Messages

Thanks a lot for your indepth thoughts, tupp. Much appreciated!

My description 'banding' was poorly used, since I indeed meant some internal reflections (also thought by ARRI). In almost all the tests I did with the Alexa, these darkened areas were almost always visible (sometimes a larger area when on 1 side, depending on the light source location). Not only with the 55mm that I used for the test and short, but also with the 28mm (100mm not so much). In all the shots I created with Magic Lantern, and the reversed 55mm, no banding was visible.

You are right about a better scientific approach, and have the same setup (I will try this when I have time for it). Because the difference seems so clear to me, I was hoping to get to know if the sensor of the 5D is not fully used in crop mode. Do you happen to know if this is the case?

I haven't thought about your last suggestion. The Alexa is light sealed, but I have adapted it with a Leitax mount. Maybe that might be the problem..

Thanks again!

Hi All,

I hope all is well. I have recently released a short with a lot of macro shots, reversing the Zeiss Otus lens (5x crop). This seems to work perfectly.

If I do the same trick with an Alexa XT (preparing for a feature) there seems to be some banding on both sides of the image:



https://vimeo.com/701603837

password: wasp



Most likely this is due to internal reflections in the lens. However, since the sensor of the 5D is larger than the S35 sensor of the Alexa XT, I would expect this not to happen. Or am I missing how the 5x crop works. Is it not using the whole area of the sensor?

Here is the short using the 5D, without any banding: https://vimeo.com/647712972

Thanks for your help.

All the best,

Martijn

Thank you, kadushkin90! Great to hear 😃

Thanks a lot, Frayfray!

Dank, madz

I used adapters for the ZF.2 Zeiss Otus lenses, so I am not sure about the f stop. I used one shot with the Zeiss 135mm classic APO, Third shot. The closest shots (most macro level) were from a reversed 55mm Zeiss Otus. The other shots were nonreversed 55mm (some extensions, I think), and 85mm Zeiss Otus (with extensions).

I had a lot of trouble with hot pixels (this could have been prevented, I assume), and also some other random errors. So, a lot of the footage was not usable. Especially for the Richard video, this was very problematic (lines and stripes), because of the spontaneous nature of the shots. Not sure what the problem was, but I had to get a part of my camera replaced (PCB ASSY, MAIN) at a Canon repair center, and they mentioned that the there were many internal errors. Probably not due to Magic Lantern, and everything seems fine now.
I also removed all Magic Lantern firmware at the time, so not sure which version I used, but it was crop_rec_4k and highest bitrate, pushing it to the limit

The motion was done using Kessler Second Shooter gear.

Thanks a lot, ML700D!

Hi,

I hope all is well. After a succesful film festival phase, my short film just went live. Thanks a lot Magic Lantern, for making it happen Please enjoy!

Mostly done with Zeiss Otus lenses (also reversed and extended) and all with 4k crop mode.

Production: Zero Landscape
Directed and Written: Martijn Rijnberg
Music: Vincent Fournier-Boisvert

"As an assignment for the parents, our daycare asked us to collect all objects that were important for our 3-year old son during the summer holiday and put them in a shoebox. These so-called summer boxes were used as an aid for the children to help them to vividly relate in the group about their experiences during the summer. I was thinking about a way to bring this box of objects alive in a film and to find a way to have the audience feel the emotions my son had during his holiday. As this idea grew, I contacted musician Vincent Fournier-Boisvert and asked if I could use his beautiful song 'Un Mois de Bois Mort' of the album 'Mon Coeur est une Arme' for this purpose. Being a side project, I have filmed this in a year or so, picking it up once in a while. It took patience creating the macro shots and seeing how the footage could be best combined with Vincents song. I loved to do the project, as I could do some of the stuff with my son, and it was always nice to see how the film slowly grew."


- Finalist Canadian Screen Award Qualifying 51st Annual USA Film Festival 2021 -
- Nominee BAFTA Qualifying Aesthetica Short Film Festival 2020 -
- Nominee Miami Short Film Festival 2020 -
- Official Selection Academy Awards® Qualifying Leuven International Short Film Festival 2020 -
- Official Selection 2020 BAFTA-Cymru Qualifying Carmarthen Bay Film Festival (CBFF) -
- Finalist Lonely Wolf: London International Film Festival 2021 -
- Official Selection 2020 The Valley Film Festival -
- Official Selection Berlin Lift-Off Film Festival Online 2020 -
- Finalist 2020 Around International Film Festival Amsterdam -
- Semi-Finalist 2020 Flickers' Rhode Island International Film Festival -
- Honorable Mention 2020 Film Los Angeles Film Awards -
- Semi-Finalist 2021 Dumbo Film Festival -

Hi there,

I am having the same issue, similar glitches ones in a few seconds. Using several fast cards, all containing these errors. Would be great to know if there is a solution for this.

