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This feature is triggered by a model-specific button (5D2: PicStyle, 5D3: Light, 100D: Menu etc - see the Help tab). The 650D/700D don't seem to have this feature enabled at all.

Light button  I gotta test this ASAP! I'll let you know.

I think ML overlay has mistakenly been "removed" from 'Play' a long time ago and was never fixed. I too thought I used to be able to use ML overlays when watching pictures taken on my 5d2 back in the day, but two 5d3's since and I dont think it ever worked for me on those.

There are not many new builds being released anymore or developers working on older models, you could check Danne's bleeding edge builds, not sure if he has one for 650D thiugh.

Do you know if Raw Zebras also worked when reviewing pictures or only the spot meter? Also was it the RAW spotmeter?

Pulsing lights, exposure change when blocking/revealing light... sounds exactly like the issue with ACR flickering. because ACR processes one frame at a time and performs background adjustments to each frame depending on the light/exposure in the scene, you get flicker.

Only way to avoid it is by sticking to .DCP's and only adjusting exposure and WB parameters (which are not affecting the flicker).

Not saying you are using ACR, but a1ex already confirmed cr2hdr works on a frame by frame basis, so most likely the culprit regarding the flicker.

Commenting on a more than 1 and half year old "case".

Would be nice if you could clarify if you did record in lower bit depth in this case.

You mix up HDR Recording and Dual ISO recording.

HDR Recording alternates between 100 and 1600 every other frame e.g. the flickering you are seeing. And needs to be merged/blended. Search the forum for post process of HDR.

Dual ISO records 100/1600 ISO simultaneously (every frame), but every other Pixel Row is 100,1600,100,1600 etc. And also has to be merged with Dual ISO Post Processing.

I run dng through Resolve, so I am "stuck" with resolve super scale which is really good and fast compared to others I've tried, but some parts of some scenes might get extreme staircase or digital burns in for instance window frames or lamps with a shade on, so I use Boris FX or Fusion to fix it, only the really bad ones. 9/10 a normal viewer doesn't see the aliasing or quirks like we do.

There are other way better algorithms, sorry i can not remember from the top of my head. but its 3rd party software or processes requiring transcoding back and forth. Personally I am satisfied with super scale, cause I can stay in resolve and make quick work of it.

The downside to Super Scale is that it scales the noise substantially, but you can make noise profiles in Neat Video from a base Super Scale noise sample and apply that profile to all footage and you have super clean and way more detailed image.

Super scale upscales 5d3 footage up to 2.5k with great enhancements, but upscaling to 3k, 4k or higher only intensifies all processes without gaining any more detail.

Neat Video on the other hand benefits extremely well from having the project in 4k or higher. Think of it has giving neat video 4 times more pixels per pixel to remove and replace with actual information. But 4 times more processor intensive ofc.

So i stick to 2.5k projects.

[some]

Loved it!

Technical note: some scenes were a bit too over exposed, didn't look like they were overexposed in camera, just the general exposure pushed too much. The grade matches across the film, but exposure is jumping a bit (in some scenes, match the scenes and mix the sound and you'll have a great film for the festivals, if that is your thing.

Also 5D3 raw upscales very nicely with the right algorithm.


Good luck.

I suspect you are using Digital Gain in ML to reach 3200?

Are you shooting RAW?

Fps override will always disable audio on h264 recording.

That Sigma FP almost had it, thought r5 had it. But looks like good internal raw stays with 5d3 for now

Thanks for pointing that out! I forgot to mention that some of my clips recorded with audio, and some without (unexpectedly). I am not sure how that affected the recording times. I did not alter any menu settings to turn off/on audio recording. I'll have to do more tests to understand what is causing this.

That sounds like --xref problem.

If you convert the same mlv's with Danne's windows batch converter and select the -skip xref option, to see if you get audio files out..

Perhaps MLV App has this function too? I don't use it so often.

Try a different MLV converter or be sure to select all MLV's and M00, M01 etc files aswell.

I use Adobe DNG converter to convert CR2 to DNG, so I can grade them in Resolve. I then further compress them with Slimraw. and I believe it compresses a further 15% or so.

The lossless compressed DNG's from SlimRaw greatly improve the performance in Resolve, especially Magic Lantern DNG's. Now that prices on SSD's are plummeting, it is not so much a problem anymore, but I used to have huge projects on External HDD and the bottleneck would be the USB Read Speeds, especially after filling more than 50% of an external HDD, the performance drop gets clear, but with Slimraw keeping the Data Rate around 50 MB/s, I have real-time playback in Resolve (with heavy grading) because the USB speed is not a bottleneck any more. (Until you are down to 20% space left).

I've been overly happy with the software, its very fast! it has saved me tons of space on HDD's, especially old projects from before Lossless compression was introduced in camera and I had a bunch of 80-100 MB/s MLV's/DNG's stored. So I went back to archived drives that were more or less filled to the brim and compressed with Slimraw, gaining on average 50% more capacity on those drives. I don't put more footage on those drives, Instead I consider them full at 50%. Leaving them at 50%, I know I have best performance from those HDD's, should I ever use some of the footage again.

