Author Topic: MLP - Mac OSX batch processing workflow (former cr2hdr-r) (Read 482030 times)

jakepetre · « **Reply #625 on:** February 19, 2016, 12:06:39 PM »

I'm completely lost..I know nothing of coding. I'm trying to edit dual ISO images from my 70D and the LR plugin simply doesn't work. Tried installing binaries for MLP and that seemed to work. Now I have no clue what I actually need to do in order to edit these files of mine.

Danne · « **Reply #626 on:** February 19, 2016, 12:12:06 PM »

Edit your DNG files as you normally would. They can be dark so then you push your blacks. Work with your sliders in lightroom for instance.
Also try search here on the forum. Plenty to read about workflows and such.

DeafEyeJedi · « **Reply #627 on:** February 19, 2016, 06:31:13 PM »

@jakepetre & anyone else that are curious...

Danne · « **Reply #628 on:** February 25, 2016, 11:16:31 AM »

New version up.
Been having good collaborations with dfort who,s refining his pixel map script which works through dcraw. He created an awesome script which works in MLP. Check out the script here https://bitbucket.org/daniel_fort/ml-focus-pixels/src
For MLV files the focus pixel fixing is pretty much automated in MLP and now with some minimal manual user handling it also works with RAW files as well.
I think we,ll soon can change to use mlv lite http://www.magiclantern.fm/forum/index.php?topic=16650.0
which handles metadata much better but there will always be some need for handling of RAW files so here is one way to do this. The affected cameras are.

Canon eos M, 650D, 700D, 100D.

no pixel list added

Pixel list added

Workflow
1 - Add your RAW files from any of the affected cameras into a folder. Right click the folder and select MLP the usual way. On first run it creates the usual folder structure. On second run a menu screen will pop up with some alternatives. It will find out automatically if the RAW file contains dng files from any of the affected cameras. Info is found via exiftool.

2 - From the menu select you camera and movie mode. Your RAW folder can include mixed footage sizes within the same mv mode. You can,t mix mv modes however. One mv mode at the time. After selection MLP will continue processing. A dead_pixel_list.txt file will be created inside the folders of dng files.

Great thanks to dfort for bringing in the possibilties to work with RAW with these problematic cameras.

DeafEyeJedi · « **Reply #629 on:** February 26, 2016, 07:24:00 AM »

Digging @dort's work on these humpy dots with some test files shot from SL1 ... Really nice actually and Thanks for the update @Danne!

Pre: Post:

Dual-ISO's coming up next...

DeafEyeJedi · « **Reply #630 on:** February 26, 2016, 08:08:00 AM »

Question(s) ... am I on the right track here in terms of the workflow while running through MLP?

-PM sent-

Macke1 · « **Reply #631 on:** February 26, 2016, 11:01:59 AM »

Ok, sorry that i didn´t respond to you yesterday, i will try some more this evening. Thanks i will try the thing you wrote 02 @dfort and danne

DeafEyeJedi · « **Reply #632 on:** February 27, 2016, 11:57:03 PM »

Question ... Dont remember if I want to import the DNG's into DR12 then I'll need to add Repack to 16-bit for proper DNG reading on DR12, correct?

Danne · « **Reply #633 on:** February 28, 2016, 12:03:07 AM »

For premiere. DR takes 14-bit just fine.

DeafEyeJedi · « **Reply #634 on:** February 28, 2016, 12:06:29 AM »

Ah, ha ... that's right. Thanks for the friendly reminder. 16-bit would have a slight edge over 14-bit when it comes to color-grading, correct?

I'm actually currently rendering some 2.5k Dual-ISO test footage I shot with an Opteka 6.5mm lens (I know it doesn't work for full frame since its made for APC-C sensors) but hey if it works then why not?

Curious if I'm allowed to mix old RAW with MLV Lite files together if I want to run MLP or best to keep them separated? lol

Stand by...

