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Well, I've got a full set of smallrig using bf promotions. I'll see how it goes!

I use 8sinn cage with the (i think its called) scorpion top handle, got 4 hot shoe mounts in the handle plus screw mounts all over. With rails under the cage, i still have not managed to get a perfect balance. But with monitor placed on the back hotshoe on the handle, hip shooting is a breeze and very stable, but going one handed low is a tad too shaky for me.

I am currently looking for the classic Juicedlink RM333 (anyone know someone?), to be placed on the back end of the rails for a uniform front/back balance. Because adding a shotgun at the moment throws of the balance and having a zoom recorder under or on the side is just not working. (Plus they have the worst battery life and syncing is crap).
I am trying to increase the cameras "momentum" not sure if that is the right word, but the bigger the rig, the smaller the shakes, but too big and it becomes cumbersome, so its really about finding a balance between how heavy and balanced I want it.

I would just becareful about making your rig too wide, rather I would lenghten the rig for better movement.

Very interesting! Thanks. So you woul not put a wooden handle on the side? Can you share some pics of your config?

What are you using for handling the 5D? I'm not looking for a shoulder mount, I'd like to feel comfortable in an hand grip.

I'm using a neewer one right now with a monitor offsetted and a smallrig handle. It probably became too wide.
https://i.imgur.com/VHsBcUB.jpg
https://i.imgur.com/v0sMeYC.jpg

I'm looking for the classic smallrig one. What are you using? How do you center both the top handle and the monitor?

For my next movie I'd like to go to Seoul to shoot a drama and I'm looking for contacts!
The idea came after a few writing iterations about a character trying to find his/her identity while looking for love. I was always fascinated by people movement and I recently started to listen to kpop, since I also have a few korean friends on my university the idea came up of itself.
I'm studying cinema in France, I am originally from Italy. It really is a student film, so no budget for actors of locations.

Ideally I'd like to come to Seoul next September for three months, a friend of mine will come with me as the main assistant director. I did some documentary and small fictions up until now, a few stills here: https://imgur.com/a/ipweFeQ

I'm looking for contacts in Seoul, especially people that could be interested to have a small acting role in the film or people that have access to some interior locations.

I can give you more informations via DM if you know of someone, any help would be really appreciated!


P.S. I film with a 5D Mark III with magic lantern )

here for example, mostly visible at 30s, the guy walking with a grey backpack, his bag curve is like a staircase. It's more noticeable if you watch it on a 4K monitor

(shot in 1080p but anamorphic preset)

so are you using some kind of variation of our presets? or going from alexa export from mlv app then Juan on resolve?

We should try to test shooting a chart as he does to see how the presets we are using are working with ML and where the discrepancies lies: https://www.youtube.com/watch?v=-PWcMjIjCbI

To my understanding:

• There is no information clipped if we use rec709 (or linear whatever) in the raw tab and it's totally okay to, before any grade, use the first node as a color space tranform to log (like rec709 to alexa or cineon).


• Using bmdfilm in the raw tab is a no-no and needs further color processing (a lut to match this particular canon camera for exemple like Digital Bolex do) but to verify my statement we should both shoot a color chart (which I don't have) in the same lighting conditions and compare the results of our cameras with your 1.50 dpx for exemple.


• There's probably missing metadata in our dng compared to blackmagic cameras cdng, like ISO apparently that would explain the fact that we have to change exposure (as we said before the whole histogram is on the left which is not what a blackmagic camera would get).

edit: It might be the value named BaselineExposure. Compared with exiftool it is set to 3.09 on an ursa mini, 0.76 on a Digital Bolex D16 and 0 on an eos m cdng from MLVApp.
Tf you want to overwrite the original files with a value of 1.25 so you don't have to correct for exposure:
exiftool -BaselineExposure=1.25 -overwrite_original *.dng
It is a quick operation.

Daamn! Now I have to try all of this... You are really getting to the bottom of this exposure thing.

