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Just to to last comment for Windows newbies

path_to_mlv_dump must be replaced with an actual file directory that contains the mlv_dump.exe

Easiest way to do that, is find the folder in file manager, go to top bar box, select the last sub-directory,  right-click on 'copy address'

Example:
"C:\Users\Bubba\Videos\Videos\Projects\Magic Lantern\RAW Converter"

If you have spaces in your directories you'll want to put in double quotes like above.

If you know how to find your system variables, then you probably aren't a newbie, so I wont talk about that.

mlv_dump command line examples for Windows??? Cant find any???

I am trying to process a 10bit raw video to dng

Here is what I enter (with mlv_dump in directory)
G:\DCIM\100CANON>mlv_dump -o test02 -b 10 --dng m20-1339.mlv


PROBLEM: The output states its defaulting to 14bpp not 10??? when I try with default it still reports 14 bpp
The picture is too small as file properties reports 128x94 96dpi, this is wrong it should be 1824x776

It seems the command-line is wrong

Blow is Windows 10 output:

MLV Dumper v1.0
-----------------

Mode of operation:
   - Input MLV file: 'm20-1339.mlv'
   - Enforcing 14bpp for DNG output
   - Convert to DNG frames
   - Output into 'test02'
File m20-1339.mlv opened
File m20-1339.m00 not existing.
File m20-1339.IDX opened (XREF)
XREF table contains 328 entries
Processing...
Cold pixels : 0
Reached end of all files after 328 blocks
Processed 304 video frames
Done

mlv_dump command line examples for Windows??? Cant find any???

I am trying to process a 10bit raw video to dng

Here is what I enter (with mlv_dump in directory)
G:\DCIM\100CANON>mlv_dump -o test02 -b 10 --dng m20-1339.mlv


PROBLEM: The output states its defaulting to 14bpp not 10??? when I try with default it still reports 14 bpp
The picture is too small as file properties reports 128x94 96dpi, this is wrong it should be 1824x776

It seems the command-line is wrong

Blow is Windows 10 output:

MLV Dumper v1.0
-----------------

Mode of operation:
   - Input MLV file: 'm20-1339.mlv'
   - Enforcing 14bpp for DNG output
   - Convert to DNG frames
   - Output into 'test02'
File m20-1339.mlv opened
File m20-1339.m00 not existing.
File m20-1339.IDX opened (XREF)
XREF table contains 328 entries
Processing...
Cold pixels : 0
Reached end of all files after 328 blocks
Processed 304 video frames
Done

So I tested with Jan06 build from Nik, 10 bit max. res. at 24fps.

The LCD liveview only works in Canon mode. All others Grayscale, & Hacked(s) dont support 10bit.
The LCD review clip, does not work only vertical coloured lines for 1824x776 (2:35 @ 24 fps).

Same for 1920x818.  I notice when I put camera in 5X mode, that fps goes from 24fps to 30fps. There is no way to set fps back to 24!

Not sure why some want to add this to the nightlies??? Am I missing something?

With my 600D I had to add raw_tweak.mo to get LCD review screen to work with 10bit raw video???

Can use mlv_dmp to get DNG. Resolve will work with the DNG files but AE and Ppro wont.
Was going to try Adobe raw converter to see if it helps with the DNG.
Any success with AE or PPro on 10bit 1824x776 DNG files?
 

600D is still what it was sold to me as.
"A great camera to learn video & photography on"
1. twisty-flex lcd screen for great angles & has sensor similar size to a red-one 
2. Shoots 1280 10 bit raw, anamorphic virtually continuous, or higher res with fps variable rate set low for static shots.
3. Shoots H264 60 fps 1280 FHD, for slo-mo.,
4. Shoots H264 at 1.4X bit rate over sample (great for fine detail edging & blacks)
5. Shoots H264 with custom pics, like flat, to increase DR. Did I mention 10/12bit raw video that also increase DR.
*** And if you think 600D H264 sucks, go to vimeo and watch some Kendy Ty videos (shot on the 550D no less).  Then recant ***
6. With ML can shoot 4k timelapse video.
7. With ML - Focus peaks & Zebras even Magic Zoom PIP for best focus info., crucial for manual focus helpful for AF.
8. With ML - AW to sample (small sample in pic) or dial in Temp. manually these blow away Canon s/w, and did I mention with global  write on, you can record with an anamorphic black bars on viewer for proper framing.
9. With ML - Can program follow focus points. A poor mans focus pulls.
10. Lossless 3X zoom, that has no line skipping, made even more potent in post with 10/12 bit raw video. Not bad for shooting brick walls, tiles, wires, and zebras.

