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Messages - BrotherD

#26
Data, are you saying that 960x540 is "better" than 1288x388 for anamorphic shooting with the T2i? If it is not too much to ask, how do you calculate pixels? Thanks.

Derrick
#27
Quote from: David J. Fulde on August 18, 2013, 07:28:49 AM
Hey, so looking at the google Doc and my own tests I learned something:
By setting the resolution to 720P 60FPS, and using the FPS Override to 23.976 we can shoot at a whopping 1280X388 (2.35:1) on the 550D instead of the 'official' 960X540
holy. shit.

It seems that you need to 'warm up' the card a bit to do this, but I will do some more tests and get some sample footage out for you all by monday(ish) MAYBE tomorrow.

David, this sounds interesting! How would 1280x388 change, as far as resizing in post, if I use my 1.33 anamorphic lens (Panasonic LA 7200)? 
#28
Glubber, can you upload those videos and what specifics do you like about that nightly build from 7-15-2013?
#29
Raw Video / Re: Working space in After Effects
August 19, 2013, 09:25:04 PM
y3llow I use DL Watson's Flatz 2.3 preset. I know some like to learn everything they can about everything by reading and testing everything. Not I. I tend to learn from others with more experience. You have added to our workflows which saves time and we can work with a little more confidence.

Thanks!

Derrick
#30
Raw Video / Re: Working space in After Effects
August 19, 2013, 06:39:38 PM
Y3llow just to be clear, my T2i raw workflow is ACR (AE) 32bpc, render DN x HD 444 10bit for CC and render in Resolve. Which color space "should" I or would you use? 

Thanks,

Derrick
#31
I am still need help opening a 288mb "This ain't a lv_rec Raw file." Raw2dng or Eyeframe could not open it. The file was on a 8gb sd card that only had three raw files, none larger than 488mb's on it? I tried to follow the instructions by copying and saving the "numbers" twice to the file using the HxD program? Somebody help!

Derrick
#32
This really does help, and I can't wait to see your music videos and the short film shot on the 550D RAW. Really eager to see.

Derrick, can't wait to see what you've shot. The question is, does a workflow lose quality? I used Ginger HDR on some stuff I shot recently and honestly I am having a little bit of a tough time seeing the difference. Which made me a bit disappointed. But I'm thinking maybe that's because of GingerHDR importing directly into Premiere? I'll post the video unlisted shortly so you can see.

Thanks!


[/quote]http://youtu.be/a5TtDB6-h30

Jack I did add some color and contrast to the video but no sharpness. I did have more blue and details in the sky in another clip in Resolve but the anamorphic framing was not right so I started over in AE.I should have used a closeup of him on the bench, because he's a little soft. We have two more scenes to shoot before this movie is in the can. The DN x HD file from AE is 5gb. This Quicktime file is 745mb.

http://www.youtube.com/watch?v=a5TtDB6-h30&feature=youtu.be

I could not add the audio track because I did not get from the director and he's out of town until this weekend. I don't think I have seen one raw video and heard its ambiance soundtrack? I will start using the waveform and vectorscopes in Resolve from now on.

We shot the final scenes of another short film a month ago in H.264. Why? Because we shot the other scenes a year ago and I was really new to raw so, looking back, I think I played it safe. Ha ha ha.. I should have that footage this weekend. I'll upload a scene to show the difference between H.264 and raw.

Ginger HDR is awesome because you can drop raw files straight into AE/PP and you save hard drive space by not needing dng's or tiffs. If you can't "see the difference" with how it handle the colors try AE or Resolve for that part of the workflow. I have not used it yet but can say Ginger is worth the price because the two things mentioned above. Unless there is a free program that does what it do...
 
  More time is needed using the raw workflow but the results are well worth it.

#33
Yea! Get well DL.

Derrick
#34
 DL I have to thank you again for the workflow, the presets and the Avid codec pack. I deleted Quicktime 7.1, rebooted then installed QT 6.9 then installed Avid codec pack 2.8 then rebooted. Now the Avid codecs are installed.

Now I can start in AE (ACR), apply Flatz preset 2.2, Dynamic Link with Premiere, then render DN x HD 444 1080p 10bit files for CC and render in Resolve.

