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Messages - Tyronetheterrible

#26


A music video that I shot for a local music artist at Winnipeg's Fort Garry Hotel.
Shot on the 6D using the crop_rec experimental build.

Mostly shot at 23.976 at 1824 x 1026.
Slow motion shots were at 60fps at 1824 x 634.
also used the SD Overclocking module.

Used a combination of @wangtrirat's Arri Alexa emulation method as well as FilmConvert for color grading and adding grain.

Experimented quite a bit with keyframing, a common trend in rap videos lately, which I was a little apprehensive about at first given the limited resolution I was recording at, but I feel that the film grain that I added hid that well enough to make it look more like an artistic touch than anything else.
#27
Wow! I really like the style of the last video.
May I ask what your FilmConvert settings were?
#28
Incredible stuff from the 6D! Might you be able to share your color grading workflow?
#29
First one, BMPCC4k, second one Canon?
#30
@theBilalFakhouri @a1ex

Thank you very much for the quick response! If we were talking Real-Time LiveView in crop_rec, what would the highest resolution be for continuous recording?
(14-bit lossless, 24fps MLV)
#31
Can anyone tell me what the highest resolution the 5D3 can record in at 14-bit lossless 24fps MLV, with a fully-functioning real-time Live View?

Thank you very much in advance!
#32
Does anyone know how the Cinelog-C Full Colorspace Transform LUTs compare to DaVinci Resolve's Color Space Transform OFX in terms of quality and accuracy of transforming the image's colorspace?

I watched a tutorial recently that stated the Color Space Transform OFX plugin in Resolve had the advantage of controls such as Luminance Mapping to better accurately handle things such as highlight rolloff more so than Colorspace Transform LUTs would. However, given the quality product that are the Cinelog-C LUTs, I was uncertain if this would apply to them and if they do something different than other standard Colorspace Transform LUTs would.
#33
Quote from: Starclassic on March 02, 2019, 10:18:03 AM
Looks good dude. Did you use a LUT? If so which one?

Thanks, Starclassic! I used the BMD Film to Cinelog-C LUT, the M31 LOG LUT, some curves adjustments, and then Filmconvert for grain and further color adjustments.
#34
@Levas
You continue to be a a holy grail of 6D Magic Lantern knowledge for me and I am thankful for that.

I used MLVFS to mount the MLV files, and turned Bad Pixel Fix to ON, and Vertical Stripes Fix to ON as well. Then graded in DaVinci Resolve.

I will definitely try this lens cap / manual sensor cleaning method, as I noticed the black/dead pixels as well but was not sure of how to get rid of it. I also have the VAF-6D Anti-Aliasing filter installed, so I assume I will have to remove this before doing the cleaning.

For the purposes of keeping the consistent 1.85:1 shooting aspect ratio, I did not use the crop_rec for the 60fps slow mo shots, as I noticed with previous experience of using it, that despite not needing to vertically stretch in post, the aspect ratio for whatever reason did not accurately match with the 23.976 shots, even though the aspect ratio I set it to in the RAW menu was exactly the same. So I did not want to take any chances on this production. If you could make a custom 1824x850 crop_rec for 60fps, that would be amazing! Do you find that's the max vertical resolution you can get with square pixels?

I have never heard of dark frame subtraction until now. This is incredibly helpful to know, and I will definitely give this a try right away! Out of curiosity would it still work if it was virtually mounted with MLVFS as opposed to using MLV-Dump of MLVApp?

Thank you so much again for the constructive feedback, much appreciated.  :)
#35


A retro, Wayne's World, Back to the Future inspired music video that I shot for local Winnipeg band, Panicland.
Shot on the 6D using the crop_rec experimental build. Regular speed shots were in 1.85:1 aspect ratio (1824x986), and used the SD Overclocking module to record continuously.
Slow-motion shots were also 1.85:1 aspect ratio (1824x592) and got about 5 or so seconds each recording.

