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[MlRawViewer]

MlRawViewer

MlRawViewer is a cross-platform viewer for raw video files produced by Magic Lantern.

It supports both the original RAW format, and the newer MLV (RAW v2.0) format in both single and multi-file versions.

Features/usage

• RAW and MLV playback at up to 25FPS (if you have fast file read and modest GPU), single and multi-file
• Progress bar and timestamp overlay
• Pause playback using SPACE key
• Step forward and backward through frames by one second (LEFT/RIGHT cursor keys) or one frame (,/. keys) while playing or paused
• Brightness control while playing using UP/DOWN cursor keys
• Fast GPU Bilinear demosaicing for playback
• High-quality (but slow) CPU demosaicing (AMaZE) when paused or enabled (Q key)
• Encoding frame sequences to ProRes using ffmpeg with E key
• White Balance adjustments. Keys: 1=WhiteFluoro,2=Daylight,3=Cloudy,4=Tungsten,0=None
• Exit viewer with ESC key

Linux Installation & Usage

Any normal Linux distribution (32 or 64bit) should work, but only Ubuntu 12.04 64bit has been extensively tested. NVIDIA or AMD GPUs using properietary drivers should work best. You may be able to use Intel GPUS, but problems may increase the older the GPU.

You should get the source code either with git (see below) or from a snapshot: https://bitbucket.org/baldand/mlrawviewer/get/master.tar.bz2

You should use python 2.7 (not python 3), and install pyOpenGL and numpy package. On Ubuntu/Debian do:

Code Select Expand


sudo apt-get install build-essential python-opengl python-numpy
python setup.py build_ext --inplace
chmod +x mlrawviewer.py
./mlrawviewer.py /path/to/file.MLV [/path/to/encodedfile.MOV]


Then the video should appear and playback immediately. See above for keys.

Mac OS X 10.9 Installation and Usage

A binary release or source build can be used. The binary release is only known to work with 10.9.x. Source builds may work with earlier OS X releases.

NVIDIA and AMD GPUs will work best. Intel GPUs may work, but problems have been reported with e.g. HD3000.

Download the DMG from https://bitbucket.org/baldand/mlrawviewer/downloads/MlRawViewer_1.0.1_alpha.dmg

Click the DMG to mount it, and drag the icon to your Applications folder.

The application cannot be opened directly. Instead, drag an MLV or RAW file into the app, or open a file using the app.

Windows 7 Installation and Usage

A binary release or source build can be used. The binary release is only known to work properly with Windows 7 (32bit or 64bit). Source builds may work with earlier Windows versions.
It has been run on Windows 8 with some success - files can be viewed, but it crashes when SPACE or Q key are pressed (problem in CPU demosaicing).

NVIDIA and AMD GPUs will work best. Intel GPUs may work, but problems have been seen with some older chips.

Download the zip from https://bitbucket.org/baldand/mlrawviewer/downloads/MlRawViewer-1_0_2_alpha-win32.zip

Open the zip, and copy mlrawviewer.exe to somewhere in your machine.

The application cannot be run directly. Instead, drag an MLV or RAW file into the app icon (or a shortcut), or set up a file association so it opens when you double click a video file.

Alternatively you can run it from a command line, which also allows you to specify the encoding file name.

A log file (mlrawviewer.log) is generated when/where the program is run. In case of problems, please check and share the log to help the developers identify the causes.

Implementation details

The program is written in python, and makes use of OpenGL for image processing in order to be able to display videos at their intended frame rate. This also depends on you having good file read speed in your computer.

Almost everything (apart from bitunpacking and CPU demosaicing) is written in python, so it is quite easy to install, modify and extend in case you are familiar with that language.

The license for the program source code excluding AMaZE is BSD-style.
The license for the AMaZE demosaicer (amaze_demosaic_RT.c) is GPLv3
The license for ffmpeg is GPLv3.
Hence, binary releases of MlRawViewer must be GPLv3.

Testing, feedback and code contributions are welcome.

Home page: https://bitbucket.org/baldand/mlrawviewer
Git repo: https://[email protected]/baldand/mlrawviewer.git
Bug tracker: https://bitbucket.org/baldand/mlrawviewer/issues

I just join the MlRawViewer movement and I just want to say this app on my Mac is much need so thanks, I've been trying to view my video .RAW File but now I have a stable viewer.

