Messages

What was your workflow for HDR?
It seems like you dont have HDR display for colorgrading.

What is the difference between 1:1 mode and the "normal mode"? It sounds strange to me there are no moire/aliasing in full frame mode. Nice development anyway.

Hey, first post on the forum after a year using ML on a 5dMkiii.  Has changed my life!

If anyone has a minute, I'd love any recommendations on a desktop PC I need to build.  My workflow is:

- Film handheld 14-bit 1920x1080 uncompressed MLV
- Go home & transcode to 12-bit Cinelog DNxHD for storage
- Edit, stabilise, grade & render H264 in DaVinci Resolve 14

At the moment I am using an old i5 HTPC, grading in Premiere Pro. The problem: I have to leave it for a day to render the DNxHD and can't even play back while grading...

Any opinions on the best value DaVinci Resolve System for a sensible transcode and realtime render?

For 1080p footage you dont need beefy computer. Resolve use your resources much more effectively than Premiere and relies mostly on your GPU
I have and old i7 3770 + 7970 Ghz edition config and works like breeze with 1080p stuff, however it's not future proof, i can only edit 4K clips if i use Proxys
So my recommendation: Ryzen 1600 6/12 core, or i5 8600 with 6 core  with a GTX1060 or RX470. i7 8700K with GTX1070 is the golden choice for Davinci, but the price of the GPU's are insane nowdays, cryptomining 4eva!

Or simply upgrade your HTPC with a GTX1060 low profile edition.

Great job Levas!

Could you please do some tests with my 5D2 footage? You can download it from the following link:
https://wetransfer.com/downloads/7747cb1b86614e01dc1acb9bf11bd2a220171124170652/f7fd5be4b588f945da4898c6c41feb9e20171124170652/f83ff8

I think on this example "motion picture" means a totally different thing... This was my worst experience with moire/aliasing. Yes you can clean up a lot with chroma blur. i filmed this about a year ago, now im filming around F16 if im shooting with infinity focus, so now moire/aliasing is not that much of a problem. Im curious what can you do with this if you are using your method.

Awesome, thank you!

Hi all!

As i can see the buzz word HDR and HLG is "just" a properly tone-mapped 10 bit video nowdays.

As far as i know RAW contains wider color gamut then human eyes can see, so that will not be a problem, 11,7EV dynamic range may fall short behind the required 15 EV, but hey, even GH5 can do it! (with 12 EV dynamic range...) 10 bit output is not a problem either.

Could you please tell me what is the workflow to grade/color correct MLRAW in post to get proper HLG output for HDR displays? (In Davinci Resolve)

Filmconvert is designed to use with recommended settings, such as Canon Standard, Natural, Cinestyle, Marvel. These profiles are way undersaturated compared to raw processed ACR.
On the other hand, you can find color settings for Raw videos in filmconvert if you are using 5D Mark III profile (all of the canon cameras have the the same colour)
Unfortunetly if you want to use Filmconvert with it's ACR profile you have to process the files in ACR with a given preset.. (brightness +50...)
But if you do your process through Davinci Resolve with BMDFilm Log, there is a profile for that in filmconvert.

The colours are the same.

50D max resolution without crop mode 16:9: 1584x892
5D3 max resolution without crop mode 16:9: 1920x1080
% difference in resolution: 21%

50D max resolution in crop mode continous: 2000x1080
5D3 max resolution in crop mode continous: 3072x1320
% difference in resolution: 53% horizontal 22% vertical

Other key differences:
Low light is about 2 stop better on the 5D3
Dynamic Range is almost the same, but the shadow noise on the 50D is much worst

50D uses line skipping for video, which means lot's of moire and aliasing. If you have mosaic engineering VAF filter you can rid of it.
50D cannot record sound in camera
Fullframe vs APSC

For the price the 50D is awesome

For a casual viewer the difference between 50D + VAF raw vs 5D3 raw is marginal

I tested my new Feiyu MG V2 gimbal with my 5D Mark II + 24-105
It worked perfectly. The max load for the gimbal is 1630g, 5D2 + 24-105 is 1520g.
The point im posting it here, i used Ektar 100 LUT from hyalinejim. I still cant figure out how to use the advanced version properly but im improving with every grading session

https://www.youtube.com/watch?v=RF4hQ4WTHs0

Awesome job! Could you please share a Prores LT file about one of the clips? I would like to try to colorgrade it myself. Im curious if i can do the same grade

Is there a certain thread with news on Magic Lantern Development for the "6D Mark II"?

I feel a thrill of anticipation when I think about ML making 4K work on the "6D Mark II" and I want to stay up to date.

I dont think there will be a lot of people who want to risk the void of the warranty or bricking a brand new 2000 usd camera
Plus it's Digic 7...

Im sorry to tell you this, but the footage looks like it's the classical out of cam h264. Only 2(?) slo-mo shots so no benefit of 48p, no detail and texture, but there are sharpening halos and noise in the shadows. The colors are also far from the RAW level, there is no tonality on the faces.

Only 0:23-0:25 seems like a raw level footage.

The cuts are nice.

