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Wow, 50mm1200s, thanks really a lot!

I'll give a look at some ACES tutorial trying to understand something.

Hi everyone,

As I wrote many times, I'm a self-taught newbie, and I "use" forums to clarify my messy ideas. So, sorry for my basic a chaotic quesions, but I think that probably other guys could be in my condition and could find useful clarifying this topic:

Since I'm an happy user of Magic Lantern's RAW video, I'd like to understand better the concepts of wide gamut and HDR footage. What I hope to have understood is that HDR refers to light, while gamut refers to color: two different things, but I'm interested into how they are related.

Now, my camera (5D3) is set on AdobeRGB, and I shoot videos in RAW. I've read (in this forum) that RAW footage captures more infos even than AdobeRGB, so it should mean that RAW footage has yet wide gamut (perhaps not Rec.2020, but it should be at least as wide as DCI-P3 or even more). So, simply shooting in RAW should let me work in wide gamut workflow. (Right?)

Now, in order to obtain a wider dynamic range, Magic Lantern offers at least 3 tools: HDR, DualISO, and Auto ETTR. More or less, I should have understood that HDR is a tripled-frame capturing to obtain high dynamic frames to both raise shadows and prevent highlights clipping at the same time (right?), while DualISO should do the same thing but this time through a dual-frame capturing and reducing vertical definition (right?), while Auto ETTR should maintain the "distance" between shadows and highlights, raising the shadows and clipping a bit the highlights that are still recoverable thanks to Davinci "recover highlights" button (right?)
Now, these three methods are different, but it seems to me they are oriented to a similar purpose: obtaining the widest dynamic range.

What I hope to have understood is that both HDR RAW and non-HDR RAW videos are good for wide gamut workflow. (right?)

Now, can we consider DCI-P3 a wide gamut color space? I'm interested into this because I'm going to try coloring a video work for a theatrical premiere. Anyway, to handle a DCI-P3 10bit work, I should have a 10bit P3 compatible monitor: for example Eizo CG2730 declares true 10bit and 98% P3. But if I want to use Eizo as preview monitor, and work at 10bit, I have to use a PCI Decklink Mini Monitor, and this brings me to a problem: Decklink can handle only Rec.709 color space. So my question is: how can I take advantage of Eizo's many profiles if Decklink can handle only Rec.709? The same thing for AdobeRGB: my camera is set to AdobeRGB, and Eizo can handle it at 99%, but again Decklink can't handle it, so if I would like to have a correct preview of my footage in its native color space, what should I do? (A Quadro card? I'd hope there is a much more cheap solution... because it should mean using my Titan X fog GUI monitoring, and a Quadro for preview monitoring? Possible something cheaper?)

Thanks a lot.

Perfect! Thank you so much Danne!

Sorry for this silly question, but I have a doubt:
Time ago I had installed an old Switch. Then yesterday I installed Exiftool. And then today I downloaded the updated Switch for overwriting the old one. Only at this point I read that Switch uses Exiftool, so my question is: could this 2 installations (Switch and Exiftool) be in conflict? Should I uninstall Exiftool?
Thanks a lot.

Thanks for your replies.
@50mm1200s: luckily I didn't find that artifact in the other shots, so I agree it was an artifact.
@mothaibaphoto: I checked the blades and seem fine (no oil, no melted parts).
Well, it seems it's all fine (hopefully).

Thanks a lot for your kind replies.
ArcziPL says right: I didn't take photos but videos, and liveview was active all the time. f/2.8 was used only for manual focusing, but yes, in those moments was zebra party... And I used Dual-ISO, that means that during shooting the sensor received both 100-ISO frames (with zebra on the sun only) AND also 800-ISO frames (zebra in the sky with diamonds...)

Do you see any artifacts on your photos at the place where the sun was or are you just worried that something could have potentially happened?

Well, I'm worried about the potential damage, yes, and up to now I didn't notice something strange in the footage, but today I was grading a frame in ACR and I noticed that with highlights slider all down, a magenta little lined disc appears internally the sun.
What does it mean? A simple fringe artifact, or a damage of a portion of the sensor?