Exposed to the right as best as I could with each shot and did not go over 6400 ISO.
Had some vertical banding issues with some of the underexposed shots that I couldn't get Neat Video to completely get rid of, but all in all it looks pretty decent.
#36
General Chat / Re: BMPCC 4K
February 14, 2019, 05:13:52 PM
Quote from: littlebobbytables on February 14, 2019, 11:31:22 AM
While I fully agree on the stills camera bit, I do want to challenge you on the disadvantages you think are advantages, let's go over them:
- 5D3 is raw video: Okay, this is clearly also an advantage, but the p4k also has raw if you want to use it. The disadvantage is that the 5D3 only has raw video and quite compressed h264(only at 1080p if I'm not mistaken). The p4k has a range of options in between, depending on your needs for that shoot, and they're all just as reliable.
- While I cannot comment on the 5D3 ML reliability, it is my experience with my 50D with ML that you sometimes run into issues. Nothing that a battery pull or reboot won't fix, but it is there nonetheless. This is not the case with the p4k.
- Workflow: Sometimes, when you need quick turn-around time, having a light prores file(with optional baked in LUT) is nicer than having raw files.
- Codec capabilities: Again, p4k can do many flavors of prores, as well as avid, as well as raw compressed and uncompressed, and BM Raw in the future. 5D3 only has h264 and RAW.
- Resolutions: If I'm not mistaken, the 5D3 cannot go full cinema 4k at 24fps (with liveview), and the 4k resolutions are only in crop_rec mode, not full sensor. The p4k can do 4k60 and with a speedbooster will have a larger 'effective' sensor.
- Framerates: The p4k can do 60p and 120p. The 5D3 will, unfortunately, probably never be able to go over 60p.
- Connectivity: The p4k has xlr, external power and USB-C for charging and data storage, things the 5D3 will never have.
- Onboard audio: I would argue the onboard stereo mics of the p4k are better, but that's maybe subjective.
- The (touch) user interface is exceptionally nice to use and fast, and has all sorts of nice features.

Another thing I'd like to mention is this: Thanks to ML the 5d3 has a lot of really cool features, but you cannot use all of them at the same time: You cannot get the highest 4k resolutions with audio and nice liveview and nice on-screen tools like zebra's etc.

I love what ML has done to boost these cameras in features, and I don't want to start a fight, but we should not be blind to the fact that they are not as complete or as stable as a product that was designed for (raw) video from the start, nor should we hide the facts from new users who might be deciding a purchase over this. But I'd love to know what you think.


@littlebobbytables
Do you think that 5D3's full-frame sensor and low-light capabilities, along with recording at 14-bit, put the 5D3 at an advantage over P4K, at least in the realm of strictly 1080p video quality?
#37
Sorry if this question seems ignorant, but what is the highest widescreen resolution (16:9, 2:35, 2:39) one can achieve with the crop_rec module in 14-bit lossless, continuous 24fps, while having the LiveView fully functioning during recording?
#38
General Chat / Re: BMPCC 4K
February 07, 2019, 05:25:44 PM
Quote from: KelvinK on February 07, 2019, 02:37:08 PM
Right now only reason to get 5D3 only if you're going for photo as well. For video BMPCC4K is superior to 5D, only the problem you may have with BM - bad battery life. Keep in mind, if you will get 5D3 it will used, you never know when you will have too many hot pixels with it. Also, you're getting full version of Resolve with BM.

Innocent question here: Are there any other ways in which the BMPCC4K is superior in video quality to 5D3 w/ Magic Lantern?

Apart from the differences in dynamic range, the 5D3 has a full-frame sensor, better low-light capabilities (maybe?), can record in 14-bit lossless, can also achieve 4K through crop_rec, as well as achieve dual ISO through the dual_iso.mo.

Software reliability aside, I too have been debating with myself on whether or not to invest my money in a 5D3 as opposed to a BMPCC4K from a purely video quality standpoint.
#39
Raw Video / Re: Does resolve work for magic lantern raw?
February 04, 2019, 04:28:31 AM
Quote from: Kyle Kearns on January 24, 2019, 06:32:50 AM
Okay here is what I'm talking about:

Both images I used the dropper to find the white balance, and both I pushed up the shadow .67.

Resolve looks like absolute garbage....why?