In the meantime I was helped to replicate some powergrade to replicate halation, if someone is interested it's here (setted for bmd film): https://mega.nz/file/x6xiybDC#7tpevoD-eSs6AE1sV4aHhVYLKN4RLM-6298kK5GQQXQ

Oh wow 0_0 This update is amazing, so many good things and the map for bad pixels is like a old dream finally streamlinked!! Thanks a lot. So badly needed.

Just a basic color correction on random scenes using the power grade you shared to see how it holds up with skin tones in different conditions (an olive complexion shot at 5000K at multiple times of the day).
I'm using the 1.50 dpx and the Rec709 Fujifilm 3513DI D65 lut at 30% as a last node instead of Juan Melara's lut.
Fujifilm 3513DI is way too green in the shadows. I'll stick to Kodak 2383 next time and correct the red cast I get from it.
I tried to get rid of the Alexa CST multiple times but I've always ended up correcting highlights here and there using curves and tone mapping so I'll just keep it as it is.

Nice! Again, it looks very good.
Also remember my middle node is pushing green up a little bit. I merged two contradictory saturation modifications together and added your final lut suggestion at 20%: https://www.mediafire.com/view/5n19fdwqzz12bhm/Powergrade_Resolve_1.7.1.dpx/file

It looks good on my end as well! But I should do more test. Also it appear clear that you can have the same looking image with the same powergrafe but with less noise by exposing it +2 stops in camera, and remove the raw panel +2. You'll just loose the highlights... Our choice.

Because to be honest BMDFilm is a bullshit concept. For each Blackmagic camera it seems to have a different gamut and a different curve. I found a matrix on some blackmagic forum, and the log curve may have been added by masc. Both are definitely wrong.

What gamut and curve does BMDFilm have for non Blackmagic cameras in Resolve? Who knows...

TLDR: I do not recommend it, use a better defined log profile like Arri Log C

Yes you're right, there're so many flavour of it that I should not compare the two implementations. I was just wondering about it specifically because that's how you have to process dngs inside resolve if you want to follow this path : https://www.youtube.com/watch?v=8qJ7i9b28Lo


Anyway no big deal   I was just curious!

The grade 1.50.1 (third still I presume) is pretty simple but it has really great skin tones on an EOS M (the reds are leaning towards the orange tho).

My previous workflow for a quick first pass grade:
I used to enable Pre Tone Curve in the raw project settings, leave the color space to rec.709/sRGB and up the gain to +20 in the raw tab with few other settings: Saturation -5, Color boost +10 to temper the red channel a bit, Highlight -30, Shadows +10. Finally a gamut mapping node: Gamma sRGB, Tone Mapping Luminance, Max Input 1000.
It doesn't look bad but the problem is that if I do a daylight white balance of a mixed lights environnement, skin tones might have to be fixed separately.

Your grade is pretty spot on right off the bat. Thanks for sharing. It's a nice improvement compared to what I used to do, I'll try to fiddle a bit with it.

That is so nice to hear! The video looks great! I'm happy to have contributed some to the color science of ML raw Even if only by putting together stuff from other sources.

To recap what this powergrades basically do : 

- Use the transform LUT available into Resolve to map luminance and saturation in a more filmic way.

- Brings exposure up by 2 stops in the raw panel to basically increase the dinamic range and match what you see inside MLV App.

- Adds some contrast on a middle node (plus a color shift).


All of this can be vastly improved imho. There're tons of ways the tone mapping could be better probably but that's serious stuff. The 2 stops hack bring out some excessive noise, but how to do it differently ?

It would be nice to have a thread with better organized collection of power grades for Resolve. On the end that's what defines the image and it can be pretty discomforting for a new user to have to do this from scratch.

Probably stupid question, if I select BMD film etc and export prores, then export dngs, then bring both of them into Resolve and select BMD film for the dngs the two recordings looks slightly different. Nothing else should be changed.
Anybody is having the same experience ?

