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There is a sticky with all the nightly builds listed just above this thread.

Well, you do want to use ETTR with raw video, but you want to do it manually.

Essentially you want to make sure you enable raw histograms in your global draw, then as you're framing your shot you want to tweak your ISO and aperture to get you as close as possible to maximum exposure (e.v. 0), you don't want to go into - but you also don't want to be too far into the + either.

Your best bet is to experiment and then check your resulting files in Resolve or whatever you use for post processing, after a while you'll get the hang of it.

Not working for mac yet

Ouch....time to wait for some good soul to update the Mac version to one that works huh?

Welcome to "real" filmmaking, where audio is recorded separate from video (yes...believe it or not that's how the big boys do it too).

First of all, I would tend to second the opinions that a digital clapper on your iPad isn't always the best option. There is nothing more plain, basic and effective than two pieces of wood (or plastic) smacking against each other in a very visible and loud way. When you're in post and you watch the sound wave, that snap is going to be an instantly recognizable peak which you can get to quickly vs. the iPad beep which I'm not sure how loud it can get. Also with an iPad, make sure you don't have any reflections on the glass surface which might make it impossible in post to tell when the "clap" actually occurred.

Secondly...no TC on raw footage...and even in h.264 it's not that useable really (since you don't have a master sync generator).

Thirdly, you're shooting a music video, which means that you have two things to worry about. You need to play an audibly loud music track for the talent to lip sync to, and you need to record that track back with a way to sync it with the video so that you're not pulling your hair out in post. If this is one of those music videos where the talent isn't really moving/singing to the music, then technically you could get away without recording any audio and then assembling the pretty images in post while cutting to the music....something to think about.

Seeing as Canons 1.2.1 firmware update is just that, a firmware update, I don't see it unrealistic that the magic lantern team could figure out a way to replicate the clean HDMI output on 1.1.3. I've been using my ninja2 on the 5D3 for sometime now, and think it's an excellent "liveview" monitor. It also works well with the five D2, as long as you have no GUI overlays.

Has there been any attempt to try to port ML to 1.2.1?

I'm not really sure if the devs have decided to focus on what they know works (i.e. 1.1.3) or if 1.2.1 has been definitely ruled out as an option?

Anyone with some inside knowledge care to chime in?

Whats with the huge lack of reading these days?

...or lack of using the search function!   

Read this, it should explain some stuff:

http://www.magiclantern.fm/forum/index.php?topic=5441.0


Ultimately understand that Crop Mode is a compromise, it will get you higher resolution video (limited by how fast your card is), and less or no moire artifacts, but it comes with some negatives such as being difficult to frame, poor live view of what you're shooting, and in some cases messed up frames.

The way I understand Crop Mode is as follows:

In LiveView, you press the magnifying glass which will zoom in 5X (10X if you press it again).

Press the trash button to go back to ML, in the Video menu select your desired aspect ratio and resolution. You will find that while you are zoomed-in, you can now select much larger resolutions (but you will still be limited by how fast the data can be written to the card).

Exit ML and start recording. The new video will be recorded in those higher resolutions.


The main problem as I see it is that there is no way to accurately monitor what you are actually recording since there is a discrepancy between the zoom in LiveView (5X) and the data being recorded in Crop Mode at 3X. Is there a way to see what is being recorded in Liveview accurately?

Why do you need it? just press the zoom button...

Forgive me for being a bit slow but...my understanding is that when you record in Crop mode, the image is captured at a X3 crop factor....yet hitting the magnification mode yields a X5 which means it's not possible to see the entire image that is being capture in LiveView, is this correct?

How can one go about accurately framing and composing the shot in crop mode? It seems to me that when one is zoomed in (which if I understand correctly is necessary to allow the camera to shoot at higher resolutions), a good chunk of the image is missing from the LiveView. Does this mean that when shooting crop there is a great deal of guesstimation as to what the final image will actually be framed as?

Or...am I missing something?

Besides the ability to manage more frames of higher resolution raw video at once, what else can the 5d mkiii do that the 5d mk ii can't?

...

Basically, I'm just trying to draw definitive lines between the two models because as far as I can tell the mark ii can pretty much do anything the mark iii can.

Sounds to me like you answered your own question.   

Adding the C makes Resolve interpret the folder as a clip instead of a folder.

You sure about this? If I add a C to the name, I can't get Resolve to see anything. Is this a Mac/PC thing?

I can't  get it to work, all I know is that the way it works without the C seems pretty efficient and fast.

everything is fine except for realtime playback. it chugs along. resolution at 1880x800 @ 12bit.
the same sequence plays fine on resolve but its having a difficult time in premiere.
i've tried cs5.5 and CC. and its the same.
i have a modest i7 2600k OC at 4.9ghz, 32GB 1600 memory.
i've edited R3D 5k footage before as a 1080p sequence on premiere and my computer has had no issues crunching those files.

It appears as though the CinemaDNG import "experimental" plugin is no longer available from Adobe. They cite poor real-time performance as the primary reason for pulling the plugin from the Labs section.

I too have had a great deal of positive experience working with .r3d files within Premiere, even on an aging 1st gen Mac Pro with no Mercury acceleration. It seems that if Resolve is able to provide realtime or near-realtime playback of these files, Premiere Pro should too.

Please consider sending Adobe a feature request, the more they hear from our community, the more likely they are to revisit the functionality.

Hacking into Canon Firmware, adding features that weren't even considered feasible, effectively making the impossible possible takes a great deal of smarts.

There is no doubt in my mind that all of the ML developers are geniuses, that their IQ's far surpass mine and that they spend every available hour trying to figure out how to raise the bar even higher...

...which is why it always blows my mind that someone would have such little confidence in them to suggest that they somehow must have overlooked some "duh" idea.

As it's been posted above, this subject has been amply discussed. The ML team has gone out of their way to explain why it's not an obtainable goal (hint, CPU isn't fast enough).

If anything should change I'm sure they'll figure it out first, but in the meantime could you maybe give them a bit more credit?

You need to go and hang out at:

http://www.eoshd.com

and buy his books on both shooting with ML raw and shooting in anamorphic.

Andrew is probably the expert on that stuff!

I use an nVidia 770, they're slightly faster than the older 680's and about the same price (if not a tad cheaper).

My rig is actually a Hackintosh, but my understanding is that the latest version of Mountain Lion has built-in drivers for the 770, so as long as you don't mind not having a startup screen, it should work fine on a Mac Pro (assuming you have the necessary power connectors).

I also get a close to real time frame rate, usually starts around 22fps and picks up to a solid 24fps halfway through the clip.