Messages

[STEP 1:]

SYNC24FPS if you are using a Mac I am writing a document here on how to repair .RAW files... Should be the same for .MLV. Anyway, this same information can be found by searching for "Damaged Header or Damaged Footer" in the forums...

Here is a process to fix corrupt files... Admittedly, it may seem like a lot of work for someone just wanting to shoot RAW, but we both know the image quality is well worth the additional exercise, right?


STEP 1:

This first step is for spanned files only. Spanned files must be merged into one file in order to be repaired. Here is how to merge them together on a Mac.

1. Place copies of all the spanned files on the desktop.

2. Open the program "Terminal."

3. Type in "cd desktop."

4. Use this code and replace "file.name" with the name of the corrupted spanned files...   cat file.name file.name file.name > file.name.ALL.MLV

This is the process to join RAW or MLV files... Here is an exact copy of the files that I merged together... cat M07-2056.RAW M07-2056.R00 M07-2056.R01 M07-2056.R03 M07-2056.R04 M07-2056.R05 M07-2056.R06 M07-2056.R07 > M07-2056-ALL.RAW


STEP 2:

1. Shoot / Open a file in HexFiend that is similar in record length. Too short and you will cut off your shot prematurely. Too long and you will create empty/black DNG files. Be sure to have the same image resolution and frame rate too. *The black frames are easy to delete.

2. Scroll to the bottom of the HexFiend window or similar program and copy the letters and numbers starting with A5 A5 A5 all the way to the end of the file...

"A5 A5 A5 A5 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 52 41 57 4D 00 05 D0 02 00 A0 18 00 D2 83 00 00 01 00 00 00 C0 5D 00 00 00 00 00 00 04 69 81 FF 01 00 00 00 28 16 2A 06 3C 04 00 00 80 06 00 00 60 0B 00 00 80 2A 30 00 0E 00 00 00 FE 06 00 00 98 3A 00 00 00 00 00 00 00 00 00 00 36 06 00 00 22 04 00 00 1A 00 00 00 4A 00 00 00 3C 04 00 00 80 06 00 00 00 00 00 00 00 00 00 00 00 01 01 02 01 00 00 00 38 13 00 00 10 27 00 00 68 02 00 00 10 27 00 00 AF FD FF FF 10 27 00 00 A3 E6 FF FF 10 27 00 00 A4 32 00 00 10 27 00 00 E0 0A 00 00 10 27 00 00 12 F9 FF FF 10 27 00 00 6A 0C 00 00 10 27 00 00 5D 1B 00 00 10 27 00 00 F2 03 00 00"

3. Leave the window open and then open the merged / damaged file in HexFiend.

4. Scroll to the bottom of the recording and locate the A5 A5 A5... If the A5 A5 A5 information is not located in your shot you will need to simply paste the information from your clipboard to the file. If the A5 A5 A5 is in the shot, simply highlight all the letters and number from A5 A5 A5 A5 and beyond and paste the new information on top.

5. Save the file to your desktop and/or to another location.

6. Now process / transcode the new MLV / RAW file using the converter of choice.

*** Note, the information from A5 A5 A5 up to the 52 41 57 appears to eliminate issues with pink frames. The information after the 52 41 47... relates to the number of frames in the shot. ***

The 4:2:0 relates to the amount of information contained in the shot. The 50D is a 14bit 444 image at a resolution near 1600x900. If you blow up the image you have a near 4K 4:2:0 native equivalent. More importantly, it's probably closer to a 10 bit 4:2:0 luminance/chrominance than an 8bit.

*** Most of the latest camcorder and DSLR gear will shot a native 8-bit 4K 4:2:0. It will have a sharp picture but will fall apart in the gradients. What that means for 50D shooters is that you are capturing footage with a softer, yet smoother transitioning image. An image that can be more cinematic in nature than the 8bit 4:2:0 4K that down samples to 10bit 4:4:4 Full-HD native equivalent. Apples to apples, the 50D is more than likely capturing the equivalent of a 12bit 4:4:4 Full-HD image/data equivalent even though it is a native 1600x900.

