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15 august and 13 sept. both for 1.1.3

https://we.tl/t-Mc6onjR8Zu

but the recent one is more stable you know, less bugs.

I think that's a very good answer to help him.

1920x2160

as if you plane to shoot like, square ? 0.88 ratio ?

Could you, please, be so kind to tell me if there are any focus pixel maps for 5D3 1.1.3 1080 full sensor? Cannot delete focus pixels in MLVApp.

or maybe you have hot pixels, which can be fixed as wall as in mlvapp or davinci.

for smooth playback I try to always keep the dng's on the internal disk and in resolve you can always generate optimised media. it takes a little of time but it's worth the wait.

Thank you !

@Danne quick question while you are here

I know there is 1080 24fps 1x1 preset, which is great, but can you confirm one thing : in slowmo presets (48fps, 50fps, 60fps) with crop checked in Q menu of the preset, it is also 1x1 ?

It's really cool ! I also enjoyed the voice over your wrote, it adds a lot to the feeling and depth.

So you shoot all in 1080P ?

When you're walking/running in the sand, how did you managed to stay stabilised ? is it the wide lens ? Or some post ? Or Ninja skills ?

wider lens and ninja steps will help 

so are you using some kind of variation of our presets? or going from alexa export from mlv app then Juan on resolve?

for the moment im sticking with 1080-3k-4k dng exports and if I have a serious aliasing problem I'll definitely render as prores in alexa log (with in mind that there might be some banding)

and that is Mr John Knoll ! (VFX guy on the special editions of SW and then its 3 prequels)

He also famous among the motion design community for creating Knoll Light Factory, a lens flare plugin, long time before Andrew Kramer and Video Copilot came up with the same but different Optical Flare plugin.

no diffusion !

it's the lens itself when wide open under f/2, it flares naturally like that

Hello, first: nice video and thanks for sharing your settings with it !

You're welcome!

have you tried Danne's latest since the august 15 build ?

Yes I have, and the new 3.5K preset allows higher definition, it's great. it's just that the 15th aug. version was the one that was available at the time of the trip.

When you shot on anamorphic, what kind of lens have you used ?

The same lens, 35mm. it's only about the "anamorphic" preset that allow to be more full frame POV without crop (as opposed to the 3K & 4K presets in which you have to be cropped). It's recorded squeezed. Please check these screen shots https://imgur.com/a/8c0ofcB

When you open that shot in MLV app it automatically apply a strech, but when exported as DNG, you have apply on your editing software the stretching to retrieve the original ratio.

Were you using sd overclock ?

Yes, and the rate of filling the sd card was low so I was confident to only have to swap the CF, and lucky too because I had only one SD (vs 3 CF cards). Let me explain :
On the CF cards, the "main" MLV file was written, and "secondary" MLV files (such as M00, M01...) were going to the SD and because they were very heavy in file size.
I hope I was clear.

One more time I thanks you for sharing your experience with us.

Thx !
And I wish to thank also everyone else to continue to share their experiences as well

[UHD 3840x1536]

Summer holidays in september, thanks to covid-19.

Big challenge : take only one lens to travel, an old 35mm IFBagon (I also talk about it here) and no laptop to carry to unload the cards, So I tried to not shoot too much

No ND filter available for this lens but anyway the shutter speed was close to 1/50 (sometimes 1/100) to keep the nice motion blur WE ALL LOVE.
But you guess it can be blown out very quickly. I closed the iris at the max (about f/22) which made the image even more sharper despite the optical defects of the lens (in the corners, like a "blur vignet", it's more visible in the wider shots)

It's mission impossible to stay stable, excepted for the "quiet landscape views" where I could just put the camera over a small wall, pointing to the far horizon. All was handheld but stabilised in post. More on that bellow.

70% of the shots were recorded with the preset UHD 3840x1536. I had set the raw preview on frozen live view and as Paul Heran mentionned in his lovely Seattle videos, the preview was actually not broken but in B&W. I could easily switch between cropped real time preview and correct framing (slow and B&W) with m-Fn button or halfway shutter release button (of course in manual focus of not your camera will try to focus. Anyway that lens can't auto focus)
The wider shots were in 5K anamorphic and with the same aspect ratio (although I had to zoom in a little bit to reframe there was a black line on top, it's not exaaaaactly the same ratio)

the build used (rolling druuuums) : Dannes's crop_rec_4k_mlv_snd_isogain_1x3_presets_2020Aug15.5D3113 and thank you for all the amount of work.

If you're fan of stats here are some : 3 CF cards (2x64 Gb and 1x128 Gb, all komputerbay x1060) and in order to use card spanning to make this thing work, my SD card is a SDXC SanDisk Extreme PRO 128 Go (170 Mb/s, Classe 10, U3, V30, 4K UHD). I had 4 batteries, but I generally used only 1-2 per day that I recharged at night. Pour holidays were 7 days but it's approx. 3-4 days of shoot, and the cards were full and there was a total of 16 min recorded.

