Messages

 I have both Zooms(24-70,70-200mm) & Prime (100mm macro) EF Canon f2.8L lens these are great outdoors specifically the 24-70 f2.8L @ f4.0 - 9.1 , very sharp.
Have a look a the Sigma Primes , I have a 50mm f1.4 not very expensive  at least compared to Canon "L" lens very sharp @ f 2.0 - 2.4.
The Sigma surprised my the most , the quality is equal to Canon . I shot my last doc. with it , In fact I use it most of the time for internal  shots now.
Great low light performance for the price point.

You need to shorten up your workflow ,  no matter what path you choose for your workflow it's always Good to learn new software.
Since you are editing in Premiere Pro is it CC or CS6 ? If CC you can export raw to 12bitCdng's  import & edit native.
Do you have A.E. ? If so import dng/Cdng pregrade & make a ProRes4444 file ( this is my choice) . But going from 14bit raw to 8bit jpeg to 10 or 12bit Mov.
I'm not surprised you have noise , keep the 8bit for the mp4 . It would be better 14bit-->10/12Mov.   

what's you platform  Mac of PC ?
Yes ACR is the Best but a little slow in workflow thou.
But the benefits out way that, I found in my workflow I kept trying to keep the Cdng's thought out the whole project.
At first it seem to be quicker but problems with massive amount of data to move etc....
I found it was more efficient to pregrade  in A.E. on the Mac and use ProRes4444 or the new ProRes 4444XQ with 16bit support up to 550Mb/s @ 1080p 30fps .
And you can export proxy at the same time , with this workflow you do "Cook your Look" but you can retain the linear color space with the New XQ codec.
there is MlRawViewer 1.1.7 (RAW/MLV/CDNG viewer/converter, Linux/Mac/Win) , you can export .mov prores with basic color adjustments .

What version are you using ?
I use raw2cdng v1.4.9 seem to work Ok on large file input , but I have not tried it with 800GB.
How many file are you talking about ?
MLV v2.0 or Raw v1.0 ? I always convert mlv to raw and exact the raw though raw2cdng.
There is other extracting software "MlRawViewer 1.1.7 (RAW/MLV/CDNG viewer/converter, Linux/Mac/Win)" http://www.magiclantern.fm/forum/index.php?topic=9560.msg91165#msg91165
but I don't think it support Cdng export thou but a very nice piece of software .

If you are getting gamma shift and you have used your scopes to keep it in the Rec.709 Color space (16-235)
The most likely problem is color correction on a un-calibrated monitor usually in full color (0-255) and gamma of 1.8 (default on Mac)
Now if you have adjusted your display with a colorimeter or at least with the Mac Monitor calibrated software   
Then turn off Automatic gamma adjustment in the ProRes Codec option , I assume your intermediate mov is ProRes .
I use Apple compressor for all my H264 and never had a gamma problem between PC & Mac , it's the same h264 I upload to Vimeo & YouTube.

No I would yes not, I use Film Convert Pro in A.E. &  FCPX with Cdng's with full 100% applied .
I use mainly "red one" for camera source thou, as the Canon pre-set are off big time, I think
they are using the h264 samples not sure. I also think some of the pre-set are limited to rec709 color space
and the red etc... are in linear with raw, so I'm guessing it's a color space issue.
Have you tried the new ProRes 4444 XQ it's supports 16bit in Linear color space up to 550Mb/s @ 1080p 30 fps
Then try the film Convert pro, I have been using the new codec XQ on a few projects now & I really can't tell the difference
between ProRes 4444 XQ and Cdng's/Raw. The Results are the same plus you can archive them with no quality loss.

[quote author=reddeercity link=topic=12455.msg122129#msg122129 date=1405464708
Turn the Automatic Gamma adjust tag off in the Codec Setting Drop down box encoder before you encode in A.E. With ProRes XQ.

The RGB & Wave scopes are your friend here, you must pay attention to them
and watch for over saturation .