Two month of learning on this forum has been priceless!

Derrick



#35
Quote from: truemoscow on August 13, 2013, 09:09:32 AM
My small video. 550D 1200x400 25fps daylight upscaled to 1080p. Sandisc pro Extreme 95mbit, MK11174 June 26.


Very nice! Did you shoot 5x crop, which lens, how many frames captured per clip? Thanks for sharing.

Welcome to the forum!

Derrick
#36
DL did you not add sharpness in Resolve and/or do you simply prefer the flatter look?
#37
Quote from: Shield on May 27, 2013, 04:11:09 AM
If you are recording and run out of space on the card, when you try to extract the dng files you'll get the following error:

Error: This ain't a lv_rec RAW file

You need to replace the file footer information to get this back.

Here's what I did, and I'm sure there are easier ways, but this is free.

Step 1:
Download the freeware Hex editor from here:
http://mh-nexus.de/en/downloads.php?product=HxD

Step 2: Open the .raw file in the hex editor.  Scroll all the way to the bottom.

You have 2 choices at this point:

Option 1 - Record another file with the same settings on the card, and retrieve the footer information in the hex editor.  It should be the last 12 lines of the file.  The downside to doing it this way is it'll only extract the same number of DNG files that the secondary file has listed; i.e. if your 2nd file is 200 megs or so, if you copy that file's footer information to the (assuming) larger troubled file, you'll only be able to pull out the first 50 or so dng files.

So I suggest you do #2:

Option 2 - Copy and paste this into your file footer:

52 41 57 4D 80 07 38 04 00 5F 37 00 F4 21 00 00 01 00 00 00 A8 5D 00 00 18 02 98 19 18 02 98 19 01 00 00 00 00 20 15 0B 26 05 00 00 20 08 00 00 38 0E 00 00 50 34 49 00 0E 00 00 00 0C 08 00 00 98 3A 00 00 00 00 00 00 00 00 00 00 88 07 00 00 08 05 00 00 1E 00 00 00 92 00 00 00 26 05 00 00 1A 08 00 00 00 00 00 00 00 00 00 00 00 01 01 02 01 00 00 00 42 1A 00 00 10 27 00 00 85 FD FF FF 10 27 00 00 3D FC FF FF 10 27 00 00 41 EF FF FF 10 27 00 00 AC 30 00 00 10 27 00 00 EC 07 00 00 10 27 00 00 74 FC FF FF 10 27 00 00 72 08 00 00 10 27 00 00 24 16 00 00 10 27 00 00 82 03 00 00

Save the file, and start unpacking your dng's!

This will work for file sizes up to 32gb.
**Of note - say your "bad" file was smaller than 32GB - let's say it was 11GB - by using this footer it will try to unpack 8692 DNG files.  Since I'm not smart enough to read hex, I just estimate where the good dng files should be and delete everything after it.

Here's a screen shot of the pasted in footer:



Shield I hope you or someone can help me out. Today is the first time I have seen the "This ain't a lv_rec Raw file" problem so I need  help fixing this raw file.

My problems are: Copying the number there are two options: paste write and paste insert? One way, or maybe both, I did it twice,  pasted in the right column with the symbols. In your screen shot the symbols are at the right of the numbers you copied?  I was hoping but not surprised that method did not work.  Now it is time to seek help. This was an 8gb card and the file is 281mbs. Is there a way to avoid this from happening again?

Derrick   

#38
Quote from: D.L. Watson on August 11, 2013, 07:03:20 PM
Tiff sequences might be a little large. Definitely use DNxHD 10bit. DNxHD does not come with Adobe After Effects, it's a free Avid Codec.

Download codecs for Mac here: http://resources.avid.com/SupportFiles/attach/Mac_AvidCodecsLE_2.1.zip
Download codecs for PC here: http://resources.avid.com/SupportFiles/attach/PC_AvidCodecsLE_2.1.zip

To use it, in AE render settings, choose Quicktime and click on Format Options, choose DNxHD, click on Codec Settings and choose 1080p 444 10Bit.

