Etiquette, expectations, entitlement...
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It does for me (mlv on 7D).
The PFE luts are film gamma so will look a little dark. You can push up the shadows in a node before the PFE to rectify or add a Soft Curve lut.
BTW, you can use Alexa log-C luts from the ARRI Lut Generator too
Once you match the default ACR output gamma it really shows the color separation
I'm with Midphase on this. The BM pocket with speedbooster is probably the best bang-for-your buck option. Some pros are bemoaning the color and DR of the stock GH4 (Stu Maschwitz returned his for the Sony). It really needs the add on + a 4K recorder to get the best from it. I think Convergent Designs are doing something for the GH4 with their Odyssey 7Q but it costs quite a bit for that set-up.
The 50D is certainly the best option if funds are limited. Add a VAF (or shoot non-crop) and an anamorphic lens and you can get some terrific images with very nice color.
If you simply 'must' go 4K the Sony A7s looks better than the GH4. It has insane low-light abilities and it's full frame but costly.
As for selling the 60D and getting a 50D as a replacement? If you only want it for raw video then yes but remember the 50D has no audio inputs/mic etc. The 7D is (on paper) better than the 50D but really there is not much in it when it comes to raw video. If anything, I think the 50D image looks nicer (and I've shot/worked with a lot of 7D and 50D raw footage).
@MA VisualsFor both OSIRIS and Impulz, what they recommend depends on the camera. If its a DSLR h264, they recommend a non-log but slightly flat profile (usually their own visioncolor\visiontech picture profile) and the LOG versions for RED, ALEXA, BMCC, BMPCC, Magic Lantern RAW etc. They have recommended using VisionLOG in between to standardize the "log", which Ive had decent success with both with OSIRIS and Impulz. I use the MLRAW VisionLOG luts in the Impulz package and the LOG luts for OSIRIS.
The initial DNG/cDNG to Cinelog-C needs to be done in Resolve because it uses a special shaper lut (65x cube 3D + 12bit 1D) to convert from Linear RGB colorspace to Cinelog-C Wide gamut but the output and look luts should work fine in any .cube compatible NLE (we can convert to other lut formats if required). A lot depends on how Premier/AE sees levels (data or video) but we can do something to scale the output and look luts if there are levels issues in other apps. I'll add the recommended workspace settings for Premier/AE in the accompanying guide (I need to check what is best).
TBH I'm not sure if Lumetri can read hybrid shaper luts?. A 3D lut (even a big 65x65x65) doesn't have enough code values in the gamma part to accurately map every value needed for conversion to log so they can exhibit fine banding. If you debayer, white balance and transcode in Resolve first you should have no problems working with the footage in Premier. If you need to revert Cinelog-C back to linear RGB you'll need to go back to Resolve as that too is a shaper LUT (linear ouput should be .EXR or DPX to handle the dynamic range).
Re: Osiris - what source colorspace do VisionColor recommend for using Osiris? If it's VisionLog we would need to make something. If it's REC709/sRGB there is already a lut in the new pack that will do it (plus we can convert to other gamuts (if needed). I don't have either of their lut packs (yet - the Impulz filmscan pack looks promising) but we will work out the best solution if needed.
Just got the new Impulz LUTS from Visioncolor. Very excited about it but how do you apply them? These seem different from the OSIRIS ones. Which folder do you choose? Which LUTS must you use? I am confused.
I shoot RAW and use the VisionLOG in ACR and After Effects.
So what's going on at Vision Colour?
They making a new Colour grading program or new luts? Anyone got some inside knowledge?
http://vision-color.com/
It depends on the details. Can you make an enhancement request to bitbucket specifying exactly how you would like it to work - e.g. exactly what metadata tags you expect to be set to what kind of values in which kind of files - with examples if possible. That will help.no problem, will put in features request w details
Even better if you can tell me what ffmpeg command options should be used to achieve the right results.
Link: https://bitbucket.org/baldand/mlrawviewer/issues?status=new&status=open
@jbowdach the main difference normal versus maximized is i dont use the original values from canon ( example 5DIII: 2048-15000 from max 16384) but i spread them to the maximum values (0-65535 with 16bit). this is needed for premiere and gives no drawback on other apps. with 16bit we have no problem with shortening valuerange, because there isnt. in 12bit we're lowering the bitdepth and every bit we have we should use.
@glubber thanks, will change that
@jbowdach try to find a tool for us (maybe i code it). raw2cdng first reads the file, all blocks inside, and somewhere frame 5200 it does not take the real framenumber from the block, but a zero, some are doublets..
please use mlv_dump to write an indexfile (idx) and link to that file.
http://www.magiclantern.fm/forum/index.php?topic=7122.0Code: [Select]./mlv_dump -x in.mlvi want to see if the blocks inside the mlv's are ok.
regards chmee
@jbowdach
looked into the debug.. it crashes while/right after audiofile-creation. it converted 5146 Frames. does the converter show this amount of frames if you dragdrop it? open the taskmanager and look while converting on the resources (memory) of the process raw2cdng. does it come near 1.5GB?
@jbowdach
looked into the debug.. it crashes while/right after audiofile-creation. it converted 5146 Frames. does the converter show this amount of frames if you dragdrop it? open the taskmanager and look while converting on the resources (memory) of the process raw2cdng. does it come near 1.5GB?
When?+1 second this when??
h cinelog applied.Resolve is rendering it correctly, something is going wrong somewhere through all these conversions w Premiere to end up with that image. Look at any M31 processed footage, its a very aggressive orange-teal LUT and its meant to be. In the resolve version, you can see that in the sky and especially in the grass. The PPro version is far too natural, while m31 is a very stylized LUT (example: http://vimeo.com/67060701
[omit]Which app better resembles the real LUTs appearance? Cheers