Yes I tried both on and off in the 'Automatic adjust tag' and I am good friends with Mr. and Mrs. Scopes  ...but still getting a shift in gamma    maybe it's just hackintosh messing with me.

Good one  One of my Main Editing Computers is a i7 over clocked 4.7 Hackintoss GTX760, AJA LHi ,Atto raid on OSX 10.9.3
I would say No, It did take some to get my Monitor set right thou. First I calibrate my Monitor (32 inch Sony Bravia) to Rec709 with a spider then
Used the Mac Monitor Calibration Software to fine turn it to my eye . But I do edit in FCPX 10.1.2 ,when I did my test in Premiere Pro CC 2014
I didn't see any problems . My Grading Monitor is set to Full Range when I work in A.E. with XQ codec & then set to sRGB when in FCPX.

Edit : there again it take some time to get the Color space right on the grading monitor (12bit panasonic plasma )
I had a spider on it all the time and adjust it once a week depending on how long it's on.

@ jimmyD30, Yes I will post some material on the green screen music video, Just converting to Pro Res 4444XQ now
Images look killer , I can't tell the XQ files from the Cdng it that good 

Gamma shift...
Using the 'AppleProResCodecEmbedded.component' (ProRes 4444 XQ) from Compressor in Adobe CC (PP & AE) there is a gamma shift (at least in my case) compared to exporting with the older 4444 codec. Is this the case in FCPX too ?  Is it possible to add some lines into the Adobe 'MediaCoreQTCodecRulesCC.xml' to change this (I think the XQ codec has the tag "ap4x") ?

I don't have a problem with gamma shifting.
Turn the Automatic Gamma adjust tag off in the Codec Setting Drop down box encoder before you encode in A.E. With ProRes XQ.
Also remember this is a linear color space!(0-255) the old 4444 is in rec 709(16-235 with cliping)
two difference spaces and when you monitor you must remember that. The RGB & Wave scopes are your friend here, you must pay attention to them
and watch for over saturation .

I hack Apple FCPX 10.1.2 copy the ProRes XQ codec in to QT folder in the library , now adobe see it  then use A.E. CC
with the ACR plugin then export. I made a video tutorial on how to do this on page one with proof it works in Adobe.
link-->http://www.magiclantern.fm/forum/index.php?topic=12455.msg121203#msg121203

The difference between 4444 & XQ is the former is Rec709 (16-235) and the latter is liner (0-255)
ProRes 4444 5.6:1 compression where as XQ is 1:4.5
For comparison , HDCAM SR at 2:1 compression ratio 880 mb/s
Besides all the numbers , It depend on your workflow of choice and what you are expecting, but for me it work with my
workflow (FCPX, Adobe A.E.) and I like the results . My next project (Green Screen Music Video) test the VFX & heavy grading with XQ,
see how it holds up when I start pulling keys .

Hey guy just did a small project with the prores 4444 XQ , I think this will work very well with ML raw to retain the information.
With the combination of A.E. (ACR) and apple prores 4444 XQ . Being its a Linear Codec No clipping there is not reason it can't be used
to archive magic lantern files . I was getting around 425Mb/s @ 1856x928 23.976 . The video clip below was 19 GB of Cdng's  and with ProRes4444 XQ
is was 16bit 13.4GB @ 410 Mb/s at  1:4.5 Compression . Basically its a true HDR Codec. If ARRI using it there must be something good about it !
ALEXA XR/XT supports new ProRes 4444 XQ  link to announcement -->  http://www.arri.de/news/alexa-xrxt-supports-new-prores-4444-xq/

Glad you find my comments helpful ! can't say the same about others on the forum thou. 