DNxHD is a fantastic codec - but it only allows up to 1080p recording. Nothing higher in resolution unfortunately.

Cineform is just as good with more options. Just make sure you use the 4.2.2. Full HD option (and if you have the premium version, use the 4.4.4. option).

Now remember, when you are finished grading, you can render a version for the web using the H.624 to make uploading quicker, but you should always keep your final DNxHD, Cineform, or ProRes renders for archivals.

Yep. Tiffs are big. The "20 Bucks" Raw files were converted into Tiffs, 180gb and DNG's, 56gb. To save space I deleted the Tiffs and saved the original Raw files and the DNG files, 112gb total. Cool! I got the Avid codecs installed so rendering DN x HD is the way to go. DL this is so cool. Thanks!

Derrick


#39
DL, thanks again! I just updated 2.1 to AE. The second preset, 2.0 was very good! Resolve took to it perfectly. I currently do not have Prores HD. The DN x HD codecs are 8 and 10 bit? Cineform has one codec that I was not sure about so I rendered 16 bit Tiffs.

Whew! I finally got a workflow! Would you use this workflow for H.264 footage? Thank!


Derrick
#40
Raw Video / Re: Flatz ACR Preset - Magic Lantern RAW
August 10, 2013, 06:21:32 AM
I should know Resolve a lot better by the time the short movie is ready to be screen. This is scene 1 take 1. This was filmed 960 x 540, 16 x 9, 23.97, with an Panasonic LA 7200 anamorphic adapter and a vintage Cosina MC 28mm 2.8 lens at 5.6 with a set of Tiffen ND filters. The adapter works best with the taking lens at 5.6. So when the light changes you have to change filters.

The aspect ratio says 2:37 in AE but it don't look anamorphic here on youtube. However the tree in view verifies the image is no longer squeezed. The final image render is 1280 x 540. I'll try rendering 1920 x 1080.

http://youtu.be/-71hYS7vMBo

DL thanks for everything! How do you bring the videos into this post area?

Thanks Magic Lantern team!

Derrick
#41
Raw Video / Re: Flatz ACR Preset - Magic Lantern RAW
August 09, 2013, 07:20:22 AM
Great workflow video. I'll try it on some footage this weekend. Keep up the good work DL!

Faith hope and love,
Derrick
#42
Quote from: jackdelamare on August 01, 2013, 03:42:42 PM
So basically a 550D's max MB/s is around 20? So it can't be pushed higher than those resolutions, unless you go for a lower fps? And glad you liked my music video, thanks!
Thank you so much for your kind comments! You think I should shoot my music video using my 550D in RAW? Or stick to what I know won't cause problems (ie: normal h.264 shooting)? It's difficult. I think I need to get more used to shooting RAW. I went out yesterday and filmed some stuff in RAW and I'm using GingerHDR now to edit it through Premiere. Is this the best method? The workflows I've seen are what I'm dreading the most... GingerHDR seems to have given us the simplest way to edit RAW.

Jack I was thinking about you today after shooting 90% of a short film. The director agreed to shoot it in raw and with the Panasonic LA 7200 anamorphic adapter, using a vintage Cosina 28mm lens. The lens and adapter worked so well together! I've been telling Alex that  I am not a fan of blown out highlights that are in most movies today? Two of my challenges were focus and capturing details in all the shots.  Every scene was shot outside today, most with ND filters because the LA 7200 works best when the taking lens is at 5.6.

We filled four 8gb cards, one 16gb card and half of another 16gb card. The biggest problem was with the only Kingston card. The 8gb class 10 card could only record between 235 - 400 frames per take before stopping. The three Scandisk 8gb cards recorded continuously even thought two of them are old class 6 cards bought in 2010 when I purchased the T2i. I think the Kingston card writes at only around 15mb per second. My year old Micro Center 16gb card recorded at most 400 frames per take but the new Micro Center 16gb card Alex purchased yesterday recorded around 1200 frames per take? I'm saying all this to say, most class 10 cards write too slow to record raw continuously at 960 x 540. Make sure your cards write faster than 21mb per second!

Even with the cards slowing down production I am looking forward to finishing the film in raw. I will post some footage by this weekend.

