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Great! For now... just tried dropping in the LUTs... couple questions

In the previous version, I put in Input LUT: BMD Film -> Cinelog 2.0, and then Output LUT: Cinelog 2.0 -> Log C

That worked pretty well... is Cinelog-C meant to be an improvement on that?

Not quite sure how to implement... I tried putting [INPUT] BMD Film 4K -> Cinelog-C as the Input LUT and the image does not look flat. Also not sure how one would then stack LUTs (assuming for example [GAMMA] is meant to go somewhere other than output...)

Yup, got it!

Download page is very odd brother... may I suggest:

1) Have only 1 download link for the package

2) Clarify whether the main package contains most up-to-date version or if user must replace with updates

I bought the Adobe version before... and now just bought the resolve version... still don't see any login to the LUT bank on the website?

When you format in-camera it keeps ML and only deletes media

When you want to update ML, you:

1) pop the card into the computer
2) delete everything except native Canon stuff (DCIM and MISC). In other words, you delete:  ML, autoexec.bin, and 7D_203.bin
3) Copy new nightly stuff onto card (ML, autoexec.bin, and 7D_203.bin). These sit on the root of the card, PARALLEL to DCIM and MISC- not inside either of those.

Actually, I'm not sure about 7D_203... maybe that's just necessary for creating first time booting? Not sure, I just copy it anyway because it doesn't seem to hurt anything and it's easier to just copy the whole thing then to actually have to think about what's what

Very cool, thanks for taking the time to discover this!

Just to fuel excitement, what sorts of features will probably be able to happen with the extra memory that weren't possible before? Just looking forward to the future, not pushing, totally appreciating what you've done so far and curious about what's in store

When recording raw on 7D, can you still use external monitor via hdmi? I mean without any negative impact on recording speed etc.

Thinking of buying an external monitor like http://www.coollcd.com/lilliput-668gl70nphy-7-on-camera-lcd-field-monitor-w-hdmi-component_p708.html

So I did a little test yesterday... and ran into a crazy issue. This really applies more to After Effects/Avid than Magic Lantern or Cinelog, but figured this is as good a place as any to ask.

Basically, I encountered the same issue as here: https://forums.adobe.com/message/5226868#5226868
(can also read a bit about similar issue at https://forums.adobe.com/message/5331691)

When I try to export DNxHD 4:4:4 @ Trillions of Colors from after effects on windows- I get corrupt video!

Exporting @ Millions of colors looks fine to my eye. And strangely enough, importing that back in describes it as Trillions of Colors.

What's the bottom line- is that "Fuzzy Barsik" guy right, that the correct settings when exporting DNxHD 4:4:4 from AE on windows is to leave it at Millions of Colors and it will actually be 10-bit (and not lose information in the process, other than going to a technically-lossy codec)? i.e. it will be similar to have gone to ProRes 4:4:4 on Mac?

Also- is 10 bit DNxHD 4:4:4 better than the best free Cineform version? (I think it's something like 12-bit 4:2:2?)

Thanks!

OK, haven't touched my cam in a while and gearing up for a small shoot. Last time around I basically did my correction in ACR and got the flicker. Would like to do it right this time. Is this workflow good (7D, Windows 8.1, Adobe software CC)?

1) Record in MLV

2) Use RAW2CDNG (is this better or no difference than RAW2DNG for Cinelog??)

3) Open sequence in After Effects. ACR will pop up

4) Use Cinelog profile, don't adjust anything other than white balance (what about noise/sharpening at this stage?)

5) Export sequence from After Effects as Cineform or DNxHD with trillions of colors (let's assume Cineform for now... though last time I checked they had problems with windows 8, hopefully that's fixed by now)

5.1) When exporting from AE, scale to 1920x1080 (instead of 1728x972)

6) Edit Cineform in Premiere, sync to sound.

7) Round Trip Premiere <-> SpeedGrade

Export from Premiere as Cineform for master or H264 for web

?

Both cards at a certain point broke down and shouted at me something like "corrupt slot"... though now I see the cards are full, maybe that's what happens at the end?

OK that is what happened- cards ran until end, which was surprising since I thought I only recorded a couple minutes, but there's lots more footage there.... I guess "Delete Video" in raw menu doesn't actually mean Delete Video?

Didn't see this in time and just went for it... didn't need audio so I turned that off

Both cards at a certain point broke down and shouted at me something like "corrupt slot"... though now I see the cards are full, maybe that's what happens at the end?

