Messages

Works nice here (5d Mark III), good work!
A play button would be great and a way to save projects. Do you have a "vertical stripes fix" in mind?

Regards.

It looks very nice. But I'm missing the vertical stripes fix and a parade. Maybe you could put that on your list. Right now setting exposure is quite a guessing game.
But nonetheless, looks very nice.

Regards

This looks very promising! A picker for WhiteBalance would be great.

I'm not sure if what you are talking about is a matter colorspace, gamut or gamma in itself, meaning the definitions of sRGB or ProPhoto and its gamma curves. In my opinion, it is the way you convert or transform from RAW to whatever you want to. What do you do with the given information? Do you compress information? Do you use a hard knee, soft knee, or do you just crush blacks?
Your graph implies some kind of compression which to me appears to be a kind of lift (soft knee, 5% lift?). Of course this would increase the noise as the noisefloor gets lifted and it doesn't matter to what you convert to afterwards, the noise it there.

But anyway, my experience with noise reduction is, you might get rid of some pesky pixel, but f the noise was implied on the sensor level the possible information got masked out by grainy colored pixel - you will never get this information back.

Things are a little complicated regarding colorspace and I'm not absolutely sure if I'm right:


It depends on your goal:
If you convert your footage to sRGB Tiff and want to grade for Rec2020, you will definitely loose information right before you start grading. In this case it would be much better to go for ProPhoto RGB as it is almost the same as Rec2020 (or even better/wider) and there wouldn't be to much conversions or mappings going on.
But if you grade for Rec709 sRGB would be fine and almost congruent. Yes you would loose information, but these informations wouldn't be displayed anyway.

Why not staying RAW using cDNGs? This way you could stay away from conversions up to the last moment. Work with the full RAW information, display it using Rec2020 and if necessary, convert to Rec709 using LUTs. And if you grade for computer screens (Vimeo, Youtube and the like), in my opinion you go along better with Rec2020. But it's all a question of taste, too.

Merry X-mas,
kontrakatze

Nice work! Great would be a hint about which settings in ML lead to maximum performance for this specific camera. For example buffer settings, oberlays, hacks and so on. Maybe this information could be added at the bottom. It would help a lot, if you work with different cameras on set, which you do not know all very well.

Regards,
Kontrakatze

Oh my, I did. And yes, there was. And yes, again he said it is experimental. And yes, was written some time ago. And yes, it is not in the regular repository.
It was meant as a kind of polite asking for the status of this code. May I ask you, if reading somehow between the lines is one of your specialities?

over and out

About exFat, it's true. Cameras handle it differently, but wasn't there a code snipplet offering to choose the format at least for the 5dm3?
Regarding mlv_play, no, it was already open or known at this time.

Regards,
kontrakatze

Which all leads to an old problem, where exFat formatted cards would change to FAT again if formatted within the camera. In addition mlv_play is still limited to 10 chunks, if I'm not mistaken, and crashes if there were more than 10 recorded...

By the way, there was some code by a1ex (experimental), which would enable the camera to format exFat, or at least leave the format as it is. But I have no idea what happened to this. I never found it again.

Regards,
kontrakatze

So, what is the status? Does it make it into nightly builds, or is it still to experimental?

Regards,

Wow! Impressive! To bad, I have no idea how I could test this. My last programming experiences are lots of years in the past....
Is it a module? If yes, can I just download it somewhere, put it to modules on the latest nightly so I can test it on my cards (several Lexar 128gb, 5d Mark III, 1.1.3)?

If it would be possible to format the cf internally to exFAT, the problem with mlv_play and more than 10 chunks/files would be obsolete, or am I wrong? Right now I'm hesitating to change the format to exFAT, because if it gets hectic I usually format the cf internally instead of deleting all files manually. But this would change the format to FAT32 again and the option of mlv_rec  to create files bigger than 4GB would lead to trouble.

Too bad, but on sd-cards format stays exFAT (just tested for 128gb sd). Interesting, but still not helpful.

What happens if after changing format to exFAT I format the cf in camera, will it be changed to FAT32 again?