*** In a recent test, I was able to get a sharper image with a 50D / VAF combination than the Full-HD BM Pocket Cinema Camera. The Pocket Cinema was falling apart in the moire department and couldn't withstand the same up convert process as well as the 50D with the VAF. Apples to Apples, the Pocket Cinema was shooting a native 12bit 4:4:4 Full-HD image.

Obviously you can't change the sensor, but you can capture every last bit of information that the sensor has to offer. The freedom that this provides truly allows for a multigenerational capture acquisition... The type of camera that is now nearly 6 - 7 years old and still has a place at the frontline of prosumer equipment. In essence, it's a very powerful statement and a wise investment for image capture acquisition. Maybe the best?

WOW ML!!!

I've got a prototype 50D VAF from Mosaic that doesn't hold up quite as well as Sync24FPS... It's a big deal having a picture perfect image. I'm honing in on my skills with RawTherapee to see if I can improve upon the last little bit of moire.

Anyway, the 50D seems to be perfectly aged for recording .RAW. It's not too clean, not too dirty, plenty of detail, and blows up to 4K 4.2.0 no problem.

... Downloading the latest ML and will post test results if necessary.

Most likely the Komputerbay 1066 128GB CF card on Amazon...

Jumped on board with Raw Therapee... Feeling pretty good about the image quality. Might give this app a thumbs up over ACR. Really appreciate the program's capabilities. Thanks for mentioning the program.

Can confirm that the Feb 16th Build is super stable. Recording 128 GB with Max Resolution at 2.20 with Global Draw on and Digic Slightly Sharper with a 1050x Komputerbay.

* I own a Canon 50D. I can swap the autoexec.bin and ML files from 5D II onto 50D / 5D II bootable card and playback .RAW files on 5DII.

* Got to say that the 5D II appears to be the most stable of 50D, 5D III, and 5D II testing. It appears to run super similar to the Alpha model that I used to run on a T2i back in 2011. I typically don't have start up recording errors and if you pick a solution that works once... It will almost always work twice. There is a lot of confidence to be held even with such high-speed card writing. Amazing! Thanks. The 5D III took about 3 - 7 days to really figure out the kinks and quirks and then it was ready to fire away non-stop. With the 5D II I had one tough night dealing with a card that needed to be reformatted with EOS Card for some odd reason... But everything has just worked since and there is no stopping the recordings. The 50D has long since been very reliable and will continue to be that way. I've been following the TL/ML development for the past 8 months and have seen some very solid recordings. Haven't been testing the latest ML and need to. The TL version is getting kind of too buggy even though it offers higher recording resolutions.

Well said Sync24fps!

With the 1.2.3 bleeding edge firmware you have the option to install Magic Lantern on the CF card or the SD card. With the proper 1.2.3 firmware and the proper 1.2.3. bleeding edge ML files (including the .FIR files, autoexec.bin, and ML folder) the camera will automatically create the bootflag. A bootflag is what allows you to turn the camera on and off without having to re-install Magic Lantern. In other words, you don't have to use EOSCard any longer to instal Magic Lantern or to use another means of creating a bootable SD card with your Mac. Simply have the right firmware installed on the camera 1.2.3 (place Canon 1.2.3 firmware onto SD or Compact Flash card and run your firmware update). Then, follow the same update firmware technique to install Magic Lantern 1.2.3 bleeding edge. Your card will be ready to capture footage and even be formatted in camera without having to create a new bootflag on your card.

Experiencing stopped recording at 10'51" with the April 8th build for 5D II with Max resolution at 2.20 aspect ratio.

