Topics

Hello,

It's been while, but here is a new movie. Again, a special thanks to Danne for his amazing builds

Shot on my 100D with the 40 mm STM pancake and the 55-250 mm IS. Tips for helping me improving are always welcomed!

Workflow:
1. 12 bit lossless raw with the latest Danne's ML version I could find
2. convert to CDNG with MLV App, using darkframe subtraction and 3x3 chroma smooth
3. ACR in AE 32 bits color project: optics, sharpening and noise reduction, dehaze and clarity, Cinelog-C profile
5. export from AE to DNxHR 2K 444 12 bits
6. import in PP, lumetri color correction and an adjustment layer with the "Cinelog-C to REC709 Full" LUT

Hello,

Here is my new movie, shot in Switzerland. I thank you for your comments and advices: this one is much better compared to the previous one. I'd off course be happy to receive comments again on how I can improve and produce a better one next time!

Workflow:
1. 12 bit lossless raw with Danne's ML version
2. convert to CDNG file from Danne's batch_mlv
3. ACR in AE 32 bits color project, Rec. 709 color space.
4. exposition adjusted with AE exposure filter, not in ACR
5. export from AE to Cinelog-C with DNxHD 444
6. import in PP, add lumetri color with basic LUT "none", creative LUT "Cinelog universal film Rec. 709 film full"

I used 12 bits lossless raw video on a Canon 100D and a 10-18 Lens, with alternatively "crop mode" on and off.

I stopped using VisionLog, I bought the Cinelog profiles. It seems much better.

To avoid any flickering, I stopped using any slider in ACR, except sharpening and noise reduction. I wonder if I can safely use the lens distortion correction (without the vignetting correction). I miss to be able to use the clarity or dehaze filters though.

While shooting, I tried to use the "a little zebras are OK" policy for exposure, for some shots (like the one at 00:40). But now that I do not use the basic sliders in ACR, I have trouble getting the highlights back. In the Lumetri Color effect in PP, I find that only the shadows slider is helpful, but not really the white, blacks, highlights ones. I wonder if if i'm doing this right, and if I should go back to a "no zebra" policy.

Hello,

Here is a short ski touring film, made with raw video on a Canon 100D and a 10-18 Lens. I'd be happy to receive comments on how I can improve and produce a better one next time!

I use the VisionLog profile. Do you think I would benefit from using the Cinelog profiles?

Workflow for each clip:
1. MLVFS -> AE -> ACR : Adjust the image with "Adobe Color" profile, then use VisionLog profile. The project settings are 16 bits per channel, Rec. 709.
2. Put in new HDTV 1080p 25 composition (no upscaling, means I have black borders), export to DNxHD (10 bits)
3. Import in PP, edit in a new 1080p DNxHD sequence, and apply a Lumetri Color effect with "VisionLog to camera neutral Rec. 709" input LUT.
4. Create a new 720p sequence, export to H264.

This is my first test of ML raw "in the wild". It's really amazing! My intend was to play with rack focus, and there I discovered the power of magic zoom.

Basic grading in PP using only exposure, highlights, shadows, blacks and whites.

Hi everyone,

I'm very glad to be here, and very exited to see a lot of activity around the Canon 100D port, which now in beta. I'm doing photo and video for fun, and I'm looking forward to record raw video, use the intervalometer, and the focus features that ML provides!

Cheers!