These are a crap load of useful stuff any photography & video student would want to play around with.
And with 1280 anamorphic raw video, guess what its actually a relevant inet cam!!!

So what is 1280p HD good for? V-Blogging, and creating portfolio video clips.
With 14 bit raw, it did not even support HD, so its raw video use was near nil.
Now with 1280 anamorphic video support it shakes the dust off, and as a great learning camera
its fully delivering on its potential.

Gyro, what did you process your files with?
mlv_dump or another?

Post a link to any 10bit 1min+, and I notice with 12bit 2:35 @  24fps I was able to get about 28s.

Want to see how hot pixels are doing?  Try an ISO above 400 to check on that.

Are you seeing the MLV clips in the LCD?  I was not.

Just wondering what's up with CONFIG_EDMAC_RAW_SLURP

I checked the commits and it was disabled July 7, 2015.  It states it causes Hot Pixels.
Is there any new test build we can use to check it out??? Any tests that Nik needs done to advance it?
It was pre-unified base merge and it seems to be crucial for 10/12 bit raw builds?

So why is the 600D experimental?  It seemed to be one of the most full functioned?

The raw_twk.mo is missing and needed to preview MLV 10/12 bit raw clips on the LCD. 
Ive taken one from Dec 23 Dfort 70D build, which works when copied into your ML module folder and enabled:

https://www.dropbox.com/sh/arb43xa6svvjljr/AACyi51IrJfMGs3ZQ8EC_6hOa?dl=0 Does not reliably work.

Also need some clarity on the modules to load during testing.

Alex alluded that raw_rec and mlv_raw should not be loaded together. 

Is Lua.mo needed to test 10/12bit raw?


Notice 1920 @2:35, 24fps, 5X mode,  only works with Canon preview, got 440 frames (18s) at 10bit.


1824 @2:35, 24fps, regular mode max. res., at 10bit is near continuous (tested for 1min 41s but could have gone longer) - Yahoo!

hey Nick help
Looks like Dfort needs a 70D build for 10-12bit raw.
I tested his build but its MLV files do not work with mlv_dump does or the previewer.
Give his build a try, I found hack error when I recorded video as well.

@paulharwood

From my experience with ML raw, hot pixels increase with higher ISO and record time.
Try ISO 100 or 400 max, and limit the record time per clip.  How long did you record with T3i before hot pixel appeared?

600D, 1280 @2.35, 24 fps, 10 bit. 
I am getting pink frames (at top 25%) every other frame.
What's this about?
By bit depth & rate calculation it should be continuous.
My card is Sandisk Ex. Pro, 95 Mb/s so its not the card speed.


Reformat card, loaded latest 600D, all is good. Was able to get [email protected]/24fps  for about 2 seconds.

On my 70D MLV files tried the latest mlv_dump, all were failed.  This agrees with mystic not being able to convert any of the same MLV.

G:\DCIM\100CANON>mlv_dump --dng M23-2332.MLV

MLV Dumper v1.0
-----------------

Mode of operation:
   - Input MLV file: 'M23-2332.MLV'
   - Convert to DNG frames
   - Output into 'M23-2332_'
File M23-2332.MLV opened
File M23-2332.M00 not existing.
Processing...
[ERROR] Invalid block size at position 0x00000400
Processed 0 video frames
Done

my 600D MLV works fine with same program.

70D tried a quick test.

1832@ 2.35 apsect, 24fps 10bit, could record for over 1 minute (probably continuous), the movie review but it never builds the movie because it hangs/bricks requiring battery pull and two resets to get right.
1832@ 2.35 aspect, 30fps 10bit, could record for 18s, but same hang/brick.
1832@ 2.35 aspect, 24fps 12bit, could record for 28s, but same hang/brick. 
1846@ 2.35 aspect, 60fps 12bit, 3X mode on, could record for 9s, but same hang/brick.
1920@ 2.35 aspect, 24 fps 10bit, 5X zoom, could record for over 1 minute (probably continuous), two second in got a "hack error" but it kept on recording until I hit stop rec.,  but same hang/brick occurs. Not sure with hack error to trust the record time.
2220 @2.35 aspect, 24 fps 10bit, 5Xzoom,  hack error at 0 sec kept recording over 1 minute, but when I switched to photo mode it showed 51 sec record, so I cant trust either number.