One has a BACKUP.RAW

Here's a quickly processed still, just for kicks:

Hey y'all,

Haven't checked back in a while, now I've got a shoot coming up...

Should I use MLV or still RAW mode? (for production- not necessarily most helpful error reporting, sorry!) Assume ~2 minute takes on komputerbay 64GB card.

I assume best is to use nightly from http://tl.bot-fly.com/ ?

In general- aside from easier file wrangling, what's the difference between MLV or RAW? Last I checked MLV was much slower, but that was a while ago... is it now maybe faster?

Got my machine back     and im ready for more testings!   

Since the tl.bot-fly.com it's down, if some one can make a build with the latest changes i would appreciated a lot. I think some changes in the MLV module are made... I thinks the dev's need more input/testing from the new changes.

Let's go 7D fanatics...

I have a virtual machine up at digitalocean that gets little traffic and doesn't use much disk space... I'd be happy to let it run an automated nightly build system if someone can supply a reliable cron script or however it's done. (my guess is it's something like 1) update git, 2) build, 3) export binaries with today's date- but I just can't put the time right now to experiment and better to be sure with the community's larger experience)

And a basic flowers test

I'm not sure if the strobbing is due to wrong shutter speed, framerate conversion somewhere or ml... will need to test that out some more

Quick worst-case scenario test frame grabs with and without VAF-7D. (1728x972). Residential window screen. Not exactly same focus, but works for a reference idea in case anyone's more curious about how the filter works:

@arrinkii - it totally works. I did a shoot the other day with a few 12/16GB takes (ended up recording 20+ min of material) using build from oct 31 or so.

I don't know if it was the most efficient, but my workflow was like this, for what it's worth:

(note: I prepared some of these commands by macos and find/replace in notepad++, then adding/removing R02 etc. as needed. But this can/should be scripted...)

1) create a folder for each base clipname and copy those files to their respective folders.

I forgot if they begin with MVI, but assuming... if we have like MVI-116.RAW, MVI-116.R00, etc. and also MVI-117.RAW, MVI-117.R00 then I'd have two folders: 116 and 117. I then copy all the MVI-116* to 116/ and all the MVI-117* to 117/ and so on

2) run a command for each folder like the following:

copy /b "C:\My Videos\DNG\116\MVI-116.RAW"+"C:\My Videos\DNG\116\MVI-116.R00"+"C:\My Videos\DNG\116\MVI-116.R01" "C:\My Videos\DNG\116\MVI-116-MERGED.RAW"
copy /b "C:\My Videos\DNG\117\MVI-117.RAW"+"C:\My Videos\DNG\117\MVI-117.R00"+"C:\My Videos\DNG\117\MVI-117.R01" "C:\My Videos\DNG\117\MVI-117-MERGED.RAW"

3) run raw2dng for each merged file in each folder, using same prefix

raw2dng MVI-116-MERGED.RAW 116
raw2dng MVI-117-MERGED.RAW 117

4) I deleted the RAW and R00 files here to save space.

5) now each folder (116, 117, etc.) contains exactly one dng sequence and no other files

6) open after effects and import sequences. I did this one at a time clicking on first file in each folder and import as sequence. Make sure project settings are to interpret sequences as 23.976 or whatever you shot at and that project settings are 32-bit

7) grade each DNG using  Adobe Camera Raw. Note- you don't need to do this in import. You can always right click on a file and change the ACR settings at any time... I think it's under something like "more info" or "interpret footage" or something. Anyway, it's two clicks away from the library.

bring each sequence into a comp, maybe do some additional grading with other plugins (Magic Bullet, Synthetic Aperture, etc.)

9) on filesystem- create new "GRADED PSD" folder with subfolders to match the dng: "116", "117", etc.

10) Export each comp as PSD sequence with Trillions of colors (I know PNG and TIFF are more open standards, but bottom line is I've found PSD to be the safest for not unexpectedly giving gamma shifts and things like that). This can be made easier by setting up an export preset in AE, then you just need to select it and the output path. This can be done via render queue and as a batch while you go do other things (it will take a while)

11) If it's a small project and you know you don't need the DNG anymore, delete those folders too now to save space (steps 1-8 can be easily/quickly recovered if you save the AE project and have the original RAW/R00 files off the card)

12) Bring PSD sequence into Premiere

13) Render

14) Edit

15) Export directly from Premiere as H.264

The above worked for me at least. There's a little bit of flicker again and I'm really not sure where that's coming from... but the truth is... it actually makes it feel a little more filmic to me, like it's being projected with a real analog projector or something It's a pleasant flicker to my eye, though I'd like to choose it...

