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With AE, you are suggesting one can drag the untouched folder of DNGs in and grade and render all within AE in one fell swoop?

Yes, exactly. Opening a dng sequence in AE will launch Adobe camera raw and this will give you the same color/exposure control as Lightroom.

Apologies for not rereading your OP before my response, and falsely recollecting the use of Davinci Resolve.

Just be be super clear, my workflow is as follows:
MLVFS to convert .mlv to dng
Open dng sequence in after effects
Adjust color and exposure with ACR
export prores
Edit in premiere

Are you at all familiar with Adobe camera raw?

Edit: I have never tried importing a FOLDER of dngs into after effects. Instead, I click the first dng of the sequence import the image sequence (there's an option for "image sequence," but I believe it will be checked by default in this case. Not 100% sure on default or not, but the option is there)

Reeeeeeaaaal quick, dumb question... What is mv1080?

Ok! I finally got around to updating my nightly, and testing again. It seems the problem only occurs when ramping down from default to lower fps (from 24 to 5 for example). I suspect the issue is caused by the audio because starting at default frame rate does not disable audio recoding and everything gets out of whack as the frame rate changes

Anyone, please chime in and confirm, refute or resolve!
Thanks

@jonbobshinigin if you're happy with your workflow, by all means, keep it, but what we're trying to say is that using both Lightroom and after effects is redundant. Have you tried taking your dngs straight to resolve from Lightroom? That could eliminate AE from your workflow and save probably a considerable amount of time

Also, the flickering people talk about was the result of opening DNG sequences in Adobe camera raw (photoshop) and making adjustments in a similar fashion to what you do in Lightroom. The problem was that the exposure sliders adjusted exposure relative to each frame causing inconsistency. This didn't ALWAYS happen, but in my experience, it was a fairly constant headache.

The main point is that Lightroom and ACR have essentially, if not exactly, the same controls.

 Is there a reason why you don't just take the DNG sequence straight into aftereffects?

I personally like the saturation with the exception of some of the skies, and that green shirt! Also I thought the 2.35:1 aspect ratio would've been good for the whole sequence. Nice though!

Have you tried changing the 48fps clips to 24 BEFORE exporting the proxies (so that you have 24fps slowmo proxies)? I think the frame rate shuffling might be your problem, but it's honestly just a hunch

This was nice to watch. Definitely made me smile! Only thing I can really give help on is the slowmo footage. In the premiere menus somewhere there's an option for "indeterminate media time base" or something like that. Find that and set it to 24 (or whatever your project is) and then import the dngs. Alternatively, you can right click the dng sequence in the project menu, and select interpret footage (it may be under modify I can't remember exactly) and set the frame rate there. The latter option works with any kind of footage

Keep shooting!

To my eyes, it seems that the artifacts are still present in the second image, but the second picture is brighter which makes them less apparent. Anyone else see that?

I don't think the 60d has 1080p output from its hdmi. Look into that first

MLVFS

MLVFS is really nice

@axelcine thanks for the explanation. That's kind of what I figured, but I've only looked at the video on my phone (shame on me I know haha). I still question though if the same image could be achieved at lower resolution.

Tbh, I'm trying to find a reason to get on the 4K (3k, 2.5k) wagon aside from being able to crop in post. Maybe I just haven't done enough looking around, but I'm still seeing great looking images shot at 1080, and aside from this example Not so wowing 4K stuff

The shots look great, and I'm impressed by the numbers, but can someone detail what exactly it is that's so astonishing about this? Is it just the fact that he managed 3.5k, or is there some aspect of the picture that I'm missing? Could these shots not be achieved at a lower resolution?

I'm not being a downer, honestly asking for clarity

[I was asking if this was an issue worth taking into consideration. if it isn't, great. Let's move forward]

@trip3980 At the risk of dragging this off topic discussion any farther, I'll clarify that the only reason I brought up the legal stance is because I didn't see a point in R&D for a feature that will never be implemented because it is outside of the scope of magic lantern. If it's a non-issue then just move on. I'm not the community police. Just trying to help the process by addressing a potential problem I saw. I thought the nature of my post was made clear, but maybe I was wrong. So to be perfectly clear: I was asking if this was an issue worth taking into consideration. if it isn't, great. Let's move forward

@trip3980 I clearly stated that I'm not trying to be a stick in the mud haha I just remembered reading the post, and thought it might be relevant. If it isnt, then that's fine by me! I'm definitely not looking to stifle progress in any way

Did you make sure to turn all the noise reduction in acr off before comparing? ACR adds color noise reduction by default

"Features copied from another Canon camera (crop mode recording, clean HDMI out...)
Copying Canon code or functionality may carry legal risk for us. We do respect the Canon company and love their products and we are strict about staying on the right side of the law."

This is what I was referring to, btw. From the features that are not possible thread
( http://www.magiclantern.fm/forum/index.php?topic=950.0 )
maybe I'm misinterpreting this though

Ah I stand corrected! I thought I read that somewhere in one of the sticky posts though

Not to be a stick in the mud, and I may be wrong here, but isn't this what the 1Dc does, and isn't implementing features other canon models are capable of a "no no" for ML?

Can I just throw in that this guy may just be biased against canon in favor of Nikon...

Not really sure how relevant that may or may not be, but it's just an observation after looking at the webpage

I know this isn't what you're asking, but I can't seem to pick out any slo-mo drone shots from the video. Are you sure he even shot at a higher frame rate?

Thanks Walter. I'll try updating later today and see if that solves the problem

I will try that and see what happens for the sake of testing, but the problem then is that I actually want to have a longer ramp duration for the desired effect.

I'm trying to find if there's something I'm doing wrong, or if this just isn't possible

Yes. I'm recording h264. As I'm writing this post, I realized that there may be some sort an issue happening due to the 29 minute recording time limit.

take this example:
Fps ramp from 4>24fps
Camera says "ok run 29 minutes at 4fps (record 6,960 frames)"
Basing 1 second on 4 frames, after ramping to 24fps the camera is counting 6x faster
Camera thinks it has recoded 29 minutes because it reached 6,960 frames and stops "early" as a result

Does that make sense? Could that be what's happening? Has anyone else had this issue??