Thank you so much 50mm1200s!!!

Why TIFF? You can just use mlv_dump and open a dng sequence in after effects. Then, export in ProRes 444 or Lagarith lossless...

Yes, you are right
(But if I read correctly somewhere, in AE even prores is YUV based, that implies a conversion in Resolve, and in theory TIFF should be ideal for quality.)

Hi guys,
perhaps this is not really a specific ML-forum-question... but you are Canon experts, and I'm worried:
Yesterday I shooted a very nice sunset (actually the sun was still high, let say late afternoon) and I wanted the sun in frame. Obviously zebra clipped on the little sun disc even with the ND filter and ISO 100, but anyway I decided to try Dual-ISO (100/800). After about 60 minus of shooting, I remembered that Canon manual says "no direct sun in frame"... and in many websites people say that direct sun light melts the sensor...
I'm stupid, I know. Now I'm worried I have damaged the sensor.
My question: with dead pixel method (THIS) is possible to understand if sensor is damaged? Or the damage could "behave" in other ways? Is it better to go to Canon service for a check?

This is my set during the session:
5D3, time 1/33, Dual-ISO 100/800 (zebra on sun even at 100), Tamron 24-70 (at 70), f/22 (2.8 only to focus) Hoya UV filter or Hoya ND filter (alternately), about 60' with liveview.

Thanks everyone in advance.

I think (I hope...) I solved it.
First of all, the fringe in my case is lateral chromatic aberration caused probably by various things: anti-aliasing filter in 5D3, lens (Tamron 24-70), filter (Hoya UV), etc. and it's visible in highlights/contrast edges.
ACR manual Defringe is fanstastic and does perfectly the job, so one workflow could be MLV-to-DNG (Switch), then DNG-to-TIFF (ACR with Defringe), then grading TIFFs in Davinci (but losing RAW tab).
At this point the great question is: what is better, losing RAW tab for working with perfect TIFFs, or trying to solve the fringe directly in Davinci and enjoy the flexibility of Raw tab?
As I wrote, Nick Driftwood method works but in my opinion is not clean actually.
So I tried to find another node-only-based solution that's the following:
1. Splitter/Combiner: Green with just little luma denoise (3 in my case), Red and Blue a bit more (5 and 6);
2. A node after the combiner has saturation 0 and a very little sharpness (0.48), then it ends to a Layer Mixer;
3. Restarting from the source, a node isolates the fringe color (Qualifier) and desaturates it (in comb with Hue);
4. After this, another node with Gain 0.01 and a good point of blur (0.6) that ends to the Layer Mixer (2nd input);
5. After the Layer Mixer one last node with denoise (in my case Luma 2 and Chroma 10).
Basically this method mainly adds Qualifier (and noise reduction) to the old Nick D. method.
The result seems to be very near to the ACR quality.
I hope this could help.

That gives a transfer rate of about 7 MB/s; using bs=1M should be a lot faster.

Looks like it might be a Mac quirk, too.

Thanks for this info a1ex! Great!

No that's not right , I been running Hackintosh for over 6 years now and never had a software issue with any video app's FCPX , A.E. , etc. ..... in fact MLVFS is all I use on my desktop (i7 Gigabyte Z77x-ud5h board) Hackintosh even with my fake MBP (i7 Toshiba p850-0c4) that's all I run . I have both on Yosemite , I even loaded my Real 5.1MP backup (clone) Yosemite OS on the Toshiba with the multibeast Linux bootloader and it was plug & play . If you would have looked in to the mlvfs Log files I'm sure you would have found the problem . I seen corrupted .mlv file crash mlvfs , but just a restart of the app fixes it -- It's nice to just click on the file and have it open up     

Hi reddeercity, thanks really much for your reply.
Unfortunally, for some reason my Hackintosh has compatible issues with various software: for example FCPX can't work at all, Rawmagic crashes, Isadora crashes, and all virtualization software as well (VirtualBox, Parallels, etc.) The reason... I don't know: perhaps the specific hardware, or the OS installation... I really don't know.
Anyway it's not a great problem: I don't use FCPX, and all the software in my workflow work fine.

