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It does for me (mlv on 7D).

would you mind sharing you post workflow, as Ive tried everyone I can think of using a 7D and I still cant retain sync. Resolve always has either a blank track or is late w audio. Many thanks

Im having sync issues when I autosync in Resolve. Theres a consistent gap at the beginning of the audio. Anyone else having this issue or other audio sync issues?

anyone else having issues syncing the audio in resolve (DNGs with naming enabled, nothing fancy)? Im seeing a huge gap before the audio starts in most cases when I auto sync and the audio appears to be longer then the video, but just slightly. any ideas?

Processing a ton of MLV footage shot on a 7D when I was in Alaska, and just getting around to processing it

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

How would you describe the soft curve LUTs ? it it a simple soft contrast curve for when u want a light contrast curve but not the typical rec709 normalization? or does it have something to do with soft curving in a specific area, like highlights?

Once you match the default ACR output gamma it really shows the color separation

Is her shirt a lil green in the resolve version?I do like the color seperation but seems like some excessive green in her face and shirt, or am I just tired. Looking forward to your comparison between visionlog and cinelog. Similar but VERY different at the same time, but hard to explain to someone who doesnt understand log images and manipulation. Loving the new C version, thx for being such a responsive dev

hey chmee,

here are a few logs from attempting to decode MLV files from my latest vacation clips. These are all shot on a 7D. Tried numerous times, and it seems some of these files just dont want to decode, they just crash the application. Only several files out of almost a TB of video tho, so not horrible. Just wish I knew what was causing these crashes. Please let me know if I can provide any further info about any specific file.

Smaller log1 error:https://www.dropbox.com/s/3szc3mruyhop361/raw2cdng.2.debug_crash630_alaska.log
Log 2 error log: https://www.dropbox.com/s/pschwkg4derpi1e/raw2cdng.2.debug_crash2_630alaska.log
Log 3 Errors: https://www.dropbox.com/s/ts3z31ejyunnn8q/raw2cdng.2.debug_crash3_630alaska.log
BIG log file: https://www.dropbox.com/s/houu1koi7ff3yw1/raw2cdng.2.debug.log

Has anyone tested how the log converted prores files react when converted to VISIONLOG\ Cinelog? Im curious if we are still able to use that workflow for grading if we convert toREC709 or LOG Prores in the viewer (as that would save LOTs of space), then convert to standardize VISIONlog, and hand grade or add OSIRIS\Impulz LUTs as desired?

Anyone had success with that?

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).

I know this is an enitrely different subject, but can anyone recommend cheap anamorphic lenses? Are people having good luck using the Letus35 or SLRmagic adapter?

Do we actually know why there is tearing \ pink frames occasionally when using an HDMI monitor attached? Sorry if this has already been discussed, trying to catch up\follow along the development.

@MA Visuals

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.

For 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.

A neat trick i found if an Osiris LOG LUT was too intense and backing opacity down wasnt helping was to try the rec709 lut. I know, completely not how its supposed to be used, but it creatively suited the purpose.

Long story short: Yes,  i believe OSIRIS is optimized for VISIONLog but i know plenty of people who use it on RED footage without issue. THat being said, RED footage doesnt have the strangeness that ML RAW set to BMD Film does, so we may need a intermediate conversion like VisionLOG or CineLOG to standardize

THis looks like a fantastic diagnostic tool to help resolve issues w problematic MLV files. THanks so much! Looking forward to the next version of raw2cdng.
Please let us know how we can use it to either fix files, and\or use it to provide you with useful diagnostic information

when will this see an update? I purchased this assuming there was going to be continued development and an upcoming LUT bank as of April. Its now end of June. Lil much when you've convinced many to pay for some thing many have given away for free with VisionLOG and others. Just wondering what everyone else is thinking.

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.

There is a visionlog folder of LUTs in the package (at least in ultimate) that should work fine if you have converted to VisionLOG. They are quite different compared to OSIRIS, which are def more "look" based, while Impulz is more based on emulating various 35mm prints stocks. There is also a generic LOG folder that should work although I would expect the VisionLOG based LUTs to work more accurately then the generics.

[believe]

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/

Nope, just waiting patiently like you. There are quite a few LUTs in the new package and its mainly created to emulate analog film stocks (16mm if im not mistaken, but could be 35 stock as well. Steven will need to clarify). Seems like quite the package, as it should allow us to fully emulate a film development workflow in the DI (digital intermediate) phase of a production. Prices range as they'll have 3 levels: each offering more than the previous. I believe the pricing ranges from $30ish for the basic, to around $60 (similar to OSIRIS) for the medium pack, and around ~$120 for the pro pack. Im definitely VERY excited for these, as Im working on a project that could benefit from a classic 16mm look.

I believe they mentioned SOME type of discount for either owners of OSIRIS and\or for the first few weeks.

These are ALL estimates taken from the visioncolor FB page, I have no way to verify these in any way.

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.

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

no problem, will put in features request w details

The new GPU features are awesome!!! Def will be trying that on any line shots I have,

my apologies if this was asked,  but is ther any way to add the filename of the MLV as a reel\tape name metadata to the Proxies? That would make the round tripping process significantly easier, and I wouldn't need to make my proxies in Resolve (as it adds that metadata, which really helps ensure the return part of the round trip is easy). Is this something that can be implemented easily?

@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

Makes sense  thanks for the explanation. Seems to save approx 20% space compared to 16 bit conversions based on my tests last night. Will know of sync worked when the  get home and can check the render output.

Does premiere not accept 12 bit non maximized cdngs sequences? Haven't played w native cdngs in premiere pro yet

Will 12 bit regular return? What's the major difference between maximized that requires the huge increase in processing involved to create them?

. never could find that file you mentioned but ill see if i have any future crashes or issues

Thanks as always! Giving your suggestions regarding filenames using f(_) a try for audio sync in Resolve, as I'm having some issues auto syncing.

@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=7122.0

Code Select Expand

./mlv_dump -x in.mlv
i want to see if the blocks inside the mlv's are ok.

regards chmee

Does it mention which filename?

@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?

Doesnt appear to be coming near, its hovering at 40-100MBs. It just crashed with mem usage around 73 MBs. Newest log uploaded to bitbucket. Heading to sleep for the night, but let me know anything else you need and Ill get it for you tomorrow. THanks for the beta5, def making progress! Ur hard work is much appreciated 

@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?

Let me try another conversion and see.

@chmee tested out beta5 and def much improved. Still eventually ran into a crash, but got much further along. Posted as a new issue ( https://bitbucket.org/chmee/raw2cdng/issue/16/crashes-when-converting-to-16bit-cdng-from) on bitbucket for your review when you have a chance. Ive been using the same files for testing so I will shoot some fresh test footage to future testing to eliminate that as an issue

EDIT: 2 crashes. but eventually success!!

When? 

+1 second this when??

h cinelog applied.

https://www.youtube.com/watch?v=l3WALw31e4I&feature=youtu.be

[omit]Which app better resembles the real LUTs appearance? Cheers

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

many thanks, will test and report back