ML ASSERT:
hdr->blockSize >= (sizeof(mlv_vidf_hdr_t) + hdr->frameSpace + frame_size)
at mlv_rec.c:1984 (process_frame), task LiveViewMgr
lv:1 mode:3


Magic Lantern version : Nightly.2014Apr09.5D2212
Mercurial changeset   : faf639e6c466 (unified) tip
Built on 2014-04-08 22:10:51 UTC by [email protected].
Free Memory  : 122K + 3962K

Is there a limitation to max record length? Read in 5DII forum that the Feb 16th build recorded 64GB non-stop 5 times in-a-row.

Guys those red and blue dots are related to the sensor line skipping. It occurs in high-contrast and fine-detail scenarios. You can purchase/install a Mosaic Engineering VAF and it will go away. The dots are a result of information that lies between the recorded pixels/lines.

Yes, ACR does a great job of removing part of the issue. However, the solution is a VAF from Mosaic Engineering. The cons are that you loose image resolution in crop mode and with photos. Additionally, the lenses that are parfocal may loose that ability. The pros are that you will not capture moire and allaising and that you will also capture a sharper color pallet when shooting in full frame. Not many people are aware that the sensor captures better color detail when the moire is eliminated from the recording.

Very inspiring composition! Thanks.

This technique is rock solid for recovering files! I simply re-recorded another file with the same resolution and frame rate and took the last lines of information from that file and pasted it to the original corrupt file. Now I don't even have one pink-frame or skipped frame throughout the entire shot or nearly 15 minutes! Thanks.

There is a way to take the spanned RAW files and place a "finish" line code to the file. From what I remember you join all the files together. Then you take the last few lines of code and replace them with another line of code that tell Raw Magic how much footage it needs to render out.

I am researching the location on how to do it myself... Been so long.

Updated the 5D III to a 1.2.3 firmware. With this firmware MLV became far too unstable to continue to use. I switched to RAW and decided to stick with 1.2.3. However, after using RAW on the 5D III, I have noticed that Mystic is not actually removing the vertical stripes in the RAW tab, but it will in the MLV tab. FYI: Mystic is the only application to properly eliminate the vertical lines and remove stuck pixels with my particular camera and Macbook Pro combination.

Here is a link to a RAW file demonstrating the issue.
https://copy.com/pTtVboPKMBlvqRZT

Thanks for the great program. Hope this helps. Would love to stick to Mystic and continue to shoot .RAW

If you are working with a Mac... There is a high-probability that RawMagic will transcode all of the files appropriately. Apparently some of the Raw converters do not accept spanning of files. RawMagic is available for download in the App store. It is a free download.

"coming soon: a lot of stuff, including a real sensor upgrade"

Tried about every app for the Mac... Running MBP Retina with a Mavericks and a 5D III... This is the only post-processor that eliminates the vertical stripes. Can't say enough how great the results are. It's such a privilege. Thanks for developing this application.

The program always brings up the spinning ball of death when processing footage... I've never tried to convert the footage without vertical stripes... Not sure if that is the culprit. But anyway, the program doesn't actually fail. It is continuing to process footage... Which brings me to the point... The spinning ball finally doesn't bother me a bit. How long have we all waited for the spinning ball to not be a problem? What a fix for the 5D III and for Apple! :-)

The image won't look anything close to raw... The black bars on the edge of the screen will reduce the resolution dramatically. It should be 422, but the image might only be good for editing proxies... What do you think?

Installed ML on a 5D 3 a couple of days ago... I have two 128 1050X cards with a custom Komputerbay firmware to operate / install ML on a Canon 50D. I get better write speeds in FAT than EXFAT. One of these cards appears to be about 5MB/s slower than the other. Anyway, I consistently get pink frame noise when shooting with Global Draw Turned on... When Global Draw is turned off, I will eventually get corrupt frames... It doesn't take long... I believe it to be related to the card not writing properly with the build I am using.

Truly honing in on workable solution... Currently processing about 15 minutes worth of vid in DaVinci. First time I've seen the 5D 3 in good lighting shooting MLV... Really makes you want to make it work. :-) Hope this helps.

Thanks for all the help and effort. It really comes through in the image.