Not sure if this will help, but I use the oct24/2013 build from a.d. raw_moudule, with White triangle  Frame while recording raw.
I think it has the black frame you are talking about , this build is very fast & stable , Use it on a regulator bases. Also use it with HDMI.
https://bitbucket.org/a_d_/laboratory/downloads/af9a60fe144d.zip

I use 5D Mark 2  for Near HD size(1872x938) in MLV v2.0 RAW + Audio and of course I love the crop mode in 2K
it's comparable to any high end Camera . The only 2 camera I would consider for video production are the 5D Mark 2 & 5D Mark 3.
As the life of these camera will be around for 5-8 years of usefulness for paid work. I have seen used 5D2 start at $800.0 to $1,500.0
and buy a nice prime lens like a 50mm, I really like the Sigma f1.4 cheap around $300.0 , even thou I have Canon "L" lens (my favorite is ef 24-70 f2.8L)
I  some times just use my Sigma (Great Image @f2.2) over my more expensive Canon lens.
Yes Memory Card are more expensive ,but once you made your investment it with keep returning  profit over and over again.
You must decide what you are wanting for your gear, and at what level you want to be at.
Don't forget about the workflow, do you need a faster Computer, software etc....

If I was in your place and had to choose between those 2 camera I would go hands down for the GH4 all day long.
as it more of a production camera with its accessories 10bit 4k out the HDMI etc...
I did a quick hands on test about a mouth ago , and it did impress me at its price point.
But I Still would go for a 5D3 if money is not to big of a issue , as raw at HD resolution is still  superior then AVC 8bit 4.2.0 4k
or 10bit uncompressed HD . Just food for thought, I shoot on a 5D2 (Great Camera BTW) and looking to upgrade to 5D3 by the end of this year .

@ Boygetslost  no problem with choppy as jimmyD30 said "the 180 degree rule"
Make sure your shutter is as close to 1/48th of a second as you can  or there about .
One thing thou 5D2 dose not like very fast motions like fast pans quick jerky movements etc....
Keep the motion fluid . One other thing come to mind also , are you shooting at 24p or 25p ?
Because I do remember back in the Raw v1.0 days some people had a problem with 25p and crop mode.
Can you explain or give us a sample of the problem then I can see for my self.
And how are you processing the Raw file (your Workflow) this can also product problems .
Hope this helps 

Yes you're right , but you will not be disappointed . I'm doing a short project right now with the Old Cowboy from my tutorial
and I'm very impressed with the results . 

you could install the demo fcpx and get the codec 

As far as I know the only way to get the codec is thought the ProApps Codecs v1.0.5
download link -->http://support.apple.com/downloads/DL1396/en_US/ProAppsCodecs.dmg
Give this a try 

 The wait is over, Here it is 

[Frame Skipping]

These are my setting for Raw v1.0
Set the Dial on top off camera to "M" for manual 
In Canon Menu :
Photo --> SRaw2 (Small Raw 2)
Auto Power  = Off
LCD Brightness = Manual Set "4"
Video System = NTSC
Live View/Movie Func. Set. = Stills+Movie sub menu -->Movie display Only
Movie Rec. Size = 1920x1080 24p

ML Menu:
Expose tab-->LV Display = Movie
Global Draw Tab --> GD = On
Histogram = Raw RGB, Log, dots
Waveform = small
Movie Tab = FPS Override = Enabled = Exact -->23.976
Raw Video Tab = Resolution ****x****
AR = 1.85:1 , 16:9 ,  2:1 Etc....
Preview = Auto or Hacked
Frame Skipping = OFF
Recording Frame = White rect.
Small Hacks = ON
interface = Feature

That it no other setting needed , so if you are still having problems
2 things, either the Cf card is faulty or film at a lower resolution. 

How do you do this ?

Just doing a quick video tutorial , as you have to hack apple to get the codec in the right place .

No jumping , make sure FPS Over Ride is enabled to "exact" @ 23.976 with canon menu set to 24p

I think so, I find that this raw build is the fastest I have tested to-date even get 2048x930 23.976 continuous in crop mode.
One think that made a big difference for me was in the canon menu in photo mode select Small Raw2 and no jpeg ,
that should free up some memory for a speed increase. 
This is the build I use for just Raw v1.0 Oct 24/2013 Link --> https://bitbucket.org/a_d_/laboratory/downloads/af9a60fe144d.zip