Anyway, tell me, in your experience MLVFS does some defringe or CA correction? It operates automatically?

Hi Danne, thanks a lot for your reply.
Actually I'm not interested into Prores (at least until we'll see new raw version in action) nor in After Effects.
My current work is strictly linked to Davinci AND dng-files.
But seems that Switch hasn't a defringe option, while ACR has it. So it would be perfect (for me) if it would exist a solution to do the following workflow:
-MLV to DNG with Switch;
-DNG to defringed-DNG with ACR;
-ACR-defringed-DNG in Resolve (with visible ACR corrections).

Nobody knows a way to do it?

Hi reddeercity, thanks a lot for your fast reply!

I've just tried MLVProducer few seconds (I didn't know it) and I must say it's a bit tricky for me:
-I didn't find the Defringe option, but it seems that the app does an automatic de-fringe because the fringe is almost gone... almost, because I must say that (to me) ACR does better the job (fringe completely gone);
-Once converted in DNGs with MLVProducer, the footage in Davinci appears completely wrong in temperature and tint and luminance... why?

I must admit that I was pretty happy with Switch (BUT the fringe issue) and it would have been perfect if ACR corrections would remain visible in Davinci... Nobody knows a way to export ACR corrections in a way they are visible in Davinci?

I can't use MLVFS because I use an Hackintosh (it means less compatibility with some piece of software, for example RAWMagic) and when I tried to install MLVFS (time ago) it crashed.

[this 1st method doesn't work with me]

Hi everyone,

I've found many webpages about the same issue, some older some newer, but I can't find a clear and updated method to fix the purple/green fringe in Raw highlights (and perhaps a little general color cast in MLV files from 5D3).
Up to now I tried 4 methods:
1. Iliah Borg's method for BMPCC footage is based on RawDigger histogram analysis of the DNG file for finding the closest value to the extreme highlights noise and setting that value as white level of the DNG via Exiftool. But I must say that this 1st method doesn't work with me;
2. RawTherapee has a Defringe tool that sounds promising, but again I must say that this 2st method doesn't work with me;
3. Nick Driftwood's Resolve node-based method is artful and it works, but (quoting an article by Dave Kendricken) «Some users, however, felt this workaround was too much of a compromise to be considered a viable alternative to an Adobe Camera RAW workflow. (Even though appending nodes in Resolve makes applying 'de-fringing' corrections to many clips very fast, it isn't really ideal).» The article continues with the good news that Resolve 10 auto-magically fixes the fringe, but it's actually not true for me. Said that, I roughly agree with the fact that this 3rd method is rather old (Davinci 9) and it seems not "ideal", not pretty clean;
4. ACR method appears to be that "clean" solution: it's simply based on Remove Chromatic Aberration option (Lens Corrections tab) and it works BUT only in ACR: importing the fixed ACR-DNGs in Resolve, the fringe is still there! as if the ACR corrections are NOT visible in Resolve (even exporting the original DNGs to new ACR-DNGs).

(Right here a little secondary question: ACR-saved-DNGs' size is about half the size of the original Switch-DNGs, why?)

Now, considering that I need to use Switch (for MLV to DNG conversion) which is the cleanest method that fixes the purple/green fringe AND lets me grade in Resolve?
Perhaps setting the white level in Switch? (but Exiftool method didn't give any result...)
Should I use IR filters? (Like BMPCC users...)

Thanks in advance for your kind help.

P.S. Just another couple of secondary questions:
1. In Switch mlv_dump, if you DON'T select the option (07) disable vertical stripes in highlights, means that Switch DOES fix the vertical stripes, right?
2. Time ago I had installed an old Switch. Today I installed Exiftool. Then I downloaded the updated Switch for overwriting the old one. Only at this point I read that Switch uses Exiftool, so my question is: could this 2 installations (Switch and Exiftool) be in conflict? Should I uninstall Exiftool?

Again, thanks a lot.

Guys, really thanks both!

I tried the diskutil copy + ddrescue method by a1ex, and it worked perfectly!

So REALLY THANKS!!!

