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@Danne, it's a super cool integration ! I'm sure a lot of people would use more the Proxy workflow with MLV app !
I'll test it When I return form Mexico. One suggestion : we could also have the option to clean proxy files without exporting DNG in MLV app. Then, after the editing, we use the import XML function to get the edited MLV and export in DNG/APR444 log-c for grading in Resolve

What do you think ?

Hi! If there is a build with eosm dual iso lossless 10 bits, I can do some tests


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you're right but you forget that 5D3 is a still camera first ;-) which is not the case with the new pocket.
There are a lot of ML workflow, but read H264 proxy + MLV thread workflow, you'll discover a new world in post-prod. Cdng is timeconsuming. C-log Apr444 from MLV after editing is IMO a better choice and save storage space

Another alternative thats just been released is the Black Magic 4k 'Pocket' Cinema Camera. Seems good value as its a lot cheaper than the GH5 and GH5s. 12 Bit 4K RAW as well as ProRes. You can use your Canon lenses with a speed booster.

There is no IBIS and it's just a cinema camera. No stills (or 8mpix...) and no open gate 6K... I prefer my 5D3 or GH5

I was wondering, what would be the better option for the Panasonic S1? My two Canon L lenses with a lens adapter, or the standard lenses that will be released together with the S1? If it's the latter I'm definitely going to sell my 5D III including the lenses...

It depends on the compatibility... For sure, you'll lose OIS+IBIS with canon Lenses. The standard lenses is a good option.

Thank you Danne & theBilalFakhouri for the update infos !!

Danne,
yes I'm using this build with 1080MV.
What I'm looking for is something that doesn't seem to work :
1) 1080MV with cropmode & normal to shoot without aliasing and to extend focal lenght possibilities.
2) 1080MV with cropmode + Lossless 8...11bits + H264 Proxy+sound for a similar 5D3 workflow
3) or maybe 1X3  is a possible solution to shoot smaller than HD rez but without aliasing ? I suppose it's not for now because of the development

OK thank you Danne. For now, I'll stick to MV1080, that's the best result for regular shooting !

I don't think any camera, not just the EOSM, can successfully do the H.264 proxy workflow the way you can do it with the 5D3. One reason may be that on the 5D3 you can record H.264 on the SD card while recording raw on the CF card.

Not even that will do it though you're welcome to keep trying. If you can get it working please share your settings.

Let us know how it works out. I only tried one cheap ebay speedbooster for the EOSM and of course it was rather disappointing.

Thanks Dfort. Tested with your settings and it works very well !! It's impressive and there isn't a lot of aliasing on most shots.
H264 proxy is not working. It is freezing. MOV is recording with sound but corrupted&frozen frame and MLV is 10ko. Maybe it can work with a 8...11bit script?
Can we record MV1080 in 8...11 ?
Cropmode possible in MV1080 ?
Sorry for the noob questions but it is very different from my 7D & 5D3 settings !

Yes working !

That build from Danne is about as bleeding edge as you can get. Did you remember to wear gloves and safety goggles before starting your camera?

Seriously, I just downloaded and tried out that build and it took me a few tries but it does work--pretty amazing really.



Settings I used:

Make sure the Canon Movie setting is on 1280x720/60 (very important)

Loaded these modules:

crop_rec
lua
mlv_lite
mlv_snd
sd_uhs

In the LUA menu select these scripts to Autorun:

mv1080p_12bit_iso100_24fps
enable SD overclocking

I also used a SanDisk Extreme Pro 95MB/s card and got continuous recording 1736x936 with audio.

You are really pushing it with the H.264 proxy. That used to be the only way to get the EOSM to record mv1080 video but we were lucky to get a few uncorrupt frames.

Thank you Dfort for all these useful informations ! Very cool if we can get 1736x936 with audio!
Do you get it in cropmode or normal with line skip ?
I'm just starting with EOSM and it was a bit frustrating when you come from 5D3 but this is because I didn't know these hidden tips =)
I need H264 proxy for my workflow and it doesn't matter if I can get only 8...11 losless with EOS-M... I prefer to have a cool preview and offline/online workflow !
Do you put your H264 settings in 0.1x ?