It did produce MLV files, but Mystic could not convert any MLV to DNG.  This same program worked with my 600D 10/12 bit MLV files.
Will try mlv_dump on the files once I have more time. 

The aspect Honza was using is 1:67, rather wide. He could only shoot 9s clips, which is limiting for most projects.

I would suggest a more versatile setting of 10 bit raw, 1280 @ 2:35 / 24fps, which shoots continuous. 
This works nice with h264 720p /60 fps, 1.4x bitrate set, (shot flat) for slow motion shots.

The card writer cant support 1920 at any aspect.  1280 @ 2:35 / 24 fps is the sweet spot. 
Add external lighting so you're within one stop of exposure, as 10bit raw after one stop of correction gets noisy in the shadows.
 

Who would have thunk that a 600D could actually be used to shoot 10 bit raw video, 1280 cinemascope (2:35), 24fps continuous.
Talk about blowing the stink off it. That crappy card writer can actually handle 10bit raw continuous.   

This is next best thing to clean outs, in fact who cares about an 8 bit out stream if you can record 10 bit raw for 30mins.  This camera has a niche again.

Load it up with focus peaks & zebras for great MF and wow.  Not to mention you can program step focus points for marked focus pulls. 
And yes it has a 3X lossless digital zoom without line skipping which becomes even more interesting with raw video, as it can be processed harder than H264. 

At 12 bit raw, it can shoot 1280 cinemascope for about 30s.  So probably for most shots this would be ok.  Most folks cant tell 12bit raw from 14 bit raw anyway. 

This is huge.  The 600D is fighting obscurity rather nobly. 
As this camera use to be a DSLR student/learner camera but was becoming less compelling every day.
However with its renewal into a 1280 cinemascope raw video camera, that gets you into raw, and at 1280 with a low-cost processing system. 
One can recommend this camera again for newbies, who want to gain raw video experience.
Who would have thunk?

This should be hitting the unified build in the nightlies soon.  Again wow.

Processed the 600D 1280x544 (2:35), 24fps (canon default) for 29s.

Used Mystic to convert to DNG, but got few lost frames.  In LR saved to TIFFs 16bit sRGB, and built clip in AE with skipped frames.   Got wierd wabble when panned.

Tried again by DNG dropped from card into Resolve Lite, had bigtime shadow noise but no wierd wabble on same pan. 

Did a little testing on my 600D.
At 12 bit, 1280 @ 2:35 / 23.9fps, got 31s.  For Indy film, this is about 90% of your shots.
At 10bit, 1280 @ 2:35 /23.9fps, continuous.  For Indy film, the few shots longer than 30s switch to 10 bit. 

Selected MLV_raw, and notice that playback at 12 bit crashes camera, but at 10 bit, it doesn't but its preview is only white with verticle lines. raw_twk.mo provides 12bit & 10bit previews

I am mega impressed with the improvements. 
1280 @ 2:35/24 fps 10 bit raw, finally makes the humblest of cams a useful raw video cam (new learner or student).
Sorry I have not been using raw video in over 1.5 years.
I am using Windows 10, what's the best automated work-flow to convert my MLV_raw into PPro or Resolve friendly format?
(PM please as I dont want to go off topic on a dev forum). 

This thread goes over some key things I want to know but its missing the number of frames

For example my 70D which has same write speed as 6D (41 MB/s)

3X Zoom Mode
2240x954 @2.35/60fps 108 frames, 1.5s
2048x872 @2.35/60fps 151 frames, 2.5s
1920x818 @2.35/60fps 205 frames, 3.5s

1X Mode
1824 x 776 @ 2.35 / 24fps got 14s.
1792x762 @ 2.35 /24fps   got 16s. 
1728x736 @ 2.35 /24fps   got 22s.
1600 x 680 @ 2.35 / 24fps got 62s.   Which for all my video purposes is the same as continuous.

So  I am curious to know at 12bit raw for 1824x766 /24 fps, how long the clip lasts.

I can get 1920 @ 2:35/60 fps (3X zoom mode), 14 bit raw for 3.5 seconds.  If I can get 12 bit raw same for 7s That would be good for a pan-shot.

So the number of frames, or simply how many seconds really matters.  The main advantage the 70D will have over the Sony A6500, will be raw video, so knowing this is important.

