm justifying my outlay, but the areas that would suffer aliasing are much smoother, particularly the double yellow lines. The VAF also has a slight reverse diopter effect, adding 15-25mm to your closest focal point.

Is this possible? I use manual lenses and having the option to map other functions to the wheel would be handy, specifically aspect ratio & ISO.

If you know what ratio you will be finishing in, you can shoot at higher ratios tailored to your shot length and then crop from them.

Watched this and a few of your older videos - really like your cinematography.

isnt the whole point of raw to record the entire RAW image the sensor sees? and isnt iso on the canons just digital gain? So how if this gaining any DR over just shooting raw if iso has no effect on raw?

The real point of RAW is to be working with uncompressed footage in post. My understanding is this technique is like hdr at the photosite level and of course ISO affects RAW - try using footage shot at 6400+

5.  Backup DNGs to 2nd HDD

Is this for archival? If so you don't actually need to back up DNG's, instead back up your RAW's. Debayering techniques used by raw2dng et al are improving all the time and as long as you settle on a naming structure at that level, you can always swap new conversions into your projects.

Your on set workflow seems fine, but my post workflow is:

1) transfer .RAW
2) debayer
3) import to Resolve and export proxies
4) import proxies to PP, edit and export XML
5) import XML to Resolve and decide what can be done there / need ACR
6) dynamic link from PP to AE and render out lossless for Resolve / dynamic link for PP

http://www.magiclantern.fm/forum/index.php?topic=6215.msg47111

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That's about twice the previous high and it looks like this has gotten everyone's attention. An old 4k thread got bumped the other day and I'd just been reading about how Arri are reluctant to move on from 2k, obviously to squeeze more money out of what they already produce, but also they feel that the current tech hasn't been fully exploited. Now this, The 5d3's shelf life just extended a few years.

@ml images Were those videos talking about ML RAW or just plain old h264? I think A1ex mentions in his PDF that that does not apply here.


"As expected, intermediate ISOs like 160 or 250 do not cause any changes in ADTG/CMOS configuration.
These ISOs are obtained by applying some digital gain to the raw data acquired
at the nearest full-stop ISO, and this gain is configured from the DIGIC register 0xC0F08030
(SHAD GAIN). In LiveView, the gain is only applied to the YUV image (it does not affect the 14-bit
raw data at all), but in photo mode, the gain is burned into the raw data. Don't ask me why."