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Messages - wangtrirat

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Yes for a quite unscientific test the 5D3 holds up quite well. Would you do the same test comparing rolling shutter the Alexa is miles ahead. Since there is so much more than just color science.. Highlight roll off (not DR), roll off on the 5d3 is quite horrible. A7S is much better at this, Alexa of course much better..

But instead of comparing 3k camera to 40k cameras, your video looks nice!
Looks really good!
Pretty much perfect ;)
I disagree, this mostly depends on the software used to process the RAW image and what kind of tone mapping it applies.
And Sony cameras have crap highlight roll off, unless you use S-Log.. or some really specific settings that cost $20 on the internet.
I both agree with you. There are some circumstances which the sensor will fall apart.

But it's still pretty to me.

Hi! Firstly, I thanks all of you ML devs for making this happened. This is just testing to see how 3K can make such sharp picture which by the way is the longest high-resolution video you can get out from 5D MK lll.

5D Mark lll Compressed / Crop4K experimental build for 1.1.3. Processed with MLVFS.

The Color science which I used in this clip is based on Emulation to ARRI Alexa Log-C which I did when I have two side by side footage compared to Alexa Log-C. Graded on Davinci Resolve producing beautiful Alexa like color. Various saturation and lighting circumstance. from ISO 100 to 2000 in the video. It's held quite well.

The equipments I used in this clip.
- Canon 5D Mark lll Firmware 1.1.3
- Canon 24-70mm F2.8 Lenses
- Sandisk Extreme Pro 32GB 160MB/s CF Card

Lighting with Kino-Flo Select 30 LED light. Tuned to Aqua blue and practicals in the room.

Here some frame grab from 5D Mark lll vs Alexa Mini on Prores4444XQ.

5D RAW feed through Log-C emulation then into ARRI Log-C to Rec.709 / Alexa mini Prores4444XQ with ARRI Log-C to Rec.709.

People have hard time to figure out which one is which.

Don't put Dynamic range into comparison. 5D just have such tightly packed fine color detail compare to Prores4444XQ. Though Alexa always win on DR and many aspects. This comparison just based totally on based grade on Rec.709. When such heavily look applied it may perform differently.

With this build you can playback 10-12 bit video :
better use it only for raw video not  raw video (mlv) is more stable

I find that this build can perform worry free MLV with sound at 12 bit with no frame drop at all which I will put to use in next production project. 10Bit in MLV with Sound seems working but i haven't test on computer, Just playback in camera shows pink upper stripe blinking and the file size kind of not matter to me this time. Just record with sound with no dropping frame is god gift. Record sound is crucial for fast phase production as they can use pluraleyes to sync. Thank you so much.

Well, 2.88K in Raw module is working! with excellent playback but liveview still far useless. Suitable for static shot I guess.

Thanks for the tests  :)   How you color grade your raw footage? I like it =))

*how many fps have the footage of the cat?

I used ACES color system in Davinci and use in build filmprint lut comes with resolve itself. Because ACES just managed color space itself and I don't have to perform any color transformation.

I mostly shot at 25fps.

I appreciate your tests! I wonder though if the test where you concludes that 1080p has less noise than 2Kx resolution, could be because you where up at 6400 ISO? Since I have shoot 2.5K with crop mode the image is always sharper and cleaner than 1080p, but I never go a bow 1250 ISO.

Yes, definitely. At this high iso color noise is more pronounced with such a resolution. I haven't test with fast lens or daylight yet. But I think it will be cool!

Really impressive work !

How do you clean your image with 6400 iso ?

I haven't apply any noise reduction. It's ETTR and pretty well lit cat so it won't stick much into shadow area.

With this build you can playback 10-12 bit video :
Thank you so much @baccinoluigi. I'll definitely try it out once I get my camera back. This is so fabulous!!!!!

How smooth the LiveView FPS? Is it usable? I can't wait to try it.

Thanks for sharing these but this last one wasn't working as it says it's 'Private' and noticed you used MLP (Thanks @Danne! :D) -- would you mind sharing us the exact routine you used (which settings did you choose within the Menus) in prior to running MLP.