Quick tip. When compressing, if you are leaving your computer or spare laptop overnight, set it to Defragment the External HDD after compression, it made a huge difference in keeping footage Real time in resolve and not getting random freezes.

Sorry for multiple posts I can't seem to edit.

Any idea why after affects is reading my files as 30fps and premier will read them at 45fps?

You could use the search function of the forum and find answers to everything you've asked in this thread.

But you have to Interpret the FPS in AE. AE will by default interpret any image sequence at 30 fps. For smooth slow mo playback, you should interpret the FPS to your desired Project settings.

EDIT: Also regarding ISO Range. When shooting RAW, the camera only uses the Analog ISO range e.g. 100, 200, 400, 800, 1600, 3200. Any ISO value selected between these values, will be rounded to its "parent" ISO e.g. iso 640 = 800, iso 1000 = 800. ISO 1250 = 1600.

Your biggest problem is using Premiere. The raw processing is really bad in that program.

Part of the confusion is that standard photography resources rarely (never?) consider only "exposing" a portion of the film!  They certainly don't consider exposing every third pixel, etc.  Fullframe sounds like "the whole sensor" to me, in the world of digital...  is there even a traditional photography term for not covering the whole sensor / film?  When you can select arbitrary portions of the sensor to record, and still have a focal length multiplier of 1.0x, what does it mean?

If you shoot with anamorphic glass, you can use the entire 3:2 / 4:3 sensor, what have you.

Personally, I feel that because the entire width of the sensor is always used, lets say from 5D3, 3:2 36x24 sensor. Be it 16:9 or 2:35.1, you have the entire width of the sensor giving that awesome space. It is not "Full" Frame, but its the entire width of it.

EDIT: regarding the anamorphic. Funny, you shoot Full Frame 3:2 sensor with a 1.5x Anamorphic only to squeze it down by 50% and plaster it on a 16:9 screen

A bit off topic but whats the reason the max width resolution is 3520px in cropmode and not higher?

Its 3584px, just for clarity

Resolution increment is 32 in magic lantern on most cameras.

I only put that setting in rawcalaulator to simulate 5D2 builds that allow 1872 and 1880 width.

+ 1880 width is not necessary, it has an 8 pixel black bar so you only get 1872 pixels anyway (maybe I'm wrong about exact numbers, but pretty sure there's a black bar)

Before Reddeer kills you,

I don't think there is a black bar in the 1880 Build. Its very old build, before unified.

What is the speed of the card?

What are your settings? Fps? Etc

3.5k Raw needs like 11 bit to be continues, i assume. Probably also have to disable all overlays.

The Magic Lantern terminology can be hard for a newcomer, but when you are trying to ask questions. It helps a lot if you use more familiar terminology. 1.0 x crop, do you mean a 1:1 ratio of the sensor? or entire sensor the full frame, width and height?

Crop mode as in pressing the loupe/magnifier, not "crop_rec4k" modes, you need fps override to "tame the beast" when you crop. Because in canon firmware, when you press loupe x5/x10, the liveview fps rate goes to "30p" regardless of your canon fps settings.

But as a rule of thump when shooting raw just use fps override all the time, except when shooting in some of the crop_rec modes. Like 50/60p 3x3 crop_rec freezes camera when using fps override, but 1920 1:1, 1920x1920 1:1 and 3.5k center can handle fps override. The others i dont use, so dont know.

Yes, full width and height 1920x1280 3x3 Pixel Binned.

With FPS override you get sound recording in RAW, if you have sound enabled in RAW options.

FPS override disables sound of h264 recording.

And if you use canon "24p" its 23.976 and crop mode will be recorded at 29.976.

And i easily have continues 14 bit 1920x1280. If you have problem with getting continues at 14 bit, you might need a faster card.

Its RAW sensor data, so its your color space of choice.

You can remove the black bars by disabling Global Draw, in the Overlay Tab. Alternatively under Display Tab, in the Clear Overlays option you have different ways of hiding the Overlays. Clear overlays is also one of the options removing your overlays when you hit Record. So here you're in a evil circle, but under RAW settings, set your aspect ratio to 1:1 1280x1280, you should only see the frame you record.

The Rectangle with the diagonal line can be disabled under Movie tab, Movie Tweaks and REC/STBY notify: Red Crossout, set to OFF.

Shameless bump.

The grayed out areas are quite distracting when framing.

Also Zebras don't follow the Desqueeze, but are displayed across the full 3:2 area of the screen. While Focus peaking seems to squeeze in, but focus peaking might be operating differently, is the peaking "peaking" the Liveview and not on sensor level?

If you import dng's in to Resolve, it all depends on your color management.

What your input is set to, what output you have. Log-c output can rarely handle a +2 exposure without introducing a lot of noise and clipping, bmdfilm has always been a very dark log. That is why I think its not a good idea to universally set the exposure to +2. But manually setting an exposure, sure, the more options the better.

For compressed output like h264, prores etc, I can see it can be a problem.

I personally adjust the exposure individually on all clips in resolve.