P.S. only a thing: I noticed that "dd if/of" method is VERY time consuming: 10 hours for a 256GB CFlash! It's a lot of time... Anyway it worked, so... who cares about time!

Hi guys,

perhaps this question is not new, but sincerely I can't find solution on similar old topics. So here the question:

It happens that I shoot a file when the card is almost full. Then, after a while, ML stops the recording and says CARD FULL. I try to download also that last file from the card (with a card reader), but Mac says The Finder can't complete the operation because some data in "M02-0813.MLV" can't be read or written. (Error code -36)
Is there a way to download/recover that last file?

Thanks really a lot for your help.

Hi everyone,

I have a problem using 5X ZOOM on 5D3: almost every 1 or 2 seconds, a brighter frame occur, like a sort of random strobo efx.
I'm shooting in RAW 1920*1280 @24fps.

Can you help me, please?

Thanks a lot.

Thanks Danne,

HERE is a zip with: dark/bluish dng (just the first frame*) + correct image (a screenshot of MlRawViewer) + Log file.

(*Just the first frame because actually Switch corrects the former cr2hdr error, that was first frame correct vs the others uncorrect: now Switch works well for all the frames, or - 1of10 - it changes the colours of all the frames.)

Thanks for your time and attention.

Many thanks for your useful reply!

It just remains the little doubt about AdobeRGB vs sRGB MLVs: Switch should handle the mlv-to-dng conversion as well, right?

Dear Danne,

I've completed a long test. I used all auto-balanced MLV files without audio (like legacy RAW files) on 5D3.1.2.3. It seems to me (but I could be wrong) that Switch tries to correct the WB in ALL the awb-files, and I must say that 9 out of 10 it rocks, while 1 out of 10 is (again) very-very dark and blue.

I'd have some question (I've read all the topic, but some doubt remains):

1. Does Switch work well with both sRGB or AdobeRGB files, or it works better with sRGB only?

2. Is my "dark-bluish issue" due only to the awb set of my footage, or could be I didn't properly install Adobe DNG Converter? (I did just drag&drop the app onto Applications folder);

3. Anyway, outputting DNG, the bluish file can be corrected in Davinci Resolve's RAW tab, right?

4. Which is the difference between (m) and (ms) in Switch's Main menu?

5. Once in (m), I usually added only (15) to disable dualiso (my files are not dual-iso) and then (r), but now I notice the "disable vertical stripes in highlights" option. Sorry for the silly question: are there usually vertical highlights stripes is 5D3 footage? (Because I never saw them, but it could be my inobservance);

6. Which is the difference in quality terms between dng vs comressed dng? And if I want to convert MLV into compressed dng, should I add (10) compress dng, or (11) compress MLV?

7. (12) option says "uncompressed exporting": what does it mean? If I don't add this option I should anyway convert a MLV into uncompressed 14bit dng, right? Or not?

8. What is MLVFS?

Sorry for this big bunch of questions

Really thanks for your very kind help.

I'm trying Switch right now, and it seems it's solving the problem.

Anyway, yes: I'm converting auto-balanced footage (awb) and this could be the problem.

I also set the camera (5D3) in AdobeRGB color space (instead of the default sRGB), could it be a problem for Switch?

(Thanks a lot as always!!!)

Hi everyone,
I need your help, please.
I have a very basic question: I use cr2hdr only for mlv to CDNG task (no dual-iso), but I have a strange issue here: after converting mlv into dng I noticed that the very first frames have right colours (even if a bit darker then the original mlv), while from (let's say...) the 4th frame to the end the colours turn into a very dark and bluish tone... In other words, cr2hdr converts badly my 5D3 files.
I have simply set (m) mlv_dump settings, and (10) disable dualiso automation, then (r) run cr2hdr.
My .mlv files are without audio (like legacy raw video) even if made with a recent ML release.
I work on an hackintosh Sierra.
Any ideas?
Thanks a lot.

Thanks SO much for your reply!

Sorry guys, about heat, after recording in liveview for a while, my 5D3 operating temperature rises up to 52-55° (it's a ML overlay, and it's colour turns orange/alert over 50°).
Do you think is a normal operating temperature for video recording?
Thanks