Some epic shots in-between what appears to be a great morning for filming. Love the shot of the blue sky on the upper thirds with fog/mist, clouds... etc. Wow! Way to go! Great images coming from the cam as well as superb composition.

I've read over in the 50D posts that the Komputerbay cards work only with USB 3 CF readers. I own a Kingston FCR USB 3 and it's never given any trouble with Komputerbay cards. I've now owned over 4 cards without issues.

MLV is your better alternative for all Canon's alike. However the 50d performs flawlessly on .raw. Thinking that MLV will outlast .raw in the "future scheme of things."

ISO 3200 is all the 50d wrote... When shooting raw you are not processing the signal. ISO 6400 and 12800 are digital / processed algorithms for the 50d... After further review that "original ISO 6400 test shoot" was in fact shot at 3200. Your discovery of H1 and H2 ISO is spot on! Pretty cool, huh?

Experienced sustained temp decrease working with A/C adapter. However, the unit will reach normal high-temp operating with continual usage. If I remember correctly, the 50D with an A/C adapter held about a 3 degree C difference for upwards of 30 minutes, but not greater than an hour. I was shooting inside for an interview working with 2 50D cameras.

... We were thinking that the battery grip would also help...

This A/C adapter that I am speaking of is available on eBay for about $10 - 15 US. Thought it would be worth while to purchase two of them and take the second unit and to simply splice the cable right after the A/C to DC converter. It would only be a matter of running the battery shell with positive and negative connection to an external battery source. However, achieving the appropriate voltage and amperage would be another challenge.

Checking out the new 50D TL build... Really, really appreciate how the 3X mode is real-time.

Next up is to shoot with MLV. I haven't had a Mac that runs on the latest operating system... But I will say that RawMagic and DaVinci Resolve 10 works in perfect unison if anyone is interested in recording .raw instead of .mlv.

Be sure to give ANDY600's recent LUT a try and/or donate to the cause. That is a really amazing LUT!

Thanks so much.

Posted a 5 minute video featuring the 50D and the BMPCC. It's not your typical camera comparison video... It's more of a get to know your camera for what it's worth type video. I hope it helps you look further into the power of the camera. Here is the link to the video.

http://youtu.be/1eNuxW5fIew

Give it some time SebaVuye. You're working with a great camera. Yes, there are some overheating issues that tend to cause issues when writing files... I would agree that the framing may have been off with cinemascopes put in place... Another issue is if you view the LCD screen in a ML Hacked Mode... There can be a slow refresh rate issue too. But, again, it really is a great tool. Maybe a little finicky from time to time, but this camera is well worth the time. It will certainly capture some timeless moments. Enjoy and keep shooting. P.S. Watching your video now.

Will post footage of the BMPCC and the 50D with the Prototype Anti-Aliasing Filter sometime before Christmas... Will fire off some Raw footage at the same time using a 50mm and a 24mm... Again, I am continually finding that the moire is nearly identical... Surprisingly, I'm finding better noise floor patterns with the 50D in daylight. Haven't worked with the BMPCC long enough to truly understand the sensor... Of course I really want to stress that the 50D has amazing color correction potential!!! The BMPCC is a total different ballgame. For the BMPCC ACR is going to the limits of it's slider adjustments in order to make the image pop, particularly the individual color channels. In some ways this is causing a lot of noise in the image... Then again, why shoot raw if the image isn't going to pop!!!?

The 50D is ready to sing in ACR. Loving how RawMagic provides the user the ability to change the ACR picture profile from Embedded to Landscape, Portrait, and Standard, and Faithful... etc. However, are there any 50D & RawMagic users experiencing issues with RawMagic? I continue to find random occurrences of vertical and horizontal lines. The same RAW file in Raw2DNG doesn't introduce the vertical and horizontal lines... Unfortunately, Raw2DNG does not process the footage as though it were a Canon 50D. Any help in both of these departments would be greatly appreciated... Thanks.