Happy shooting,
Derrick
#43
Quote from: D.L. Watson on August 06, 2013, 08:56:33 AM
Thanks!

I do not convert to CinemaDNG because Resolve doesn't seem to use all the information available.

Here is my two different workflows. Ill be doing a workflow tutorial soon.

1# Without using the Flatz Preset

1. Export RAW to DNG frames
2. Import DNG frames to AE
3. Export HD H.264 Proxies
4. Edit in Premiere
5. Copy edit, Paste in Adobe After Effects
6. Replace HD Proxies with DNG frames, Color Correct in ACR
7. Render in DNxHD. Add back into Premiere for sound and final render.

#2 Using the Flatz Preset

1. Export RAW to DNG frames
2. Import DNG frames to AE, apply Flatz Preset (adjust white balance/tone as necessary)
3. Export 4.4.4. DNxHD files
4. Edit in Premiere & Render
5. Color Correct in Resolve & Render.

Hope that helps. Ill be posting my workflow video by Wednesday at the latest.

Thank DL!

I like the second workflow, starting in ACR and finishing in Resolve. Why do you export as DNxHD instead of DNG? Is exporting as DNxHD in AE as slow as rendering in AE? Rendering in both Premiere and AE is too slow for me. Rendering in Resolve is fast.

If you are covering those concerns in the video disregard this. I am looking forward to the video.
#44
Quote from: D.L. Watson on August 04, 2013, 07:18:52 AM
Hey folks! I just wanted to share a free Adobe Camera RAW preset that I believe will be very useful for others as it has been for me in post processing.



This plugin will take your footage and flatten your image so you can render into Pro-Res, DNxHD, or Cineform and color-grade in whatever program you wish.

Give it a try and let me know what you think!

Download and read more information here: http://www.dlwatson.net/flatz-preset.html

*footage shown in video is from a Canon 50D.

I like your work DL. I am trying to figure out your post raw workflow. Do your roundtrip begin with Resolve? If so, do you use BMD? I think not because you use your own flatz preset in ACR. If your roundtrip begins in After Effect I want to know why because I am new to CS6. ACR is awesome! However Resolve has become my "favorite" program. Maybe I should have just ask you at what point of post production do you use your preset?
#45
Quote from: dlrpgmsvc on August 02, 2013, 08:34:59 AM
Anamorphic means no-morphic, so not keeping the original shape. Only one dimension is squeezed, normally horizontal one. So height is not at all affected. This is the beauty and the main characteristic of anamorphic lens.

Wow! Thanks Pooli and dlrpgmsvc for clearing this up. Now I can properly introduce the LA 7200 to Magic Lantern!

God Bless,
Derrick
#46
Quote from: pooli on August 02, 2013, 12:47:42 AM
   
If you anamorphic factor of 1,33х you can get a 2.35:1 video . For example, if you have a height of 960, then it turns out to 2.35 x 960 = 2256 your frame width. I hope I understand you correctly.

Yes and thanks! I now understand the width part. Is the height calculated the same way? If the answer is yes the 960 x 540 unsqueezed image will be 2256 x 1269? If the answer is no please explain the height part. And lastly how do you crop it down to a 1920 or 1280 width? Pooli I really appreciate your help.

Best wishes,
Derrick

#47
Quote from: pooli on August 01, 2013, 02:59:58 PM
Hi guys. My test
I used MEOPTA ANAGON 2X Projection Anamorphic attachment with lens helios 44m on my canon550d
SD card
resolution - 960x540
aspect ratio 16:9
24 fps

1920x540 (3,55:1) on post






Pooli you seem to understand anamorphic ratios. Help me out. I am shooting with the T2I 960x540 and 16x9 with a Panasonic LA 7200, that has a 1.33 squeeze factor. If I want the image width to be 1280 or 1920 what size should the height be with the 1.33 squeeze? I'm using CS6 and Resolve. How do I unsqueeze the image in those programs?

In your footage the vertical number 540 did not change but the width did? Maybe, I think I might have something, the squeeze is width only? Then, how do you calculate 3.55:1 x 960 to get 1920? How would I calculate 1.33 x 960 to get 1280 or 1920? I hope my questions are clear.