I have been using the 113 built, and because of the errors also tried it with the same built as you describe (magiclantern-crop_rec_4k.2018Jul22.5D3123). Similar results unfortunately. I am not using an external monitor.

Thanks a lot,

Martijn

Thank you such much for your nice comment, Jesussavedjuni! As for the workflow, there was a lot of testing and trial and error, and something went wrong somewhere, since every 5 seconds I got major artefact (a scrambled frame, lines, or half the screen red). I am not sure if my camera had some issues due to the shower shots, but I assume I have used some wrong setting. I am preparing for another macro-movie, so I need to figure it out. I am not sure of everything since I change a lot of settings and used a lot of different software, but I think this is the workflow I have used:

Built magiclantern-Nightly.2018Jul03.5D3113 with 14 bit crop_rec_4k (using 14 bit, that seemed best during the testing phase). Resolution 3104 x 1320 (using cropped parts, or to fake dollying).

Then MLV Dumper or cr2hdr to dng sequence. Subsequently converting the dng seqeunces to ProRes 4444 (a workflow of Andrew Reids shooting guide).

Then after importing the movs in AE, I used a combination of lot of effects such as Osiris LUT M31, FilmConvert, curves, Magic Bullet (Denoiser, Looks etc). I am now finally using Premiere for editing, because for this short film, with all the effects, using After Effects was way too slow.

Cheers,

Martijn

Thanks a lot, wib!

The whole process took me months to complete, being overly perfectionistic (trial and error to get the right POV experience), so to hear that the film had this effect on you makes me very happy 😃

Thanks a lot, wib! I have used the following classic Zeiss lenses: 35/1.4, 50mm MakroPlanar and 100mm MakroPlanar.

I have shot a lot of footage (also having somehow artifacts once in a few seconds) to get the right patterns of water. If you mean the lightnings, that was been done by using stock footage of lightnings, blurring them out in post, and playing them subsequently on an iPhone that was behind the glass wall. Because of the Macro 100mm lens I could get really close. And by turning of the light, the water of the shower that I poured on the glass wall, was merged with the light that came from the footage on the iPhone. A lot of experimenting, but it did the trick. Attached is a link to a photo of the setup (yet, without the iPhone).

https://www.dropbox.com/s/h8epkecf355uxxz/Richardstill3.JPG?dl=0

Cheers,

Martijn

Hi Magic Lantern!

I have made a short book promotion film using a 5D MarkIII and Magic Lantern, with the crop function. Please enjoy:

To promote the novel 'Richard' (written by M.M. Visser and R. Hulshof), director Martijn Rijnberg, musician Roly Porter, and actor Leon Herbert (Alien 3) joined forces to create a teaser that shows what the mind is capable of and how you can be caught up in your story. Roly Porter created a unique (custom-made) musical composition that together with Leon Herberts voice guides the viewer through a short existential journey. The novel tells the autobiographical story of the co-author M.M. Visser, in which her past experiences keep her from having a life of love. A bit like taking the red pill in The Matrix, she discovers that everything she believes in and stands for, is nothing more than a story to keep her going.

- Winner Los Angeles Film Awards 2018 -
- Official Selection BAFTA Qualifying Aesthetica Short Film Festival 2018 -
- Honorable Mention Winner Los Angeles Movie Awards 2018 -
- Official Selection Glendale International Film Festival 2018 -
- Official Selection Nevada City Film Festival 2018 -
- Semi Finalist Miami Short Film Festival 2018 -

Production: Zero Landscape
Directed and Written: Martijn Rijnberg
Music and Sound Design: Roly Porter
Cast: Leon Herbert
Sound Recording: Leon Jean-Marie
Script Editor: Marieke Visser
Special Thanks: Gary Nurse, Acclivity, Dobroide, Ondrosik, Steven Lucke, Magic Lantern, FilmConvert
zerolandscape.com

I've never used any of the lower lossless bit depths with 3.5k or 3k crop_rec and I've never had footage corrupt like that. Are you sure this also happened with 14 bit lossless 3.5k/3k?