Very nice travel movie i really like it, so im trying to give you constructive criticism:

- atmospheric sounds even if not recorded on location, really helps to enhance the feelings. But after about the first 74 seconds they are gone. Moremoremore ambient background sounds please, i loved them!
- Warp Stabilizer is twisting the image + ghosting happens when it tries to stabilise walking, ok it happens in very short clips, but it's distracting
- nice rhythm in cuts but there are several cuts which dont fit to the "beat" why?
- i love to zoom/pan transitions, but in your movie there are several cases where these transitions are "in hurry", which means faster than it should be so dont looks  that good.
- Ektar fits very well, nice job at colorgrading.
- it feels like after the first 2 minutes you were in hurry to finish the cut. The night shots don't show anything interesting, except the awesome flare in the last shot, but the flickering ruins the image.

You shoot some beautiful images, great job!

Would you please create a more universal version about the Ektar LUT?
It took me an hour to match my 5D Mark II Raw to my A6300 SLOG2. It would be awesome if you can make a "REC709" version. "Twisted" gives different result with SLOG2
Here is the result:

If you expose correctly you should not push to exposure slider 2,5 stops. With ETTR shooting 0 - +0,66 is enough

Okaj, we are getting closer, bit still not that good looking like what you have posted before:

https://drive.google.com/file/d/0B9d46mzo8guUTUc3eHdoUFd5aVU/view?usp=sharing

Im using 12.5, and it seems like changing Timeline color space do not alter the gamma. The rendered file is more flat, but still far away from LogC gamma.
In the Resolve FX library there is an option to convert the image between color gamuts and gammas. Could you please do a tutorial using that? (i tried it, but i got different result compared to yours)

Edit: at first sight, Andy's tip is working, testing...

My settings are exactly the same, but i still getting the contrasty REC709 look.

1., max write speed restricts the max continuous resolution, which means the 50D right now is able to record at 1584x892 at 25 fps (59MB/s). IF the 70D able to record in 10 bit ( im not sure) the max res will be the same.
2. it's not comperable to SLOG2, im currently trying to match my 5D Mark II with my A6300 in terms of colours, but the resolution and dynamic range is far superior on the A6300. And the colors are crap.
3. 70D h264 is the usual canon lowres compressed stuff. Buy an A6000 if you want to shoot good looking motion picture with compressed codec and AF

I think you should wait if the experts can port the new features to the 70D/7D, then try it. Until that buy 50D if you want highest quality raw for cheap.
Compared to the RX100 the colors will be mind blowing (if you process correctly) the resolution and the dynamic range will be lower.

Cheers! I hope you make it!

Is it possible to implement the lossless compression with older Digic 4 cameras?
With my calculations, the highest continuous resolution in crop mode might be 2736x1164 at 23,976 fps, with 2,1x crop ratio. That requires 128MB/s write speed and with the "usual" 58% compression is just about 74MB/s. That's around the max stable write speed with the 5D2 in crop mode.

Anything over 1600 ISO is just Digital pushed on the 5D2 which is noisy and really useable.
For raw video keep to Analog ISO (100,200,400,800,1600) on 5D2 , anything else is just digital pushed or pulled
In H264 multiplies of 160 ISO products cleaner images because of the compression & Picture Style where in raw video there is no compression or picture style applied .
It better to use shorter exposure time if you need to use high ISO's
1/48 -> 1/80 etc..... . 
My $0.02

On the 5D2 the ISO3200 is analog ISO
https://drive.google.com/drive/folders/0B9d46mzo8guUaUZ0WTZZWnRKYjA?usp=sharing here you can see examples with same aperture and shutter speed but with different ISO levels. ISO6400 and ISO3200 have the same brightness, but ISO1600 and ISO3200 are differ.

Sorry for the strong words, but you could have shoot this footage with a DJI Osmo Mobile and an iPhone 7. What was the benefit of shooting raw?

ISO160 was the holy grail before the raw recording era. Now stay with ISO100. (btw you cannot see difference between ISO100 and 160, only the truly amplified ISO's appearing in the raw files. For example  with my 5D2 there is no difference between ISO3200 and ISO6400, because ISO6400 (and 12800 and 25600) are pushed from the amplified ISO3200 in this camera)

If you expose properly you can have perfectly clean results. Turn on RAW Zebras (Luma 99%) and overexpose till you see zebra stripes on "important" areas then dial back 0,3 EV . Important means: everything on the scene that should not be burned out.
My experiance is when you use auto exposure just set the exposure compensation +1EV outdoors, and +2 EV indoors even if you have to raise the ISO value. Properly exposed ISO3200 will look cleaner then underexposed ISO800. (tested)
You can see an example here: https://vimeo.com/67892443

Probably a beginner thought, im not even at novice lvl in coding, but it's like a synchronisation slip/clock error happens when you chop 2/4 bits from the incoming stream while recording 10/12 bit with 50D/7D/5D2

I was curious about the requirement of the ProRes 4444, so i did some test with properly exposed 5D Raw. I post processed it in Davinci Resolve, BMDFILM, proper WB, Highlight recovery On, then exported it to Prores 4444 and ProRes LT. After that i graded it in FCPX, and even with the hardest push i was unable to see any difference between the two files.

Probably im not sensitive enough, because all of the professionals recommends higher bitrate ProRes codecs. Can you show me some footage or screengrabs where i can spot the difference? (of course from post processed 5D RAW, i can understand recording in compressed format with Blackmagic cameras for example there IS a difference)