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Well done Richard! Will check it out in full later. I also make documentaries and have a forthcoming "slow cinema" style doc about an Irish hermit that I hope will do the rounds of some festivals this year. Shot it in ML, and I was able to do things in post that would have been impossible without the full tonal and colour information that RAW provides.

The best solution for log with Magic Lantern is Cinelog, which you can purchase and use in ACR.

There is also a way to get log transcodes from Resolve if you set up your colour management correctly, but I find the quality from ACR is slightly better and worth the incredibly long processing times.

Yes, this happened to me last night when I was shooting a performance  (5D3 1.1.3 10bit)

While shooting, pressing the physical ISO button brings up the ISO overlay. I use the shutter wheel to change ISO. But then the overlay stays on screen until the camera stops recording.

Good choice of music as well!

Well, why not test it and post the results?

If your interest is narrative I would try to get (for APSC) a matched set of primes of approximately these focal lengths:

17
35
85

That will cover a multitude of setups. The 17 is wideish without introducing geometric distortion. The 35 is your normal lens, and the 85 for close ups.

I'm got a lot of different lenses, zooms and primes. But for 90% of my commercial work  I use a Tamron 24-70 2.8 on a 5d MkIII. Combined with 3x crop rec, I get 24 to 210 without ever changing lens and is a great solution for corporate video or run & gun. It lives on my camera, and the fast primes, shift lenses, telephotos and anamorphics all stay in the drawer until they are occasionally needed.

I've found this lens to be far superior to Canon's 24-105 f4 (which isn't constant aperture unless it's wide open and has a T stop of around f5).

If I had a crop sensor camera, I'd consider a lens that would give me a similar range and has image stabilisation, for example the Tamron 17-50 f2.8 vc which will give me a similar FOV.

If you're doing methodical work where you have time to set up each shot carefully and the camera is already stabilised on a tripod or similar, you might prefer the superior image quality and narrower DOF offered by prime lenses. I think that staying within one range is helpful to maintain consistency. For example, I have a set of Olympus Zuiko primes that match beautifully.

Nice! Same workflow as me. What type of camera lut do you think suits Cinelog best? Arri?

Looks good. What do you do to the DNGs pre-LUT? Are you in Resolve?

@1.40 I thought she was going to push him in

Maybe try right clicking on the DNG sequence in the Project window and select Reload Footage.

The RAW histogram on 5D3 shows you how many stops on the LHS are noisy and it's a good idea to stay out of that area. At 6400 ISO, you'd better get all your important info in the top two thirds of the histogram, giving about 5.5 stops before things begin to get very noisy. In 3x crop mode noise gets increasingly worse in the shadows at the same ISO.

If you want to record raw video, put ML on SD card and buy fast CF cards to write to.

If you don't need raw video it doesn't matter which card you put ML on.

If I install ML on the CF card, will I be able to I simply put the next formatted SD card (without ML on it) when the previous one gets filled?

Yes

You are the man, a1ex! This is a great aid for getting precise rectilinear compositions at higher resolutions. Prior to this it was like trying to use a shift lens in the horizontally offset position. It's also a boon for those wishing to use anamorphics without one side being heavily vignetted.

Oops! Sorry - I meant the Tamron 24-70, which I'd recommend over the Canon 24-105 mk1 for full frame.

I have that same lens, Paul, and I think it's a perfect match for the 5d3, especially combined with the crop mode which gives you a 24-210 reach in a single lens.

I'm going to sell my 24-105, which is a PITA due to its low transmission and variable aperture at anything other than f4 (which is more like f5 point something).

You would definitely benefit from some stabilisation during shooting, by either using an image stabilised lens or, if you don't have one, this:

https://www.bhphotovideo.com/c/product/887720-REG/Kinotehnik_lcdvf3c_LCDVF_Viewfinder_for_Canon.html

Camera shake is the biggest issue with the video above.

+1 for Cinelog over Visionlog. I know one is free and the other is paid, but Cinelog is worth it - it retains everything the sensor captured, and Visionlog doesn't, IIRC.

FWIW I prefer and still work with Cinelog v3.0 rather than Cinelog C. I like how the tonal range is spread wider. In stress tests of extreme manipulation it held up better than Cinelog C, and is easier to edit because it's not extremely low contrast. However, I understand Andy600's efforts to match the look of ACR and Resolve output, which is what Cinelog C achieves.

An absolute dream come true would be to have a one click on/off button for crop mode. I don't know if this is possible but it would save valuable seconds going in and out of ML menu.

You're confused because there are 2 different crop modes that look different, are accessed differently and give different results.

Old news is the crop mode you're talking about (grey, pixellated, jerky preview, off-center framing BUT higher res is possible ). The preview is shitty but the footage is perfect, if you can overcome the challenges of focus and framing in real time when your preview is pixellated and jerky. To shoot in this mode go into 5x magnify, set FPS Override to desired amount and press record.

New news is the link above in DeafEyeJedi's post (full colour, sharp, smooth preview, centered framing BUT max res is 1920x1080.) Now this is much easier to shoot with because WYSIWYG, but there is no resolution advantage. It's just like shooting with a longer equivalent focal length on a crop sensor. To shoot in this mode load the crop.rec module and select crop mode from ML menu.

Are you using Resolve? I always raise the exposure by 2 stops in the RAW tab there. Something to do with how it interprets ML DNGs. In ACR, however, you will see the same exposure you saw while shooting.

All the info is there, don't worry, if you exposed correctly while shooting (use the RAW histogram)

Yes, your 24-105 will have its focal length tripled. However, deoth of field will be increased and shadow noise will be greater compared to the equivalent focal length using a telephoto in non-crop mode.

Note that the 24-105 is relatively slow at f4 and is, apparently, not a constant aperture at any aperture other than f4. If you set it to f5.6, for example, the image darkens as you zoom in. For those reasons I prefer the tamron 24-70 2.8, which is a bright and sharp lens that offers 24-210 using crop mode

Thanks A1ex for the updated mlv_dump which totally sorts out the vertical banding I was seeing in 5d3 crop mode using Apr 03 build. However, I have some DNG sequences that I'd like to correct, but I don't have the MLVs anymore. Is there anything I can do to the DNGs now in order to fix banding? An example is here:

DNG file extracted with MLVFS

https://www.dropbox.com/s/xc2xgi9vo2365xl/M02-0916_000000.dng?dl=0

This is what it looks like with aggressive colour correction (and I do actually want to push it this far for the short doc I'm working on) - screenshot is cropped from the full 1920x1080 and at 100%

Hi AWPStar, in another thread I was asking about dark frame subtraction:

http://magiclantern.fm/forum/index.php?topic=13152.msg171293#msg171293

However, although I can use MLVProducer to generate the fixed noise pattern, and although it looks correct in the preview window, when I export to DNG the results are not consistent with what I see in the preview window. In the example DNGs you uploaded in the linked post, I took them in to ACR and applied +5 exposure to see what's happening in the shadows and in fact the FPN reduced version just seems to have a slightly different exposure and hue.


FPN


no_FPN

(These are JPEGs from ACR)

Thanks AWP Star, I'll continue the discussion in the thread for MLV Producer