Hello all, Just finish with my 3:2 Sensor test, I give a little intro filmed at 2k
Plus I show Film Convert Pro applied to the raw file. used Oct 24th Build
hope all like it 
If on a PC Internet Explorer 11,there is a gramma shift down, look like Crap there.
Use Chrome , then it looks right. 

I love the 3:2 Sensor Test, I have a few questions like are to scaling up 3:2 to 16:9 in a 16:9 timeline? Have you read about Andy600 LUT on the forums and how are you applying LUT in FCPX? By the way RAW DNG from RAWMagic to ACR to FCPX, how would I do upscale 1872x1012 or 1880x1016 to 2k.

I'm not a Mac/FCP user but I presume there are utilities or plugins in/for FCP that let you apply LUTs?

You will first need to convert your raw footage to LOG colorspace. You can usually do this with a Cineon convertor plugin (use Linear to Log) or another LUT (Linear to LOG). You will still need to manually adjust White Balance for this LUT to work correctly (as per the instructions  ).

I applied Vision Log in ACR but I'm doing my edit in FCPX and I think that's where you want me to apply your LUT. So how are most Non-Adobe editors applying it, I can use Premiere Pro but my project is in FCPX?

It sounds like it could be an Adobe CC specific problem if you can use ACR + the VisionLog directly. (I don't have Adobe CC so I can't try). Have you tried through Adobe Bridge?

If Bridge doesn't work you can try converting your raw files to Cinema DNG with Chmee's raw2cdng app (link is in the instructions) adding your camera model to the text box. Look at the exif from a raw photo to find exactly how it needs to be written. It should be something like 'Canon EOS 5DIII' etc. Failing that, you could use exiftool to add it. 1% posted how to do it in the forum but you'll need to search for it.

My money is on it being a CC issue unfortunately.

How do I use the LUT with Final Cut Pro X?

I get 400-500 Frames @1872x1250 23.976,
I use the Adobe RGB Color Space for the Cdng's  in FCPx
in 3x Crop Mode you would want to use Shorter lens, like 24mm = 72 mm
I use my EF 24-70 f2.8L in crop mode mainly, or EF 100mm macro f2.8L
Which turn in to 300 mm , amazing Close ups at 1:1 in macro mode

AWSOME frame capture, a lot could be accomplished with 36 seconds of 1872x1250.
So it's unavoidable I will need to spend $2000 on those 2 lens, right?
Do you prefer 1872 over 1880?
After these questions I think I'm on track Thanks for the info, I will test out 1872x1250 this weekend.

Thank, I like to share 
darriSSight, if you are using RawMagic that should be a Cdng and FCPx can Read
that file type. That How I get raw in to FCPx, it 1/3 the size of tiff's .
So same workflow that you use with tiff's but use Cdng's.
At lest this work with raw2cdng on Windows PC, but I think it should also work with
RawMagic.
I use Apple ProRes 4444, It's the closes think to CDNG being it's a RGB 10 or 12bit
the bandwidth is about the some, around 220 Mb/s.
There again I shoot in the Largest frame size my cards can handle
Just re-frame/Crop, I do this all the time.
1872x1012 23.976p for continuous recording  on the Oct 24th built, I will not use any think newer.
But if I Make a Video for ME or a tutorial to help people understand ML better
then I shoot in either 1880x1250 3:2 ,1880x1058 16:9 or at 2k 2048x1024 2:1 2048x930 2.2:1

I don't Shoot any video unless I have plan it out, I would say that only about 20%
of the footage is cut out, where as when I would shot H264, or any other Cameras  it more like
40% is cut out.
I have started to look at Resolve, but it would be as a last resort, it has a very odd GUI
which I'm not comfortable with.
And besides that the debayering in Resolve is not  as good as the ACR plugin, in After Effect.
If I'm in rush to do a project I will sometimes make a  ProRes 4444 In After Effect then
Finish off in FCPx with audio sync  Grading etc...
You can go from 2k to 4k with tiff's that's about it for upscaling.
the reason for 2k Crop and not 1:1 non crop is  there is no line Skipping, so no aliasing and moire
I hope I answered your Questions

FYI: when you import Image files in to FCPx you can Choose different Color Space .
there is 4 or 5 ones to pick, if you do not it will default to Adobe RGB.