Could you share a preview image of the RAW file and your edit result?

yes of course! What's your usual workflow with raw images? It would make a better comparison.

A basic Rec709 from the raw panel.




The 3 powergrades I did.

Sooo!

You export the dngs from MLV APP. Then what?

By following a couple of juan melara tutorial on youtubes and using is film lut I changed my post production process again!

No more 3d export lut in the preferences. I've moved into the color transform nodes.

I made 3 powergrades at the moment, the general idea is to put your wb in the raw panel, bmd film, +2 exposure (not needed if you expose correctly MAYBE) then first node a color transform to bmd to alexa log c just because it's more cool, then your corrections node, then another color transform where you bring it into rec709, apply the tonemapping options there, and then if you want add SOME of the nodes (not the contrast curve one) of the kodak poower grade that melare recreated.

One of the 3 is only the color transform and some clean contrast, another the color transform and some lifted contrast, a third the color transform and the extra kodak nodes that make film saturation and stuff.

Try them out!

https://www.mediafire.com/file/ojcqpc76pax6brz/MLV_dngs_color_transform_power_grades_for_davinci_resolve.zip/file

Sooo!

I came back to this. By following a couple of juan melara tutorial on youtubes and using is film lut I changed my post production process again!

No more 3d export lut in the preferences. I've moved into the color transform nodes.

I made 3 powergrades at the moment, the general idea is to put your wb in the raw panel, bmd film, +2 exposure (not needed if you expose correctly MAYBE) then first node a color transform to bmd to alexa log c just because it's more cool, then your corrections node, then another color transform where you bring it into rec709, apply the tonemapping options there, and then if you want add SOME of the nodes (not the contrast curve one) of the kodak poower grade that melare recreated.

One of the 3 is only the color transform and some clean contrast, another the color transform and some lifted contrast, a third the color transform and the extra kodak nodes that make film saturation and stuff.

Try them out!

https://www.mediafire.com/file/ojcqpc76pax6brz/MLV_dngs_color_transform_power_grades_for_davinci_resolve.zip/file

the expansion of the whole preset section is very good. Nice to see tonemapping, gamut, and (display?) gamma all separeted like this.

So the reinhrd function is something like this ? http://filmicworlds.com/blog/filmic-tonemapping-operators/ Can someone recap the other operations than the app is doing for the preview? I remember something like +2 exposure? Kind of what I had manage to match in Resolve.

I'm doing some light tests with my 5D3 and grabbing the stills with MLV App

It can be logo but for icon I think  only extension ".MLV" can be text. Also my idea was "RGB with Sliders". Thats what MLV Apps mostly doing.

I love all of this. Congrats

thanks for pointing that out.  i wanted to stay in raw in resolve, but there's no way around that when i shot in hdr. 

is there an easier way to automatically adjust white balance in mlvapp with with a colorpicker thing with a white

is there something better than prores4444 for editing in resolve?

to get back to the original question.

There're multiple possibles workflow for grading in Resolve, the key is to not work directly on REC709 data structure.

In my worflow I export dng from MLVApp, than do some basic correction on Raw panel inside Resolve to get the same starting look:


- bmd film input on raw panel to BMCC v2 rec709 as output lut

+2 exposure on raw panel
-20 saturation on raw panel   (testing on other images brought this to -10 sat)
+20 contrast on raw panel


I prefer to grade inbetween the bmd film input and the rec709 output. But if you can't bring dngs to Davinci because of hdr (I don't know how that works) try export the bmd ProRes from MLVApp, as far as I have understood it only has the real bmd gamma and not the real bmd gamut, but give it a shoot. try the output lut for BMCC v2 as I do and grade in between.