Thanks for noticed. I used just right away at default parameter comes with MLP. Hit R for run and just make DNG straight out from MLV.

Normally, I used MLVMystic for all dewrap conversion.
But I am now thinking about to move to MLP for sake of more reliable.

Share Your Videos / Re: SleepWalking - Senior project using 5D RAW 14 bit
« on: November 28, 2016, 04:59:31 AM »
Great production. I am curious how you would go on about to work with aces. Did you colorgrade aces as described with all steps with idt etc? Did you grade straight onto aces colorspace?

I haven't set any IDT because ACES just transform DNG to it's own color space mapped with luminance.

I apply some filmlook and curve which I used FUJI one.

Some shots in high-key scene and need to be soften the highlight. I key the highlight part and just soften with sharpen/soften tool in resolve.

Export directly to DCP to present in Cinema DCI-P3 gamut and just export another version to Rec.709 that you saw here.

25fps @ 50 shutter provided silky movement like that?! o_0  Right. I got some experimenting to do. Thank you very much. I've been using 24fps @ 48 shutter for a long time and I never ever got the movement/pixels shifting like a true cinematic movie. It has been infuriating. You sure no other tricks was done during your rendering? Your editing workflow was strictly 25fps @ 1080p? No other blending technique of any kind?

ANy chance you could tell us more about the grading? The shot is incredibly smooth, smoothness that I have never achieved. I'm positive that this is thanks to the lens but still, from grade point of view how did you achieve such silky smooth and soft texture like this?

I use ACEScc color manage system in Davinci which mapped color space and luminance to bahve like film behaved to light.

Filmlook that I used comes with Resolve itself. Fuji D65 sort of.

I control soften highlight in highkey scene with key and grab down the sharpness.

Normally Filmlook will do make your footage more depth of color. RAW file exhibit color really like film emulsion.

Not strictly as you said. I kind of used 25fps mostly.

25fps not much differ from 24fps as my eye see.

Some shots were shoot at 50fps and desqueez in Resolve.

Thanks for comments

Hello! I've seen some footage lying around few days before by baccinoluigi and inspired me to test myself the new module.

All this footage using 5D Mark lll record @2.88K 2.67:1 crop mode recording which can do continuously on 1066x card.

2880x1078 @ 10 bit RAW

24-105mm Lens @ F4

ISO 3200 1/50

All clips were process with MLP Hit R for run and just make DNG straight out from MLV and Graded in Davinci Resolve 12.5 with some film look apply (ACEScc).

Problem with this shooting scenario : You can't get the liveview with correct framing once you hit record. It will show corrupt noisy glitches frames. And can't playback too.

With this build you can playback 10-12 bit video :
better use it only for raw video not  raw video (mlv) is more stable

Maybe modify the camera to have rotary shutter and optical viewfinder that corresponds to position that it record will help!!!

I would like to see forward in to the future that developer can make Liveview in 10 /12 bit viewable both correct position to center sensor and smoother Liveview apart from ML Hacked which once you hit record it will slow down to stop motion.

Bonus for me here is that I can now record 10/12 bit which enough for me to do color stuff. 14 bit just too heavy. 1080p mode still have correct frame in canon liveview and no stop motion once hit record anddddddd can output HDMI signal which I happy about that. So now it is possible to shoot with less stress on card and storage turn around. I use 64GB X 4 1066x CF Card to keep production flows.

MLRAWViewer will support 10 / 12bit soon. I guess.

This one with ISO 6400 ETTR.

I'll try daytime next few days. Enjoy!

Share Your Videos / Re: SleepWalking - Senior project using 5D RAW 14 bit
« on: September 13, 2016, 06:51:53 PM »
Everyone talked about the beauty of the video quality so I won't mentioned that.  What I am impressed with are your pans, tilts, shifts and zoom are silky smooth. I'm sure you used some stabilization in CC but what equipment did you use to achieve them?  Also, did you mainly filmed in 30fps because the movement looks too silky smooth compared to the usual 24fps 180' shutter that I record at. In fact, your looks more filmic in movement so I'd love to learn how you achieve this.