What are the risks to enable sd overcloacking ? I didn't use this option in my last test.
Next month, I go to HK and I'd like to find a viltrox speedbooster EF-M to make some test in cropmode with the 11-22mm!

+1 hyalinejim and nice test. I already saw it somewhere else... 5D3 needs more time to manage the workflow than a GH5 (which I love for corporate) IMO, it's very good for short films, where you have a crew etc. It's ok for documentary except the body factor of the 5D3 but the raw option + the crop mode on a 24-105 lens +dual iso in documentary are amazing features. In lossless 14bits, it's 25min on a 64GB CF, which is pretty acceptable.

Hi !
I just made some tests with magiclantern-Nightly.2018Aug07.EOSM202_mv1080p.
I used San disk Extreme 95MB/s
1008/1018, lossless 12, 24fps, cropmode X5. I only had corrupted clips. I'll test tomorrow with another sd card.
I noticed that my sound was disabled everytime I use eosm with magiclantern. I even tried with H264 normal and crop mode with no luck. It's not the case without magiclantern.
Is it normal ?
I tried to use h264 proxy with cropmode but it didn't work. Do you think it will be possible to enable it in the future ?
Do you have other recommandations ??
Thank you !

with some SD/CF hack improvement & Lossless for all, no need for a 5D3 anymore =D

+1 Levas. Let's see true comparison with files corrected in MLV app

I'm sorry, Without side by side video of A7III, 5D3 raw, GH5 in low light, I cannot agree. Maybe GH5 with open gate H265 has a better result... but A7III really ? What about the colors ?
Let's compare also with the dual iso and 1X3 from 5d3 !
But it is true that we miss some good AF and portability. Disagree about better low light and dynamic range. I mean, that's true that it is better on spec, not on the final render output after grading. Look at the colors... But maybe, it's a matter of taste...

I have to agree but is it really raw video or H264 ? Do you have a test 5DmkIII vs GH5 low light to show ?
Maybe I don't know how to setup the GH5 with V-log & co, But I see significantly more noise in the overall picture (not just shadow). And GH series are very complex with noise (a lot of settings...), see this : https://doddlenews.com/panasonic-gh5-promises-great-noise-reduction-but-theres-a-caveat/
I didn't find valuable comparison with 5DmkIII

https://www.dxomark.com/Cameras/Compare/Side-by-side/Panasonic-Lumix-DC-GH5-versus-Canon-EOS-5D-Mark-III___1149_795

playback available with h264+raw workflow (read here https://www.magiclantern.fm/forum/index.php?topic=15108.msg206903;topicseen#msg206903). The best quality is with 5DmkIII but GH5 is good for features like IBIS+OIS, crop mode, V-log, autofocus, size of the body, 6K H265. But it's not raw and the sensor is m4/3 so the sensibility iso is not good. I just bought a new 5D3 (mine was broken last month) and I wait for Pana full frame S1

Looks like you got it figured out. I used a similar workflow when Danne first added the proxy workflow feature. What I like is that it is pretty much like shooting plain H.264. Realtime in camera playback with audio (H.264 files) is a great confidence check. I was getting very picky with a couple of files that didn't match exactly (out of several hundreds) but that was due to the card reaching capacity. Overall it a great workflow though probably only useful for 3x3 sampling at 1920x1080. Haven't tested other resolutions.


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I agree with you and now that Switch is superfast by skipping number count, it's even more reliable. I don't see any problem with other resolution because for what I know you can do offline/online from 720p Alexa proxy and reconnect to 2K raw. you just need the same name, tci+tco

[Please test following with a working proxy file and corresponding MLV:]

@12georgiadis
Pink frames will not count as black frames so naturally they will not be cut out. Do you get a lot of files with pink starts?
You say that some files works and others don´t in your workflow. So which ones are working fully and which ones are not? Only the pink proxy files or are there others? If possible upload one file that is fully working, and one file that is not for comparison testing.