All is well,
Derrick   
#48
Jack my answer is yes, absolutely! Hey, now, if you have a 5dm3 or 50d, I would say use them first. You probably have already jumped out your editing chair seeing the details of that raw footage from your t2i. You will not get that clarity shooting H.264.

I am not expecting ML to make any more improvements to our camera. Right now I am more than satisfied. I have two music videos, a short film and some sound bites scheduled the next two weeks. Every one of them will be shot raw with theT2i. Reading viewers comments as they watch raw videos shot with the T2i at 960x540 I can "see' them scratching their head. People can not believe what they are seeing at that resolution. Magic Lantern Rah Rah, Rah Rah Rah!

Some weird things are happening. I have seen 50+ raw videos and I do not recall hearing natural sounds on one of them. I am "guilty" of this also. I posted two videos without audio and have three more without audio to post. Ha ha ha that's funny! Ambient sound is so needed! And I have two H4N's? No excuse. Some of the music added to the videos is so bad you have to turn it off to enjoy the raw footage.  The other "thing" ML raw is doing to us is turning us into architecture and landscape photographers. People are excited about shooting in their backyards or at their gutters. Where are the humans subjects? There is nothing like details of faces. Ha ha ha... What's good is we see more focus on good composition. That is how excited we are about ML raw!

My workflow today is Eyeframe to Resolve. That's it. Drop raw files in Eyeframe, set location. In location folder there are dng's and tiffs. Eyeframe then ask you if you want proxies. Import dng's into Resolve. However Resolve introduces pink dots that need removing. This tutorial on pink dot removal is really good! http://www.magiclantern.fm/forum/index.php?topic=6845.0 Adjusting sharpness and blur are very important. I think its sharpness in the top node down to around 6 and blur all the way up in the bottom node.

  My workflow a month ago was raw to raw2dng-After Effects-Adobe Camera Raw for balancing images and color correction. Then render or dynamic link to Premiere. No pink dots to deal with in ACR but ACR default settings add tint and sharpness to the images. I would set sharpness and tint to zero in ACR before image balancing and color grading. Premiere and After Effects are very powerful but as of today the two problems I have are: I have only been using them a month and the rendering times are so slow. A two minute video take 30-40 minute. Same video takes five minutes in Resolve.

As of tomorrow my workflow will be Resolve round trip with CS6. (render in Resolve) This seven minute video explains the process:http://www.blackmagicuser.net/topic/127-resolve-to-premiere-cs6-adjusting-proxy-settings-for-workflow/

Jack, I hope this helps.
Derrick
#49
Hi to all the Magic Lantern staff, members and readers. I haven't been this excited since my son was born!

Hey jackdelamare, The first thing I would like to say to you is I loved your video. You are an true artist indeed and your last comment inspired me to come hang out with the big dogs!I think, at the moment, Magic Lantern Raw, the t2i and music videos are a really good match. Shoot your video with the t2i because from watching "Twelve Ton Trouble" you will definitely hit a home run!

So far the best recording mode I found for continuous recording is 960x540, 23.97 16x9 or 2:35. I choose 23.97 because some of the members video use these settings and the videos look very good without having to use Twixtor.

Two weeks ago I was rendering two minute videos 1280x720 through Premiere or After Effects. They took on average 30-45 minutes per video to render? I am kind of new to both programs, transitioning from Sony Vegas. Two day ago I learned Resolve pink dot removal technique and decided to re-edited three of those videos and rendered them 1920x1080. They did not need titles or credits The rendering time was around five minutes per video. My workflow today is Eyeframe to Resolve. The plan for an upcoming short is to roundtrip with Resolve and CS6

The area I really need help with is the 'best" camera settings (aspect ratio) shooting 960x540 and editing (resizing) footage shot with the Panasonic LA 7200 anamorphic adapter (2;35). So far the best lens I have used that do not need a 0.5 diopter is a 28mm.

I want to thank the Magic Lantern team for providing these awesome updates! If any of you, one or two, not the whole team, come to St. Louis, lunch is on me!