In Resolve have you tried just raising the Shadows in the Camera Raw tab as opposed to the Color Wheel tab? That might give you similar results to Lightroom.
#40
Hi johannsebastianbach,

The closest I've seen to anyone making any sort of headway towards a solution like that is user Dmytro_ua, who used a Micro-to-Mini USB adapter connected to the MCC-to-MicroUSB cable that comes included wih the Ronin, with the objective of pulling focus. Although no mention of potentially adjusting aperture, ISO etc:

https://www.magiclantern.fm/forum/index.php?topic=23173.msg210904#msg210904


A solution may be to purchase a Zhiyun Crane 2 or Zhiyun Crane 3 Lab, as both of those gimbals include a Micro-USB to Mini-USB control cable that allows you to adjust aperture, ISO, record, as well as pull focus all through the gimbal itself.
#41
I agree with Kharak.

There is a glaringly noticeable difference in battery life between Canon LP-E6 batteries versus third-party LP-E6 batteries, and becomes frustrating enough on shoots for myself that make the Canon brand much more worth it in the long run.
#42
Share Your Videos / Re: Imaginary Bird // 6D ML RAW
January 22, 2019, 10:48:53 PM
Great video!

As you said, it is a great breath of fresh air from your typical travel film.

Where did you get your "whoosh" type sound effects for the transitions, if you don't mind me asking?
#43
@Kharak
@IDA_ML

This makes perfect sense. The scene I am shooting takes place in the interior of a car at night, very minimal diffused light, and no specular highlights or lightbulbs that I need to retain the highlights of.

Thank you so much, this was a massive help!
#44
General Help Q&A / Dual-ISO for video for a low-lit scene
November 24, 2018, 08:18:01 AM
Suppose one were to shoot video with Dual-ISO in a dimly lit area and capture as much information and dynamic range as possible.

Let's say the lighting conditions are so low, that in accordance with exposing to the right for the lower number, you end up setting it to your maximum usable ISO (Let's go with 6400 for example, as that appears to be the upper usable limit for the 6D before significant degradation). On the viewfinder it looks fine enough aesthetically/artistically speaking, however, on the histogram the highlights barely reach the middle.

What would the second ISO value need to be then? Since you've already maxed out your first ISO trying to expose to the right?

Or would this simply be a case where dual ISO is not ideal in this scenario, and is best just to stick to 6400 as a single ISO?
#45
I apologize for the naive question, but I was looking into the 1x3 binning module for my 6D.

Are there any advantages in terms of picture quality to using the 1x3 binning for a 16:9 aspect ratio when compared to just using the 6Ds max resolution in 16:9 (1824x1026) in 24 fps in 14 bit lossless?

It might be of note to mention that I have the VAF-6D anti-aliasing filter installed on my 6D, so I am not sure if this further diminishes any advantages to using the 1x3 binning?
#46
Camera-specific Development / Re: Canon 6D
November 24, 2018, 12:06:12 AM
It worked!  :D

Thank you for being so helpful, Levas!
#47
Camera-specific Development / Re: Canon 6D
November 23, 2018, 08:58:13 PM
Another quick question:

Anyone able to use crop_rec, lossless compression, and the dual ISO module all in conjunction?

I get an "ISOless LV err(3)" whenever I try and activate Dual ISO.
Searching the forums, I've seen a workaround involving the adtg_gui.mo and changing the values in CMOS [3] in dual_iso.c , but I am afraid I am not educated enough on the details to do this?

Any help would be great, thanks!
#48
Camera-specific Development / Re: Canon 6D
November 23, 2018, 08:47:11 PM
Thanks Levas,

After using the SD_UHS hack module, I was able to achieve continuous 1824x1026 14-bit lossless!

Strangely enough however, following this test, I switched over to a different SD card that did not have the SD_UHS module, and was STILL able to achieve 1824x1026 14-bit continuously??? Don't know how this voodoo magic happened, but I'll take it.  :D
#49
Camera-specific Development / Re: Canon 6D
November 23, 2018, 04:43:38 AM
Hi - quick question for anyone who uses the crop_rec module with the 6D:

The 1824x1026 (24p) resolution that is listed to be the maximum resolution with lossless compression; I am only able to achieve this in 12-bit lossless mode. Was anyone able to achieve this resolution continuously with 14-bit lossless?
#50
Amazing! I love the artistic direction of this video! Hilarious and poignant all at once.

How did you go about doing the smooth zoom-ins? Was it through an attached servo motor, or done digitally in post?

Excellent work again.