Thanks, DP used heavy plate dolly and rail which uses in most professional film production. My University have it for student to borrow for production.

Some shot where unexpected jerk somehow leads to usage of CC Warp stabilizer which I export that shot from Davinci as DPX and stabilized on After effect then export dpx back to davinci.

I shot entirely on 25fps timebase with some 50fps highspeed shot with all time engage at 180° 1/50 shutter.

Share Your Videos / Re: SleepWalking - Senior project using 5D RAW 14 bit
« on: September 11, 2016, 12:36:12 AM »
Looks great!

I'm new to some of the concepts involved with ML. What do you mean by ACES Color system? How do you access that in Resolve 12.5?

thanks for sharing.

Normally on setting in davinci will default at Davinci YRGB. They added ACES in 11 I guess.

ACES give me more dynamic exposure curve and control. I used ACEScc to grade raw. Which is color managed system.

Share Your Videos / SleepWalking - Senior project using 5D RAW 14 bit
« on: September 10, 2016, 08:05:09 AM »
This film has been shot entirely on 5D RAW 14 bit. It's my friend's senior project.

What's news in this film, I used ACES color grading method for this entire RAW workflow.

Equipment :

- Canon 5D Mark III
- 64GB Lexar 1066x X4
- Carl-Zeiss EOS DSLR Cinema lens
   100mm marcro
- ARRI 650w Fresnel Tungsten
- 2000w opened-face
- Some Kino-Flo

Sound record using
- Sound Devices 744T
- Sony UWP-D Wireless connected to Sound devices MM-1 for wireless boom
- Sennheiser MKH-60

Edit on Adobe Premiere CC 2015

Graded on Davinci Resolve 12.5 using ACES Color system.
MLVMystic for MLV - DNG Extraction.

Soundtrack from Hugo and Tomorrowland. Some excerpt composed with tomorrowland theme.

Thank you all developers for making this happen!!!!!!

Here! I'm testing again the Dual ISO Function. It's not practical for me to using it for daily basis shoot. But It prove what Higher dynamic range helps to get better contrasty lighting situation.

YOU KNOW WHAT?? THERE IS NO OVEREXPOSED OR UNDEREXPOSED PORTION AT ALL. It's all get great great protons to hit sensor.

Equipment I used :

Canon 5D Mark III
24-105mm F4 USM
Sandisk 160MB/s 1066X 32GB

Processed with MLP > Davinci Resolve > Premiere

Video is not at great quality but you can get the idea what I am talking about. Cheers!

Next time try ProRes4444XQ in order to keep most of the information in colors as well as shadows and highlights.

Thank you!!!!! I will looking to using it. I'm now checking for disk space heehee!

Ah, thanks for the tip, @Walter Schulz but for some reason I just revisited this thread and the video played just fine. Yey!  :D

@wangtrirat, this is beautifully graded. Really, really nice - even if it was with "random curves"  ;D May I ask why you did a round-trip back to Premiere from Resolve instead of rendering out the finished EDL from Resolve?

Really enjoyed this. Thank you for sharing. Looking forward to seeing more from yourself and your students!  :)

All the best,


Ah!!! Some misunderstanding because of my grammar.

I'm also senior student at my university. They are 2nd year and I'm 4th year. I did roundtrip because they need to do some composite in Premiere and After effect to overlay some flares and CGI tower in wide shot scene. It's more easy in NLE even though it will loss some information in color. But I exported in ProRes 4444 and XML to define handle and cut for each clips. So when import in premiere they will have 50 frames handle for editor to change cutting.

Share Your Videos / Re: Come&Stay in Paris // ML RAW
« on: May 28, 2016, 02:16:45 AM »

Share Your Videos / Re: RAW DualISO 100/3200 ~ 15.6 EV stop test
« on: May 27, 2016, 11:44:38 PM »
Thank you so much. I will try to see possibility to shot some film out of it.