[Don't use camera matrix]

an explanation:

Don't use camera matrix: camera's native RGB channels are interpreted as rec709 primaries, and white balance is done in those colour channels - I do not recommend this mode for accuracy, also different cameras will not match.
Use camera matrix: camera colours are converted to MLV App's processing gamut accurately using camera specific matrix, and white balance is done in LMS colour space (where the R, G and B channels imitate eye colour cells), which should preserve colour constancy better.
Uncolourscience fix: Same as use camera matrix, except the white balance is not done in LMS gamut, instead it is one that @Danne came up with by tweaking matrix values, it helps reduce blue clipping at lower colour temperatures (2000-3000K), but should not be used if there aren't any clipping problems, as it can and will affect colour quality or accuracy. This mode will be removed when BetterProcessing branch is complete (it should fix the clipping issues).

Ok got it, pretty complex stuff. Don't use camera matrix sounds really fucked up! Shouldn't it be removed ? Can't wait for the BetterProcessing stuff.

Ok so I did a fast test. You can find my MLV here if you want to play around: http://www.mediafire.com/file/r2h5j8ml51fed6t/M02-0127.MLV/file



Playing a little bit on Resolve this is what I'm doing to match the standard profile and the uncolourscience fix with some WB adjustment on MLV APP. Still needs highlights to be pushed/lowered to match but whatever.

- bmd film input on raw panel to BMCC v2 rec709 as output lut
- VERY different WB settings.
+2 exposure on raw panel
-20 saturation on raw panel   (testing on other images brought this to -10 sat)
+20 contrast on raw panel


Also I now understand that I'm clueless about the matrix/camera thing. I choosed the fix one but which one does what?


Resolve:

https://i.imgur.com/fQEVMZE.png

MLVApp

https://i.imgur.com/7vrstfe.png

https://i.imgur.com/HzvP6tR.png

Thrilled to see a new version I'll have to see what those matrix/uncolorscience bring.

Small question. i remember a discussion a few months ago about what exactly MLVApp does when selecting each profile, since the results look so different in standard Rec709 inside Resolve. It was something like +1 exposure by default, etc etc etc
I'm talking mainly about the standard "standard" profile. Someone knows exactly what does it do?

Hi guys, Ive been away a long time and have an Ursa Mini Pro as my main cam now but just ordered a trusty old 5d mk iii in the hope it will make a nice B cam! So this app looks very promising but I notice it has no inbuilt preset looks? LUTS. What are you guys using to take into resolve and match with other cameras?

Just bring the dngs to Resolve, use bmd films as an input lut on the raw options panel in the preferences and BMCC v2 rec709 as an output lut on the color preference panel (depending your grading setup). You don't have to do anything more in mlvapp than exporting the dng.

Benchmark after purchase sounds good enough for me!
Yea some cards need time to "heat up", it happened to me as well, always weird.

I'm not against Komputerbay but that last drop + email not answered is enough. I don't need extreme speed just full hd. I'm going with a Lexar this time and then we'll see

Lexar is trash man.

Consider going with a smaller card. The 64GB's that I've had have worked flawlessly for years now. CF cards weren't meant to go past 64GB anyway. 128GB and most other NAND based cards will have close to 3000 write cycles before failing.

Do you have some resources to share about the 64Gb limit? I already have 6 of them, but I feel like a really need a 128 ones for some kind of usage. Why is Lexar trash? What else would you buy? I want just to try something else, last experience was way too bad...

My experience with Lexar 1066x was that it was sloooow on my 5D3. There's a thread on it here somewhere...

Hello, I have 3 KomputerBay cards, 128 and 64GB, I've never had problems recording in a 5D3 at 1920 x 1080 14 bit, I bought several lexar and they have lower performance. That is my experience.

How slow? Not even working on 1080p?

Yeah I had a 128GB that died out recently on me too after about a year. Amazon's really really good with refunding.

Also I kind of remember KB saying they had a lifetime warranty, now not even answering email. I've got 7 of their cards, had 1 slow ones of the first batch (understendable), one dying outside shooting, one (this one) dying after one full day of shooting, thanks god only establishing shots for a docu but still.
If I get a refund I'm not buying another one from them I'm sorry. I'm going Lexar.