Is the two first steps working with all proxy scenarios on a working file?
Please test following with a working proxy file and corresponding MLV:
There are three workflows in Switch. One is automated and activated simply without doing anything in any menu settings(First test). Next processing test would be activating (24) MLV+proxy(outputs only MOV(default MOV+MLV) in mlv_dump on steroids then run Switch menu and in the following menu select (r)  Continue without modifications. Last test would be selecting (S)  Skip MLV indexing(faster but proxy end part is not cut)

@Danne,
I had my 5DmkIII back to make some tests. I used the last build and the new workflow is working well ((S)  Skip MLV indexing(faster but proxy end part is not cut)), very fast and it cuts the black. I think the pink frames belongs to a bugged build but it's fixed in newer versions.
I still have to test the offline/online MLV app conformation and see if it's ok or a problem to have the black at the end. I expect no problem. Thank you again for the support and to have helped with an even faster workflow with the new skip MLV indexing option !

7D is the best after 5dmkIII with vaf filter. It can record 14 bit raw without aliasing and in continuous


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Good morning, everyone,

I have a problem with the amazing workflow H264 proxy + MLV.
I have to process a lot of h264 proxy files to remove the black frames/pink frames at the beginning of the shot in order to get clean h264 files that start with the same 1st frame as the MLVs. With Switch, this function worked on some files and I had done a lot of tests in September 2017 (see: https://www.magiclantern.fm/forum/index.php?topic=15108.msg189532#msg189532). The workflow consisted of:

1) run switch to remove the black/pink frames from the beginning of the MOV H264 proxy by generating a new file without transcode and whose TC is reset to 00:00:00:00:00 to match the MLV TC
2) edit offline with the h264 proxy.
3) At the end of the editing, select the MLV files that correspond to the files edited in H264 proxy. Then develop them with MLVFS to generate on the fly CNDG
4) import via XML and grading in Resolve

This saved a lot of disk space and time.

The first issue is that step 1) does not work on all files, whether with an old build or the latest build. The file keeps the pink/black frame from the beginning even after it has been processed.

In addition, with Danne, we tried to set up an even sexier workflow when it is combined with MLV app. It would be:

1) run switch to remove the black/pink frames from the beginning of the MOV H264 proxy by generating a new file without transcode and whose TC is reset to 00:00:00:00:00:00 to match the MLV TC
2) edit in offline with the h264 proxy.
3) At the end of the offline editing, Export an FCPXML from the timeline (or convert via Resolve a Premiere/AAFAvid XML to FCPXML), import it into MLV app via the FCPXML import option. This will output the list of mounted shots and import the MLV files corresponding to the edited h264 proxy.
4) do the pre-correction via MLV app and export to ProRes 4444 C-log
5) import into Resolve via FCPXML which will reconnect to ProRes 4444 C-log.
6) Grading and export your master
7) take some popcorn and admire the masterpiece 😎

The time, performance and disk space savings would be enormous!

So the problem for now is really how to detect properly the black/pink frames from the beginning and cut them by an automation. Danne thinks there's no need to cut the black frames at the end of the clip to reconnect the clips during the conformation phases (just the black frame/pink frames at the begining). This is why the latest switch versions allow you to skip frame counting to cut the black/pink frames of the MOV H264 Proxy, which speeds up the process enormously.
If anyone has any idea of the problem, don't hesitate!
@Dfort maybe?

thank you levas

For the 5d3, 3x1 mode has probably only benefit for dual iso.
The 5d3 already does vertical pixelbinning instead of lineskipping.
So a plain, straight from Canon factory 5d3 already has the aliasing and noise benefits 3x1 mode gives to lineskipping camera's.

Levas, you mentionned that 3X1 or 1X3 (correct me) triples the bitrate. But is it the case with 5DmkIII ? It seems that the bitrate is the same as the other cameras for the same resolutions...