Not used 10 or 12 bit raw before. 
Does reduction in bits mean that the clips record longer with 10bit raw than 14 bit raw?
I dont assume efficiency unless its measured.

Mars
I would say that dual iso working for still pic, means it is around the corner for video.
There is a variable fps release, which works a bit, so it could be around the corner.
Just these two would greatly improve the 70D, which is revolutionary mainly because of its video features.

But presently 70D ML does have
- focus peaks, zebras, rgb H264 histo with warnings (which being jpeg is ok because the 70D is too under-gunned for serious raw video use but fine for All-I compressed H264 video).
All which 80D does not have for video

- combine with flat pic style to improve DR, upto ISO 1600 without significant noise, DPAF for action video, touchscreen focus for pulls, and tilt swivel screen for hard to get angles

I think the combo of above features still makes the 70D the most useful H264 video oriented DSLR. And around the corner it may become even better.

If all youre concerned about is still shooting, then I would agree with you that there are better DSLRs with ML release out there. The 7D
has similar focus system as the 70D, and it has the key ML still shooter features you want.

For those who dont speak german
http://support-au.canon.com.au/contents/AU/EN/0400270102.html

I wonder if once installed if we get a unified ML build

Update fixes: It shoots 4k 120fps raw video with added 20 stop DR for 1 frame

Here is an article which discusses banding
http://photo.stackexchange.com/questions/41874/what-causes-banding-noise
They suggest you should check multiple monitors, as to ensure its not your monitor.

High ISO can produce noise, which tends to be blocky and ugly. 
I have noticed banding with low light video shadows in raw, and that was random noise.
If you have dual ISO set, you should see horizontal banding. It needs to be processed by compatible app.
I have also seen very strange banding/noise  with video in 3X video, check out different displays.
If you change video fps you can also get a mess of noise. 

Hidden, there's a lot more to consider then just raw & 16:9
For instance 70D can shoot raw, but overheat is a big issue, so ISO 800 is about the max to prevent Hot Pixels.
Most will have better low light with H264 which shoots nice at ISO 1600/3200.   Ofcourse flat pic style will extend your DR.
You can shoot raw continuous at 1600 @ 2:39 @ 24 fps.  I would suggest ISO 400 max, because it not only controls Hot Pixels
but minimizes low light shadow banding. 
All-I compression does a very good job of limiting shadow banding, so higher bitrate wont improve on that.
Really if you need 16:9 then H264 flat pic, with ALL-I is very versatile and gets you best overall picture.

422 is possible only through HDMI out recording.  Canon limits res. to 1600x800, so you have to crop in post.
However why crop 422 H264, when you can get 14bits depth and shot raw at about the same resolution (no crop needed). Either needs a rescale.  I can appreciate the 422 HDMI out, if you want to live stream at 720p.  Good for blogging.
720p @ 24fps shoots @ 16:9 is continuous raw, thats your best 16:9 mode for 14bit raw.

Now shooting raw 1080p / 16:9, @ some low fps, means you have to frame interpolate.  Ive seen a few folks do this for
proof of concept brief clips. But no one recommends this, and it means your rendering raw & using a third party app to interpolate (which varies based on the app).  A rather lengthy workflow, if time is money and you want 1080p raw just buy a 5DmkIII and have a life.  If you really need 16:9 14 bit raw, its still the cheapest way to go.    Still you lose the DPAF & touchscreen AF, which is why most people want to shoot video with a 70D in the first place. 

I suggest use sound bars, to monitor sound.  They will trigger red on spikes/hot,
the red bars are less subjective than you listening.  That is so crucial.
Unless you really concentrate, you will only hear what is said not your phones.
If you are shooting video, you have to concentrate on getting the shot.
You cant concentrate on both.  You have to play back to check focus, so check sound spikes same time again.
When recording a live show, sound engineers monitor the bars on the mixer not listen to headphones. 
The headphones are usually for com link among the crew to chat/coordinate.

Sound crews do a sound check before they record, that's whats needed much more than headphone jacks.  JMHE

Even if you do have headphone jacks, what are you going to do?  Tweaking knobs live "riding the faders" is
really an experts job.  Unless you use your sound gear to the point you can mix on the fly (which only most
experienced sound engineers can do successfully) you wont be able to fix things in real-time.  If youve done a
sound check and set your levels, you can tweak in post anyways.