Shooting in RAW always be somewhat huge and buggy somehow. I managed to using it to shot Crispy Banana commercial which Faculty of Food technology in my campus requested.
This film is being shot at considerable high ISO for me above >1600 not beyond 2000. Actually I can request A7s for this purpose but I ignored because noise floor and color was so unacceptable.

Shot on Canon 5D Mk III
1920x868 2.20:1 @25fps and 50fps
Canon 50mm f1.4
Canon 24-105mm f4
Lexar 1066x CF card

Mostly Tungsten opened-face
Cosmolite 800
Kino-Flo 4X4
some LED Strip in set of mysterious metallic box.

Using Magic Lantern RAW Video capabilities to exploit the great color and depth.
After I shoot copy the MLV and Dewrap using MLVRAWMystic > Davinci Resolve > Proxy generation > Director cutting > XML from premiere > Reconform DNG > Rematch High-speed shot > Grading > Roundtrip to Premiere then export.

I have bunch of work I shot in RAW. KEEP Coming!!!

Suggestions appreciated. Thank you so much Magic lantern and developers who make this possible.

Hello! Last month I have graded this magnificent footage from my junior student for Movie for music production subject. I endorse them to shoot in RAW on 5D MKIII.=
Footages were overexposed by some shots but It's okay for smooth highlight roll-off charactoristic of RAW.

Firstly, After I receive footage for proxy generation. Dewrap MLV with MLVRAWMystic then import to DavinCi Resolve and correct some color for editor to see some color.
Codec : ProRes422 Proxy @720p
Then Editor finished their work. XML from premiere to Davinci Resolve linked them with RAW DNG that I dewrap from MLV and begin to grade the shot.

I used BMD Film color space and gamma for starting point then add some random curve and LUT. Mostly will be Fujifilm D65 LUT came with Resolve and VisionColor ImpulZ FilmLook.
Then transfer back to Premiere with Round-trip with 50 frames handle and XML back to timeline.

On Presentation day we encoded with DCP to be projected in Cinema Room with Christie projector and Dolby DSS-200 Cinema player. Magnificent picture.

Here is what we got. I export at 2K for sharpness reserve and upscale at export at premiere to retain better bitarate than FullHD 1080 on youtube.

This film is experiment of some mid-tone and sharpness max to the limit. Some shot may not Beauty.

Shot on Canon 5D Mark III
Graded on Davinci Resolve
CinemaMaster RGB LED backlit display

Share Your Videos / RAW DualISO 100/3200 ~ 15.6 EV stop test
« on: May 04, 2016, 07:47:33 AM »
Hello! I've just testing the MLP processed method for days, It's producing very productive and easy way to Process Dual ISO RAW File.

All this clip being record in 1080p with Dual ISO 100/3200 which resulting in 3.2EV+ Gain in DR ~ 15.6 EV Stop.

Shot on 5D Mark III + 50mm 1.4 Canon Lense

CF Lexar 1066x card

Graded on Davinci Resolve

Notice that heavily aliasing on edge and highlight occurred heavily because of low resolution @1920x1080. Maybe next time with wider lens may take with 2.4K @2.35:1 scale which I found can be continuously record.

Share Your Videos / University Short Film project with RAW
« on: February 28, 2014, 06:51:24 PM »
I've opportunity to used ML to record the project with RAW video. After realising that shore scene can't be done with conventional H.264 shoot.

This is project Music short film of Rangsit University of Thailand in Motion Picture and Video department.

So I used to shot 2 of this movies.

All graded in Davinci Resolve 10 with different color theme.

Shot at 1536 24fps and 1344 50fps

Time-lapse at 0.5fps

Shot with
- Canon 6D with Sandisk Extreme 16GB 45MB/s
- Canon 24-105mm F4
- Canon 50mm F1.4
- Konco CPL ND Filter

- Arri 650 Fresnel
- Kino-Flo 4ft 2bank
- Arri 575 HMI

 Thank you for all your comments and suggestions.

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