PS: keep on a lookout I'm just finishing off a Full 3:2 sensor test(1872x1250) with Film convert Pro applied Etc..
should be up in the next few days.

Thanks for the response
FULL 3:2 sounds great for a project in your workflow and how many frames are you getting?
What color space do you recommend, I've heard that Adobe RGB was the best?
I always wonder how do you frame a shot in crop mode because it demands for further distance from subject, Right?

I wrote a short tutorial back late May , link below
http://www.magiclantern.fm/forum/index.php?topic=5533.msg44827#msg44827
I hope that helps, plus I have in the works a short video tutorial on how to
install ML raw on the 5D2 with trouble Shooting problems. 

PS: On page one you will find the latest Raw module download,
right now the Oct 24th built is the best one from the 5D2
link the Raw module
https://bitbucket.org/a_d_/laboratory/downloads/af9a60fe144d.zip

Thanks for all your communication on this evolutionary forum community, I've gain an easier workflow as well as greater knowledge ML and your input. Thanks

I do have a few questions,
1. Do you shoot in aspect ratio 2:35?
2. What is your highest preferred Resolution with the 5DII?
3. Are you considering using Davinci Resolve in your Workflow?
4. I've use your workflow RAWMagic  DNG to ACR to Tiff to Final Cut Pro X, but I'm wondering have you come up with a way to make the Tiff size smaller without losing quality and what's the highest up convert do you recommend for the DNG to Tiff?
5. Lastly, what's your thoughts on ProRes 422 vs ProRes 4444.

Upscaling will never be as good as the real thing.

No reason to chase the sacred unicorn (or the dragon for that matter).

Wow, What a comment but you seem to be more informed then me. So why do you think by RAW footage being 0's and 1's it can't do a proper upscale? Also do you feel 2k and 4k is relevant to the human eye? How do you feel about HD monitors 240hz processing, digital card delivery to Multiplex. Lastly, What do you think about the 5D Mark II delivery of the Race Car scene on Iron Man 2 or Act of Valor shot entirely with the h264 5D Mark II, both delivered to High Quality Multiplexes Around the world?

You really have to watch out, using this workflow, because if you want to do cc in premiere, there are some effects (like levels ) which do not support 16 bit.
is there a reason why you do cc in ae?
for me, i am pretty excited about magic bullet in premiere. full 32 bit compatible, masks and everything.

What's the best workflow your using?

Until  raw2cdng's converter gets reworked it look like the only option to edit in Premiere Pro
that this time

Is cdng's the same as DNG's? When on a Mac I use RAWMagic or RAW2DNG converter, does those DNG keep the CInemaDNG title?

When I export an finish FX Video with CDNG it export in a kind of fast motion. what did I do wrong?

I think for VFX I'm going to import in AE my dngs, then do my stuffs and export 16bit tiff to Resolve.
Regarding the upscaling, I still have to test, but upscaling from full HD to 2K won't be that difficult I suppose. Anyway, I need to check if 10bit instead of 8bit is of any help for noise reduction. If not, I think I'll go with 8bit.

I have only a couple of chroma key shots, so that's not a major issue.
I see a lot of people preferring ACR to Resolve: so far I didn't notice big differences, but I want to be sure I'm not losing quality.
I need to perform a careful test and compare the output, even if this change would completely disrupt my workflow

If the highest continuous I can do on 5D Mark II is 1880x1012 should I change the clip import as 1920x1080 as default?

Personally i just import 16bit CDNG's into FCPX and edit native,
or if i do a long clip like 5 to 8 mins eg. interview then I use AE on the mac
Do my Raw basic WB, hi-light recover etc...  export ProRes 4444 on a 32Bit Float project.
I guess the only thing better would be to export as a DPX or Open EXR .
There still nothing better working native raw.

How are you changing 14bit CDNG from Converter like RAWMagic/RAW2DNG apps into 16bit CDNG, also you don't comment using Resolve what do you feel is lost when using Davinci Resolve?