I am on fir 1.2.3

Edit: how fo you process the MLV's? What program do you use?

Hi Kharak,

Thanks for your comment. Yes, I am sure it happened on 14bit lossless. I have done a lot of testing to seek for the best image quality and recorded in different test settings. In the end I went for 14bit lossless because the quality seemed the best. However, I am now not so sure anymore if I actually recorded the way I wanted (crop in highest image quality setting). I am on firmware 1.1.3.

As for MLV process software I have used a lot, cr2hdr, Footage, MLV App and others, and they all show the same errors on the same timepoint in the clips. However, somehow I didn't, and still do not, seem to get the MLV Dump specifically for the crop running. Not in Terminal (Mac), and also not linked to other software. Maybe this is the problem.

I would be very thankful if you (or somebody else) could process the clip (macro of walnut)  with the specific crop MLV Dump software in my dropboxlink. If you also have the errors around second 1 and second 4, then at least I know it is in the MLV files themselves, and not in the process software.
Also, I wonder if you can see if this small clip has indeed the high quality of the crop setting you can obtain (lens is otus (reversed), and lighting was fairly good (iso 1600 though), so the image quality should be high).

https://www.dropbox.com/sh/au5lkf1cfwq1qp7/AADdRbNh5jBK_s5zx4r8X6pva?dl=0

Thanks!

I have been using the crop_rec (5D Mark III) for a project last year, and the short film is now in the festival circuit and has several official selections, so I am very grateful. There was however a problem using the crop, where there where lines or complete error segments once in a few seconds (see attached). I first thought it was the specific version of the crop_rec firmware, but now that I have the latest version installed (in the experiments folder) for a new film project, I have these errors again. I haven't tested it yet in the non-crop_rec version, but is this something common? I am probably doing something wrong. Thanks for any help.

BTW I have been using the 3.5K centered x5, 2.35:1, 3072 x 1308, and have the errors in 14bit lossless, and if I recall well, also in 12bit lossless and 10bit lossless.

Hi there,

I have made an animation film with quite some Magic Lantern shots in it (first part is primarily animation). The drone shots were stock, but the rest of the real footage is shot with my 5D Mark III.

A motorised Kessler slider was used (also for the 360 shots), and Zeiss lenses, 55mm Otus, 85mm Milvus, and some others.

https://www.youtube.com/watch?v=pQ4daMkH6DA

Enjoy!

Martijn

@hjfilmspeed Thanks for the advice!

@budafilms Probably Zeiss 35/1.4 or 50/2 (or somewhat wider, 28/2 or 25/2 if the crop requires that), and the 100/2 for the droplet. That the crop factor is huge is a great thing, considering I need to get the droplet as big as possible in my frame. I also tried a reverse ring, but that's a bit too risky with all the water involved. I will soon start to do some testing. Cheers

@lostfeliz Thanks for your reply. I use a very nice lamp (just the one in my bathroom), with great intensity and nice character. For my film idea, I need this lamp, and to replace it with another bulb is actually a bit risky (been broken before). The intensity is more than sufficient for most shots, but when going as close as possible with the 100/2, you loose quite some light, and 1600 iso seems inevitable. I am curious how the imagery will differ with the new crop and lossless 12 bit compaired to the 10 bit nonlossless raw. Thanks.

@hjfilmspeed Thanks for letting me know! Due to the nature of the project, this will save me a lot of time I have seen your tutorial (thanks) and was wondering if you would recommend the 29 april built, or just the latest built?

Hi there, I am in the middle of a little film project (although I have some time to complete it), and using 10 bit (2017-01-12 / crop3x.2017Jan.5D113) to focus on a water droplet (around 3K). In my setup it is good to make the final film 1080 (also to have the water droplet as big as possible). It is shot inside, and at 1600 iso there is already quite some noise (but I think manageable). I would be very happy if somebody could tell me if it is worth to put the new crop version on it, since I might have to change the setup of my project and lose some time.

- Will the lossless 12 bit (or 14 bit lossless) have less noise and better image quality compared to 10 bit (nonlossless), and more than 3K at 24fps? (there is a lot of movement in the imagery so that might limit the record time)
- Will the new version also have the option to choose the 3x crop mode (in addition to the around 1.6x crop mode)?
- Will the (older) 3x crop mode have less image quality considering (I assume) it is using a smaller portion of the sensor?

I might have to do these experiments myself, but it would be great if someone already knew some of the answers and help me safe some time. Thanks!