Quite old this discussion, but anyway. I hope I'm in the right place:

On 5d Mark III 1.1.3 latest nightly:

Today I received my new cf card and did an unattended test, I recorded for 10min at 1920*1080@25p with audio (but mic was off) to check the stability of the card. Recording went completely normal, files are ok, playback via MlRawViewer completely normal.

Playback on camera with mlv_play failed while indexing. 10 out of 13 files seem to get indexed, than an error occured repeatedly: Index error
mlv_play can be exited normally, there is no index file on the cf.
I can't say if it stops always on the same file, but always with the same error message.
It says 10 out of 10, but there are 13.
I already reported a bug on bitbucket, but thought it might be of interest here, too.

Regards,
kontrakatze

But in the end, it will be a beta not a production camera. Nothing that I can work with in the field. That's why although I still have a voucher, it is a no go for me. But I think the misunderstanding was on my side, so I back out without any bad feelings.

Hi,
you said, that you were going to add input luts for the gopro protune. Is this still true? I would be very interested in this, because I very often use my gopro for action-shots.

Regards

I have one of the older Phottix Hector 7HD, which I like very much. It's stable, the colors are good and it is quite well equipted with ports and cables. In addition it's one of the fast devices, only takes up the 3 seconds for the hdmi handshake. I bought an antiglare folie for an ipad, cut it to fit the size and have no problems outside seeing whats going on.

Regards

Andy, thank you very much! This was a big help!


Have a nice day,
kontrakatze

@Andy600: i talked to the people at filmconvert. They told me whatever you put into filmconvert the output is sRGB. What would you recommend to do to get a Rec709 in the end? What can I do to transform sRGB back to Cinelog or directly to Rec709? Any ideas? 


Regards

Andy, what shall I say, you are damn great!

Thank you very much, I think I got it know. This IS complicated and there are quite a lot of big stones on the way.
While coffing like a wulf I had some good time reading  , but I'm getting better day by day.

Kind regards,
kontrakatze

Ok, I found the reason for this error. Somehow Resolve did not update the preview correctly. I had to switch do the second clip and back to the first clip for the update to take place. Therefore the weird look. By the way, I changed the input-lut in the preferences.

Regarding filmconvert, I'm still not sure which way to take:

- importing dng to resolve
- setting expo and white balance
- transcoding to cinelog-c, exporting as prores

- importing prores files  again (I sometimes take Prores 4444, sometimes just ProresHQ)
- color correction
- and now what? On the last node before filmconvert: "Cinelog-C_to_Alexa_Log-C_EI800_with_Film_Matrix" or "Cinelog-C_to_Cinelog-C_Film_Matrix_RGB" to get the color matrix to filmconvert? And as a camera what do I choose? Arri and LogC / LogCFilm for the first instance,  Default and sRGB for the second instance?
- What do I get from filmconvert? Is this still Cinelog-C after the filmconvert node? Is this dependant on the Camera I chose? In this case LogC for the first one and sRGB for the second? Do I have to put a Cinelog-C to REC709 on the output?


And one last question:
The difference between "Cinelog-C to REC709 Full" and "Cinelog-C to REC709 Legal" is quite clear, but how does "Cinelog-C to Cinelog REC709" come into the game? I thought Cinelog and Rec709 are quite different colorspaces?

As I have to stay in bed, I have time to think and get confused...

I hope I don't step on anybodies nerves....
Regards

Maybe I'm a little off track (due to my flu  ), but if I import some dng into Resolve using BMD to Cinelog-C as an input lut and later on Cinelog-C to BMD (round trip, I know, it sounds stupid), shouldn't the clip look the same like completely without luts? Which it doesn't in my case, frankly speaking they look crazy.

I came up with this by just playing around with filmconvert pro for resolve. I tried to find the best way to send filmconvert the data (choosing camera and profile), so I tried a lot of combinations using the transform luts. Arri Alexa with rec709 is a nice starting point, but I wanted to know if there is something better...

Regards

With the 5d III in my pocket, there is nothing in the specs that sounds interesting, at least regarding the price tag. No must have feature, it is a still camera with some video features. Ok, would be nice to have, but nothing more. I love my canons, the mood, the colors, but they missed the train somehow. Other companies did better, so I'm not sure if my next camera would be a canon.

Wow! This calculator IS cool. Thank you for the link