DeafEyeJedi · « **Reply #635 on:** February 28, 2016, 01:15:38 AM »

Some quick 2.5K test shots on 5D3 w an Opteka 6.5mm and rendered entirely in MLP.

This is what I used in the A_Lut_Hold Folder.

Then I took ProRes4444 and Color graded them in FCPX with each Non Dual-ISO and Dual-ISO have their own separate setting under LUT Utility.

I know it may not be the best solution to try and color grade Dual-ISO files AFTER rendering in MLP ... May need to do another test run and perhaps do the color grade process in MLP prior to exporting into ProRes4444, ya?

Be sure to watch it in 2K HD under your Vimeo viewing settings for best quality.

Thanks @Danne for making it possible to use your logs especially for Dual-ISO ... Up next I think I'll need to steal some of of your old custom LUTS that you previously made to apply on Dual-ISO footage.

Danne · « **Reply #636 on:** February 28, 2016, 01:37:28 AM »

Alway nice to see the dynamic range in dual iso. I put in a 3.6 gamma lift aswell for dual iso. You could try changing to that from the 2.4 gamma.txt. if you like you can also try a stronger highlight regain in the dcraw_any_command.txt file. Open it up and put in -H 6 instead of -H 2.
Thanks for sharing.
By the way. The 14-16bit repack won,t give better image quality. It,s only numbers for picky premiere.

DeafEyeJedi · « **Reply #637 on:** February 28, 2016, 02:03:09 AM »

True. I think the DR can be achieved better if I instead use the 3.6 gamma lift per your suggestion. Forgot that Dual-ISO requires this and Thanks for yet another friendly reminder!

Btw, I just decided to shoot some quick HDR test and since I can't go into crop-mode while recording slo-mo @ 60fps ... So instead of using crop-mode (because all I see on the 5D3 is a square of the 6.5mm lens made for APS-C sensors) I then randomly fiddled with the aspect ratio down to 1280x432 which magically fitted into the entire 6.5mm (well just literally) and I couldn't believe what I was seeing and the best part was shooting this in RAW.

Now I gotta digest these files and hopefully they'll come out well. Need a friendly reminder here ... Which HDR settings is best used for RAW footage (not H264 in which I'll test later on) and I'll be much appreciated for your kind suggestions as always, Danne!

Danne · « **Reply #638 on:** February 28, 2016, 02:07:06 AM »

Both tblend filters. Nothing else.

DeafEyeJedi · « **Reply #639 on:** February 28, 2016, 02:12:29 AM »

Thanks! Not even the ProRes4444 text file in the A_Lut Folder, correct?

Danne · « **Reply #640 on:** February 28, 2016, 02:20:59 AM »

Check Reply #603
Something similar should work for raw footage aswell. Also see page 8 in the user_guide.

DeafEyeJedi · « **Reply #641 on:** February 28, 2016, 02:25:59 AM »

Right, I've seen that and you mentioned shooting in H264 in that very Post but I shot in RAW and wasn't sure. Thanks, D!

DeafEyeJedi · « **Reply #642 on:** February 28, 2016, 09:27:53 AM »

Some new HDR FuN sTuFf that I decided to see what can be done with an Opteka 6.5mm f3.5 specifically aimed for APS-C cameras but once I fiddled with the Aspect Ratio while in 60p mv720 on 5D3 (managed to get into the cropped part of the lens) without the need of using crop-mode (it wouldn't work with slo mo anyway since its limited to 30p only) and so the fun part begins...

•These are screenshots of the ML settings I fiddled with that did the trick for this particular lens...

•These are what I used in the A_Lut_Hold Folder for HDR...

•These are what I used to color grade with the converted HDR files in FCPX within the LUT Utility (Thanks @Danne for your lovely .cubes)...

https://vimeo.com/157008140

Not bad for a cheapo Fish Eye lens that's a bit tad slow, eh?

Thanks, D!!!