Today, I heard that my music video is selected by the Cork Film Festival, so I am very happy. It has recently also been accepted by several other big film festivals, such as HollyShorts (where it has already been shown) and ASFF, which I will visit in November, first time seeing it on the big screen. It would not have been possible without Magic Lantern, so thanks a lot!!

Just got featured at Directors Notes:

http://www.directorsnotes.com/2015/06/11/zero-landscape-gonna-stop-killing/

A short piece about the directing part, BTS, and technical stuff. A lot has already been discussed here, but hopefully you can enjoy the read.

Cheers,

Martijn

Thanks DeafEyeJedi! I like the idea to try to push the limits without spending too much money. Of course a 5D Mark III isn't very cheap and (noncinema) Zeiss lenses can be quite expensive, but for a relatively low amount of money the possibilities are enormous, especially when you compare it with a decade ago. And I think if I would take it a step more professional (I went to IBC last year - overwhelmed by all the products, www.ibc.org) the fun might also become somewhat less. Cheers!

Thanks a lot, johnwangphoto! Great to hear! For most shots, I used a shoulder-rig. With a normal accompanied weight, and without follow focus. Any rig would work, i guess. I bought a EVF Zacutto but lacked a good place at that time to add it to the rig, so I hardly used it (for stabilizing). And I used Warp Stabilizer in After Effects. Very convenient, especially combined with Twixtor, gives good stabilized shots. And I used a tripod (not very expensive but quite sturdy) and for some low shots a Gorillapod Focus. For the shots in the hallway (slowly moving towards the protagonist on his coach), I tried a technique I read at one of the comments of Kendy:

http://vimeo.com/97754240)

(also some inspiration from his video). He suggested to use a tripod on a carpet. After a lot of trial and error, I managed to get quite some good shots. This part was actually shot with 24fps. I had to take good care with the floor (cleaning) and being aware of any irregularities in the floor. I could have bought a slider or another solution, but this worked. Although I think it helped to have sturdy tripod and be aware of not bending anything. Maybe if you have a sturdy carpet you could also push the carpet instead of the tripod Great to experiment with.

Thanks a lot, ikola1! Great you see the intentions!
I like your video, very peaceful Regarding h.264, I have little experience using it, almost immediately installing ML and shooting RAW. I accidentally shot a bit of h.264 footage while shooting this music video. Because of the intense RAW workflow I was wondering how big the difference was. I knew of course the advantages in post and the increase of detail, but when checking the h.264 files I was quite shocked how huge the difference was. A big thanks to ML indeed! Cheers!

Thanks for the compliment, ikola1! That puts a big smile on my face
I am a big fan of Tarkovsky's Stalker, where there is one element of craving for nature (and finding peace), and escaping from the harsh reality. I tried to get that feeling somewhat also in the music video, with the destructive buildings and depressing metro scenes, and with the nature shots. In the end the protagonist almost feels like merging with nature (the bright sunlight). This is in line with your association with Batman. I tried not to fill in if he would actually find his happiness, or that it would only be his unrealistic craving.
Thanks!

Thanks a lot ikola1!

Actually, the story was intended (a bit) more positive The protagonist was watching his caged bird and bag from his bed, thinking over his new life. And the bird was a symbol of freedom. I wanted to show this bird in that shot very much, to make it more clear. But the problem here was that the bird became hysterical during filming as soon as we only moved the cage a little bit. So we chose for his peace of mind above the film. The towel didn't mean something negative, just a storytelling fix. In the end, it doesn't matter too much if the story is interpreted differently, because I kept the story somewhat vague on purpose.

Cheers,

Martijn

Thanks a lot SiSS,

Next time I will try to combine Premiere and AE, see how that works out for me.

As for the exposure, I was a bit worried before I started shooting because of noise in darker scenes. I started a topic here, which gave me some good tips:

http://www.magiclantern.fm/forum/index.php?topic=12176.msg117719#msg117719

I did some testing with ETTR but in the end I just used my eyes, without any additional tools. Just kept the imagery fairly light, but not too much. In the darker scenes such as the candles, I used around F2 and tried not to go above ISO 1600 (some shots maybe 3200). For the metro shots I liked F4 and had ISO at 400 or 800. For the outside shots I was worried that I might required ND filters (which I didn't have), but that turned out quite good. The advantage here, was that I shot almost everything in 60fps, so the shutter speed made everything darker. In the end it was playing around with settings, but keeping some limits in mind.

Cheers,

Martijn