I saw somewhere that it might be due to using ACR... which I really don't understand, why would exposure affect flickering? I'm much more comfortable using AE than Resolve so I really hope that's not it and it was some other mistake on my part...

Unfortunately I can't post the clip online since it was for a neighbor's family video and they only want it to stay for family viewing. But the look is so great, super rich colors and just and overall gorgeous tone. I screwed up a bit of the lighting and was able to recover some blown out highlights too

Hi!

I have tested the RAW recording function with my 7D with good success but today I recorded first time longer clips, like over 3 minutes. I'm unable to convert the bigger clips to DNG-files (I tried both RawMagic and Raw2dng). On the CFcard the longer clips also have one or two .R00 -files with the same file name. I have read these threads and remember someone mentioning a file size limit.. Could you please help me and tell if there is a way to convert those bigger files to Dng sequences. Thanks!

(I used the latest 8Nov built)

I think you first need to merge them into one file

On Windows it's like:

copy /b "C:\path to your files\clip1.raw"+"C:\path to your files\clip1.r00"+"C:\path to your files\clip1.r01"+"C:\path to your files\clip1.r02" "C:\path to your files\clip-final-merged.raw"

Not sure about Mac, but without testing my guess is something like this in terminal should work:

cat "/path to your files/clip1.raw" "/path to your files/clip1.r00" "/path to your files/clip1.r01" "/path to your files/clip1.r02" "/path to your files/clip-final-merged.raw"

Then you can run raw2dng: raw2dng clip-final-merged.raw clip-final

Thanks

Quick question- when not using FPS override we can assume frame rate is canon native? (i.e. 23.976 not exactly 24 when set to 24 in canon menu)

Good Sir...could you or any of the gentlemen direct me to the proper path to get the raw recording icon shown on your camera

thanks in advance

It just shows whenever I record in raw... is it recording raw for you but not showing the icon? Strange...

@Pelican - The only thing I can think of is it's scaling it somewhere. When I take a still photo in native cr2 raw mode and crop out the middle- it looks more like the native 1920x1080 minus aliasing, not the magnified view that shooting in crop mode gives us.

Thanks

What I don't get though is why the cropped-mode gives magnified images.

If I take the 1920x1080, for example, and crop out the center area, it doesn't magnify it- it's just a crop?

Probably yeah

For a neophyte like me who's just getting their feet wet with ML, it looks like a bug (like you said- covers things with perhaps very little benefit)... though I'm coming a bit more from wanting to understand what it means and why it's only displayed with certain settings. If it's useful for the devs, I'd say keep it, though it would be helpful to know what causes it. If it's not really so useful- I'd say it is getting in the way a bit and it'd be better to hide it somewhere else.

I'm still a tiny bit confused about how resolution and crop mode affect the image... is resolution simply determining how much of the sensor area to use and zoom mode becomes only a crop?

i.e. if we stay in the same resolution as regular but do a 5x "zoom" (read: "crop"), is it the same quality but simply a smaller field of view and no aliasing?

Also, does crop mode affect depth-of-field (assuming same distance from subject)?

Thanks!

Could be a couple things wrong. Tungsten 50hz sometimes creates flicker using 1/28 or 1/30 shutter helps the cycle from flickering but doesnt stop it, you can thank CMOS sensors for that. 2nd issue may be messing with the sliders on AE-ACR don't mess with anything on the first page but white balance. Maybe this will help.  FYI 24fps has tendency to create problems on 7D with skipping try using 30fps with fps override on low light.

Thanks. Why would exposure settings in AE-ACR affect that?

Is there a page somewhere that details a bit how fps override works, i.e. low light mode vs. exact? The info there says that it might adjust shutter speed... so that could be the ticket...

It doesn't actually work since the active YUV regs are on the master, haven't tried there since a bit of code has to go into raw_rec further balooning it. If you want hacked mode with the LV dead shoot 10x. Not sure if 10x + color raw preview (gd on) will keep corrupt frames away on 7D. on the 6D I can shoot 720P like this with full color preview, about 20% more laggy than display filter peaking.

Sorry, by hacks display I meant this display which is showing on my screen when preview is set to "ML Greyscale":