Danne · « **Reply #643 on:** February 28, 2016, 10:09:52 AM »

The advantage of filming HDR in mv720 60fps compared with dual iso is to be able to use lenses in a non cropped movie mode. The image artifacts are less noticeable in HDR as well. Now this is not fully true when filming raw since 60fps would yield a compromise in image size to get continuous filming. Try H.264 as well. 100-3200 for instance.

DeafEyeJedi · « **Reply #644 on:** February 28, 2016, 10:22:28 AM »

That's true about HDR having an advantage over Dual-ISO with this situation ... However I don't think I can use this particular lens when shooting in H.264 since I won't be able to downsize the resolution in order to "compensate or hide" the APS-C cropped effect or in other words a gigantic squared vignette effect!

Either way I'll give it a shot during the day when the Sun comes up as its 1:20am PST in here atm. Thanks for your inputs as always, tho! [emoji3]

Danne · « **Reply #645 on:** February 28, 2016, 07:04:11 PM »

Here,s some short unedited HDR 100-1600 clips shot in 1600x540 60fps in RAW and upscaled to 1920x1080 (thought I was shooting mlv_lite but not)
lens samyang 14mm f2.8(scratched coating)

Content in A_lut_hold folder
01_Ca_C-Log2.cube
03_Ca_C-Log2_Ca_Ci_Gamut_02b.cube
HDR_tblend_average_half_FPS.txt
HDR_tblend_average.txt

DeafEyeJedi · « **Reply #646 on:** February 29, 2016, 10:12:04 AM »

That's just simply beautiful. Thanks for inspiring me to finally pull out this Rokinon 14mm T3.1 from a bag packed into a bag. Haven't been too fond of the distortion along with its softness no matter how I tack the focus down. Anyway off I go with this so called cheap cine lens.

Decided to do two different kinds of tests w 5D3. One with H.264 (in two different Picture Profiles) for experimenting purposes. Also shot another in MLV_Lite which then all converted nicely in MLP.

•HDR (100-1600) 1280x720p @ 60fps in H.264 and upscaled to 1920x1080p

Contents in A_lut_hold Folder

•HDR (100-1600) 1600x540p @ 60fps in MLV_Lite and upscaled to 1920x1080p

Contents in A_lut_hold Folder

•Screenshots

H.264 (CineStyle ungraded)

H.264 (CineStyle graded)

H.264 (Standard Profile)

MLV_Lite (graded in MLP)

https://vimeo.com/157103680

Danne · « **Reply #647 on:** February 29, 2016, 11:45:48 AM »

Cool stuff. No ghosting. Now 14mm would be good for MLV lite since cropping to get continuous filming. H264 works very well on 5D mark 3 due to less aliasing comparing with other cameras.

dfort · « **Reply #648 on:** February 29, 2016, 05:24:34 PM »

Interesting tests and a good argument in favor of using a smaller image size at a higher frame rate. Though with HDR the frame rate is halved after processing as opposed to dual_iso, right? Nice work with MLP lining up the light/dark frames, very little ghosting in the footage.

There were some glitches in the MLV Light footage. It looks like some frames were corrupted and recording didn't stop automatically. You might want to show an example to dmilligan.

The 14mm on the 5D3 slightly cropped so that it approximates the area of an APS-C (Super 35mm) sensor will give you about the field of view that Emmanuel Lubezki "Chivo" favored on Gravity, Birdman and The Revenant. That's an Academy Awards "Hat Trick" that rarely happens. Of course a 14mm lens won't guarantee you an Oscar.

Danne · « **Reply #649 on:** February 29, 2016, 06:19:07 PM »

Fps is only halfed when using the HDR_tblend_average_FPS.txt filter. That,s the beauty of the FFmpeg tblend filter.
Well corrupt frames could defeat the whole reason to kill the RAW format in favor of MLV lite project. I still havn,t found any corrupt frames either in raw or mlv nor mlv lite. More tests then.

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Author Topic: MLP - Mac OSX batch processing workflow (former cr2hdr-r) (Read 482030 times)

dfort