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I suspected the fault might be related to the HDMI port, however reinstalling ML fixed the err 80 issue so I can't rule out ML either.

It's not necessary related to the ML, in my experience in repairing various electronics things could be like - you have a TV and it won't turn on from the remote, the remote seems to be fine but it doesn't work, so you buy another remote and it works... but eventually you can't turn on the TV at all. And the problem was actually the PSU all the time..

Or a client say something doesn't work after the storm and lightning strike near his house, but you will find a physical crack in the PCB and bad contact, nothing to do with lightning

It happens a lot, something seems to be related but it is not the source of a problem..

Interesting, but there is no information about whether it is possible to read the information after picture style processing, and save it to the card, without h.264 compression... But anyway

I used CineStyle on 550D but with any luts including official lut which comes with it, colors were just dead
It is not that obvious when you use it for video, but once I forgot to change the picture style and shot some JPGs with it, and then switched back to some of my usual profiles, later I couldn't make those JPGs look even somewhat close, even with luts and all photoshop corrections. The difference was so big..

After that I decided to get the look I wait in-camera first, and adjust it further I in post. Maybe I lack some skills or something but even youtube demos with CineStyle to my eye look somewhat flat in color, missing some punch and variations. I guess you just can't fit 14 bit range in 8 bit file and preserve all gradients at the same time.. But maybe I am just too noob to do it correctly, who knows

What about picture profiles? They can do log or anything, if there is a place where the information could be read after picture profile processing it would be an ideal solution...


By the way LUT (I mean the real look-up table, an array) is probably the fastest way possible, if done correctly it can take only a few processor cycles

P.s. I may be wrong about look-up table, it seems like it depends on the system.. For example, on modern computers the access time to the ram is too slow.
My experience is mostly with 8 bit MCUs and a little bit of 32 bit MCUs but the memory there is integrated, so the access time is instant. I don't know how Canon cameras will behave
But I did a synth project in the past and eventually replaced almost every part of the code by luts, it was faster. Instead of one voice I could implement four.

Read the rest of that post. That Reddeercity made the same point that I'm making now.

I have to disagree with this point, there are easily some scenes that have a lot of dynamic range and you will have both the highlights and the shadows clipped, in the same frame.
In the first post you can clearly see more useful dynamic range with higher bit depths, it doesn't matter if the window was or wasn't over exposed, it could be if the sun was bright enough..

If you can fit everything in 10 bit range then it will be enough, if you are in the very controlled environment (in the studio) you can even make 8 bit h.264 look great.

But there are plenty of scenes where you need as much DR as possible. Bright sunny day, sunsets, light sources in the frame like a table lamp, etc..

I wonder if some kind of dithering could be implemented and if it will look better.
Probably LSB could be used as almost random source..
You know, in theory you have to dither every time you go to lower bit depth, not just truncate least significant bits..

https://www.magiclantern.fm/forum/index.php?topic=24933.0

You can clearly see the difference between different bit depths in this thread, it's already been tested many times before...

Personally I don't know about color shifts other than green shadows in this example, but this is probably because of the difference in black level, you can set it a little bit different and get red or magenta tint in the shadows

Yeah banding and all kind of noisy shadows in 10bit, but 12 is just a little bit worse than 14, not as much though.
Subjectively if you place bit depth at the scale, it looks like:

10........................................12..14

Where 12 is much much closer to 14 than to 10. It is really like that.
It is just my opinion though

Someone even said 11 bit is a good balance between the image quality and file size, but I can't compare - don't have a camera that supports 11 bit.

Just an idea, one interesting option, in ML you have sound trigger, the camera will make a picture if you exceed certain volume threshold. So it can be triggered by a sound from a cellphone (headphone out - audio in, or just by sound), and this way you can trigger your bomb your camera from anywhere hehe
I don't know what is your purpose and it is not an elegant solution obviously, but very easy to do.

And I am not sure if it will work with all energy saving options activated, but it's easy to try..

probably

I'll do test... what is transcode file?

We can test it, if you want My computer vs yours on same raw footage
it doesn't even have to be the same, just uncrompressed raw (I don't have a camera with compression enabled), same resolution and bit depth

I can only test with MLV App and adobe premiere, (both raw cdng in premiere and prores or h.264)...
Can't run resolve here, because the graphics card is too old. Radeon something 4580, if I remember correctly, people say you need very ancient version of resolve (like resolve 8 ), and the oldest version I found is 11, it can't see the graphics card. It's already too modern hahahah

So guys still no news? Anybody heard anything about him? FB, discrod, other platforms? Anyone tried emailing him?

By the way, what would be really interesting is if you can do something to make 8 bit raw at least somewhat useful by pushing shadows values somehow, maybe with very simple algorithm..
Could be interesting "low bitrate" mode when you need longer recording times

I don't know why but when I edit projects with stock h.264 footage I have realtime playback, I can do it even on very old computer, but real-time RAW was always something impossible. I used to have a laptop from 2012 and now my main PC is core 2 duo 2 ghz from 2007, with ssd but really old graphics card, it can't even handle realtime h.264 most of the time, although it works, I have about 4-5 seconds of somewhat realtime playback...
But RAW is just out of the question, and if I use MLV App for color grading and export everything in any of prores (even 422) then I can only edit everything without playing the project.
Anyway I export everything in prores 4444 and cut using my imagination So nothing can stop me lol

But it is more demanding if you have an old computer, maybe on relatively new hardware you have different behavior.