Hello,
I have some problems with prores files converted from sequences of over 4,3GB. I read somewhere that it was possible to drag and drop directly .RAW and .R00 files in rawtodng but it doesn't work for me, so I first join them using terminal like explained here on other topics and then convert the resulting .RAW file. Converting it to .dng seems to work well (apart from a pink picture on the last frame) but the prores file does not seem to work. I'm doing this on a OS X Maverick platform. I am doing right now some intense work using a 50D with huge amount of footage, so I need the simplest solution possible to have prores files. Anybody might have an insight ?

Best Regards,
Tom

How do you use the .R00 files? I have a few from my project today.

I love this workflow, but for VFX and CGI are you doing a fresh projects with the DNG in AfterEffects then exporting to Resolve as QuickTime, and are you upscaling the QuickTime video your export from RESOLVE as uncompressed 10bit and will that stay clean?  How does this workflow works with FCPX in replace of Premiere CC, I have both.

How do I use it for with my 5D Mark II?

Let me check the missing stubs tonight

So does it work for 5D Mark II?

Sure

Aspect ratio 2:1 1880x940
1880 on
Small hacks on
23.97fps
32gb KB

I find these are the important ones in my case.

I get continuous Rec and export beautiful 2k+ tiff out of it.

I can even leave global draw on and don't have to mess with the picture format or anything

How are you converting to 2K and are the final video file clean?

This is very amazing, have you tried any moire/aliasing filters like the Marvel Aliasing Filter?
Download
http://mediatube.marvelsfilm.com/Marvels_DSLR_Moire_Filter_v1.01.zip
Mirror: http://dl.dropbox.com/u/31127109/dontdelete/Marvels_DSLR_Moire_Filter_v1.01.zip

Have anyone read anything on timecode ability for ML, also I think I read we can set our own presets now so can we keyword soon?

Update on CR2HDR is great!! my images now convert that couldn't be dual iso detected was going to trash them!

I've been wondering how to use or what to use the dual iso function for, are you using it to record RAW dual iso video or Stills Photography? If you don't mind can you explain how you're using it with the CR2HDR.app.

I don't Know if you know this or not, bit the "raw2cdng" has options to convert 10bit Log, and 12 & 16 bit Linear.
i always use 16bit  Linear and go from there.
i choose to Keep my Dynamic Range as is.
i find that Photoshop ACR plugin can something make a mess of the image.
i limit my use of Adobe products, and just go into FCPX with dng's natively
and use "Open EXR tone mapper", it dose a better job.
Plus i have been  think about using  "ACES" in my workflow with Raw.

Where do I find raw2cdng for Mac users?

Since 3X crop is sharper and very minimal aliasing and moire I went out and tried to see whats it like to shoot entirely in crop mode.
Used a Tokina 11-16 as a 33-48 "normal" lens and an 80-200mm nikkor as a very long 240-600mm.

Also, for this piece I removed the VAF filter to get optimum sharpness.

Did you have to back away from the subject a great amount of distance in order to frame correctly?

What are the .EN files (RAW REC.EN, ETTR.EN, DUAL_ISO.EN, FILE_MAN.EN and AUTOEXPO.EN) that appears on my CF card?

[Summer in the HolyLand]

Hey.
I was the DP/tech consultant/assistant editor on this production. We shot on the EOS 50D in 2000x920 RAW. 2.20:1 to be later cropped to 2.35:1.

Shooting cropped is a pain because you really can't see what you're framing. If you have the crop in the center it shoots a whole chunk to the left. It's about double the area you are seeing width wise so the center of the image would be the left edge of what you are seeing. If you move the crop one notch to the right it will shoot everything from the left edge to the right side 2x and the right edge is the center. And don't get me started on getting the right headroom. It's a constant trial and error. Crazy crop...

Took 7 days of shooting and we ended up with about 700GB+ of RAW files.
Made dng's with RAWMagic and converted all the footage to Prores Proxie in DaVinci Resolve to be edited in Premiere Pro CS6.
Then we tried coloring in After Effects with ACR but a lot of the shots were flickering so we decided to Encode the clips used in the timeline again with Resolve to Prores 422 and did the coloring in Premiere with RGB Curves and Tint.

Anyways. Here's the video.

Summer in the HolyLand

Great Kick Ass Filmmaking , I'm very confuse how you were able to see you shots correctly. When you use 5x crop(ML 3x) does it zoom in so close that you would have to back up an extreme amount that it would be difficult to film your subject without distance?