So the workflow is the following :
MLV App to export as DNG and no more

DaVinci Resolve 16 for the editing and at the same time color correct, starting with a base of Hunter's LUT (I decided to try it instead of eoshd's lut) and in order to that the rightway, you have to set first how the raw will be interpreted in DaVinci. here is a screen shot of the settings. and finally color grading, set the WB cooler, adjust the skin tones, the blue of the sea... not to much. I reduced the noise of the only night shot. The aerial shots were done with a DJI Mavic Mini. I found a way to lower the visual quality and over sharpness of the drone shots to help matching the 5K organic aspect with DaVinci's tool.

After-Effects 2020 was the best alternative to stabilise the shots, as it a real catastrophic nightmare in DR. Only Adobe's Warp stabilizer could handle perfectly the shots because of the strong rolling shutter. It was impossible for DR to stabilise it properly with introduce strange jittering moves. In after, I set the strengh to 2-5%.

And finally as always, I added a grain footage over all the render to give a finished touch.

Feel free to ask me anything !

great ! Sorry to have sounded the alarm

did anyone noticed that change in the firmware 1.1.1 of the R6
https://www.canon-europe.com/support/consumer_products/products/cameras/digital_slr/eos-r6.html?type=firmware&firmwaredetailid=tcm:13-2011538&os=macos%2010.15%20%28catalina%29&language=en



is it related to the "time hack" ?

Wow !

Yes and at the shot with the bus at 23 sec its even more noticable. Other then that it looks really good I like the grading and I think I really like the quality of the lenses you are using, it is some old ones? Now I saw you vimeo comment. Good lens quality.

What resolution height and width are you shooting at and what do you upscale to? UHD 3840x2160 in the end?

Thank you so much !

I can't answer your question, sadly I didn't kept the files, as it was for test purposes. But I'm certain that to get full POV I must have shot in anamorphic 5K. Or in mv1080. I think it must be 1080 as I noticed the strong aliasing in Davinci's debayering the DNG compared to MLVapp, and I didn't received yet a faster SD card to use card spanning.

Anyway yes, after I upscaled to UHD for upload on Vimeo.

But for the other movie "Paris libéré #2" I shot directly in 5K and 3.5K crop, and I didn't had aliasing pb's. Now that I am writing that, I'm pretty sure it was mv1080 for the "bike streets/champs" movie.

Here is the old lens and the mount I bough on amazon :

here for example, mostly visible at 30s, the guy walking with a grey backpack, his bag curve is like a staircase. It's more noticeable if you watch it on a 4K monitor

(shot in 1080p but anamorphic preset)

do you believe this can be applied to the 5D3 or it's impossible ?

Thanks wib! I'm often shooting in 1080 mode (...) that this practice will reduce the bit depth to 10bit (...) it could result in banding.

Yes, I forgot to mention that the strong aliasing in anamorphic was in 1080, in my 5D3. But not as much in 5K on thin and diagonal lines. Also, after a few test, yes unfortunatly I had some severe banding, even with prores 4444. So I guess from now, I'll stick to 3.5K and DNG, as the color are more richer and allows more control over the highlights in davinci.

exported as DNG from MLV app without any settings, and In Davinci a lut is applied and of course in the raw setting you can minimize the highlights and then you're done. the shot is perfect.

Here are the settings I modified in davinci.

project setting / camera raw tab :
raw profile cinema DNG
decode using project
color space blackmagic design
gamma blackmagicdesign
highlights recovery checked

I applied a lut. I used one that I created but you can use EOSHD LUT 5D3 RAW

in the color tab, in the camera raw menu :
color temp 3740
expo -1,5
sharpness 0
highlights -100

I'm curious to find comparisons too. that's the only step stopping me to switch from
5D3 with MLRAW to R6

Hi. it depends in wish resolution you shot. in my experience i had the bad surprise to notice some heavy aliasing in dng, but when rendered as mov from mlvapp, all the small details were smooth as butter.

So I think it's maybe a better workflow this way : alexa log profile in mlvapp and juan's lut in your favorite editing/color software.

This gave me a curiosity to try Hunter's lut, and I think I will adopt another workflow : in mlvapp apply the alexa c log profile ( + set WB to 5500k° and 10 tint) & render as prores 4444. then in Davinci I apply this lut. and as in alexa log, the image is slightly over exposed, because you have to apply a "s curve" to retrieve a normal exposition, basically you reduce noice in shadows. Also, exporting direcly from mlv will give a better antialiasing compare to the debayering in davinci.