It would be actually cool if MLV App had an option for someone who don't want to spend a lot of time, something like quick export everything in Arri Log and auto-level adjust for each clip so they are not too over or under-exposed. People say it is important to have proper exposure level before converting to log. Just like one button solution, select a folder and everything is done, exported in prores 4444 for example.

I know it is not ideal. But it is a very quick and easy start for people who work with other cameras usually shooting log profiles, so they can color grade in whatever software they like.
And if they want to have a better control over everything they can learn MLV App features..


MLV App is great but it's interface and sliders behavior is different from most software (premiere, resolve, even lightroom) and also there is a lot of features that can confuse new people, like RAW section and profiles with transfer function and everything. I get it when someone say it is difficult to achieve what they want in MLV App, you need some experience with this software. I usually tweak sliders and curves in certain way which I know will work in MLV App and only in MLV App, if I open the same frame in Adobe software I will do completely different things.

So you really need to know MLV App behavior to use it effectively, it is a fact. Which is another layer of complexity, while with other cameras you usually need just your NLE which you already know how to use.

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Hahaha, two main downsides for me in 5D3 are:

1. body weight and size (especially when equipped with 24-105 F/4 lens)
2. no flip screen

3. You can not install vintage lenses with short flange distance or a speedbooster Of all ML-enabled cameras only EOS M can do that, and I think it is a huge advantage of EOS M, you can experiment with all kinds of crazy lenses, I have some lenses laying around which I would love to try in RAW recording, but... Only EOS M users can do it.

Please report here if you find anything interesting I love 5D2

I don't know how stable 1x3 presets are, but on many cameras default 3x3 mode is usually very easy to use and almost never crashes, just press record and enjoy.. it will be the same resolution as native h.264 but it will have more details and of course more dynamic range and everything you will expect from raw. If you use 10 or 12 bits you don't even need a fast card.

It is just better than native h.264 in every aspect, except for:
You need more GBs
It takes some time to process, although it will be faster than 3k or 2,8k processing
And there is no smooth review of the recorded material in camera.



P.s. I understand why you want to use standard h.264 recording for your project, if it is more about the story and you don't have a lot of $$$ or time to make everything perfect, it is totally ok..

But even standard nightly build or any very stable ML build for your camera can give you some advantages when recording in h.264, such as - histograms, false colors(!!!), focus peaking, 10x zoom on half shutter (for focusing), disabling auto gain for microphone and so on.

Middle box with purple line will show you realtime brightness level across the frame.. I even find it more useful than histograms. Especially when you are adjusting the exposure in the situation where there is not a lot of contrast, let's say in the winter with snow everywhere on overcast day. It is more for non-raw recordings, for raw you usually do ETTR or sacrifice some not important parts of an image in favor of more important things (people faces, etc), overexposing or underexposing some parts but you will have your main subject exposed somewhat correctly.

I also see some vignetting on some shots on the left side, maybe sometimes your preset wasn't centered? Like some bug in settings..

With lossless compression and let's say 10 bit recording digic 4 cameras with SD card COULD be somewhat useful if you want to record only short clips like 10 seconds.. When I film something just for pleasure I rarely do more than 15-20 seconds. Usually it is enough. If you are doing stuff like b-roll then it can be ok..
Of course if you want to record an interview or a long video then obviously you'll need another camera..

if you want to catch people's attention...

yeah that's unfortunate.. tiktok generation want everything fast It is really good to see someone who still find an inspiration in Tarkovsky movies

My 2 cents - maybe fireworks is the exactly one kind of scenario where you may wish to have 360 degree shutter angle.. It may look more interesting with motion blur, but I never shot fireworks with ML so it is just in theory.

Although if you want to use plugins to create slow motion later, then motion blur is your enemy.

I shot fireworks in usual video mode once, and I definitely noticed that you want details in low lights, because after the explosion you will have those light trails everywhere and they are quite dim compared to the explosion itself, but if you can see them on your footage it looks better.
Personally I won't care as much about over-exposing the highlights, I would focus my attention on low light sensitivity. Although technically it is kind of wrong.

But if you are going to some really epic firework show where everything will be just filled with light, then you probably want to adjust your settings to have better highlights instead (not clipped as much)


After all, it will probably be a trade-off between the dynamic range and the ability to recover dim trails of light.

You can try your settings with some cheap sparklers in the night, to see what works best.. Not exactly the same thing but it will probably give you some ideas.


p.s. maybe this will help:

I like everything it's very cool but you already said the editing is very agressive, it is hard to watch sometimes...
Don't get me wrong I don't want to say anything negative, I love production and the music is also great, but I just miss the ability to focus my attention on a girl there you cut everything so fast, or maybe I'm just getting old..

Huge respect to everyone involved in making this song and the video, it is great guys! It is really nicely produced

Yeah I like everything but definitely needs some stabilization on hand-held shots Colors are great

See the world as what it is!

That's not for me, it will be so boring... I will never pick up a camera that just records 1:1 everything as you see it.. 
Why everyone loves film for example? Maybe not everyone but a lot of people..

My favorite lens is Jupiter-21m and this is just the opposite side of what our eyes can see. I love magic that camera can give us. I love anamorphic lenses with all their unusual distortions, flares, depth of field and everything.. It is just so beautiful

I don't know guys, everyone can do whatever they want of course.. For example painters, some of them do hyperrealism but it is often considered... let's say not as much of an art, because any camera can do that now And you should express your soul and your unique vision through the art. Or maybe not, art is a very broad term and can go in any direction.

So it is your job to select camera/lens combination so it will suit your ideas and creative process, maybe you want to show the world exactly as it is, maybe not