MLVProducer: [v3200]

[DeafEyeJedi]

Confirmed this new beta worked with 25fps MLV files (although it said 24.9 on the quicktime file info which was odd):

Also is this normal for this strange effect to happen after typing in numbers inside the index next to sliders?:

Will try to get a bunch of Dual-ISO files in varieties of exposures (can they be in 1-2 seconds long) from my cams since you just need the metadata from the files, correct?

[AWPStar]

@DeafEyeJedi
-About frame rate. i will figure it out.
-Second video in not available. Probably i should wait.
-Yes. I just need couple of frames.

[DeafEyeJedi]

Check the 'Take 2' Folders of each camera respectively...

[AWPStar]

@DeafEyeJedi
i found decoder bug in some your footages. Thank you! As Always!

[AWPStar]

I am not dead. I'm working on new interface. Same as in photoshop. It allows to customize all tools.

[DeafEyeJedi]

I know you aren't dead, mate!

Sometimes it's best to leave you alone quietly to get your updates up to speed.

Keep it up, @AWPStar!

[Tullen]

When I try to open a video made up of several *R.00 (R.01, R.02 and so forth) I get the Runtime error 7 out of memory message. I have 8 gig of ram, all be it on a Core M-5Y10 processor laptop without dedicated graphic card. All single file videos seem to work. Using a 50D.

The same video plays well in MLRawViewer. Any suggestion?

[dpjpandone]

what is the best colorspace to use with luts designed for log footage? Also, I'd like to make a feature request for an additional lut filter slot. Many times I use two luts, one to transform to a negative or c41 filmstock and a second one to transform to a print filmstock

[dpjpandone]

feature request:

when you save a preset with the name "default" all clips should automatically be opened with that name applied so that you don't have to apply preset to each clip, this way you can truly batch process a group of clips

[AWPStar]

@Tullen
Is it RAW-file format?
For MLV, you can open .MLV,.M00,.M01,...
I have to add multiple file support for RAW

@dpjpandone

I'd like to make a feature request for an additional lut filter slot.

Probably, i can add second lut-filter.

colorspace to use with luts designed for log footage?

Can you send me one of these Lut-files to testing?

when you save a preset with the name "default" all clips should automatically be opened with that name applied so that you don't have to apply preset to each clip, this way you can truly batch process a group of clips

i want to add linking presets with cameras.

[Tullen]

@AWPStar
Yes its RAW. Ah, then I understand . Looking forward to that and CDNG output . Keep up the great work.

[dpjpandone]

I sent you an e-mail with LUTS

[AWPStar]

@dpjpandone
i didn't received it. i got it!

[AWPStar]

@dpjpandone
For this LUTs and my test-footages i've never went out of range with the "Cinematic" color space.
Can you show me what result do you want to get? with my file

[AWPStar]

intermediate version
CHANGELOG

v.1165
-added: Browse for LUTs
-added: Button for dropper (or W key)
-added: .RAW multiple files support (RAW, R00, R01,..)
-added: Histogram layout
-added: F11 to Maximize window

-fix: Hotkeys out of window
-fix: External luts folder

[Andy600]

@AWPStar - you mention 'Cinematic' colorspace? but this places an important part of your app in unknown territory. Can you share the RGB chromaticity and white point it uses in case anyone wants to render log intermediates in this colorspace and transform later to a display referred colorspace? Would it not be better to use a common wide gamut colorspace like Adobe RGB, melissaRGB or even ACES CG? 'Cinematic' is a bit vague.

[dpjpandone]

This is the reason I would like a "Known" standard. My problem is not with values out of range, but If I'm trying to match footage across multiple cameras (BMPCC, FS700, DSLR Etc.) I have LUT's for each one, and they all should match very closely with this method. There are no LUTS designed for "Cinematic" so although the results may look pleasing with cinematic, they must be manually matched to the other cameras. If your app could support SLOG2 or CLOG or LOGC, or VISIONLOG I have LUTS that will match those to all the other cameras I work with. Either that, or DNG output. I know there are many other tools that output DNG's, but yours is the only one that has an EXCELLENT method of removing pink dots!
 

BTW - I can't thank you enough for all the hard work you're doing. I totally gave up on shooting raw with the EOSM because none of the other methods to remove pink dots were acceptable for me. The pink dot removal in your app gives the best results by far! Also, it makes raw to intermediate so easy and fast that i am now using raw to shoot everything (before I only used it for short films, and was still using .h264 for commercials or family stuff because the turnaround was too slow!)

[Andy600]

@dpjandone - It's a common misconception thinking you can match cameras this way.

You can certainly match greyscale values (i.e. a 1D log curve, s-curve, display transfer function etc) if the DR of each camera is similar but color matching cameras is a much more complex procedure even if the chromaticity values and white point are known. The end result completely depends on the sensor, calibration and any internal processing that happens under the hood of each camera.

The best method is not to match one camera to another but match both cameras to a common set of reference values (a Colorchecker or other chart). This transform ideally needs to be handled by a matrix (least squares) with pixel values remapped in linear light but a matrix is also linear and can't offset any non-linear processing that happens in-camera. This is one of the main reasons ACES exists but even that is not perfect and camera manufacturers IDTs still do not produce any color uniformity. 

[dpjpandone]

On a recent project, the majority of the footage was shot on BMCC. There was some aerial footage shot on a GOPRO, and some pickup shots done with 5D2 (MLRAW). The Canon MLRAW footage was converted to Visionlog in ACR. All footage had a kodak vision 3 50D LUT applied (from visioncolor impulz) there are LUT's for gopro, bmcc, and visionlog in that package (as well as many others) Everything had to be tweaked a bit, especially from the gopro footage, but the MLRAW and BMCC footage matched up very nicely. I'm talking about the actual look. We were trying to emulate a certain film stock (vision3 50D) and  it worked. Impulz LUTS are applied in two passes, first you apply an LUT that emulates the camera negative (in a cineon log space), then you do your grade on top of that then you apply the 2nd LUT to emulate a print stock (and transform to Rec.709)

What am I doing wrong? Should I shoot an x-rite color chart with each camera under each different lighting scenario? And grade each shot so that the charts match before adding a creative look to the footage? Wouldn't these tweaks still go after the print negative LUT is applied?

[Andy600]

Your not really doing anything wrong and if it works for you that's all that really matters.

There are going to be significant differences in color between those cameras but, if the levels and white balance are in the same ballpark I think the film emulation luts will distract anyone but pixel peepers. If you want uniform color then matching every camera to a reference first will give you the best results and might save some time when it comes to balancing shots in the edit.

[xaled]

Great tool!

It includes everything that I wanted so far to work with mlv.

Few things I noticed that deserve to be fixed/enhanced.

- presets for hot pixel removal and corrections do not get picked after being copied from old to the new MLV Producer presets folder
- none of the h.264 renderings can be played out on my samsung TV. H.246 movs directly from my 600d camera play out without problem.
- During tryouts of h.264 renderings I pulled sd card out of reader slot and then after noticing that TV wont play it I put sd card back in to reader. Trying to rerender the mlv from the sd card using a different h.264 preset gave an error that the volume has changed. The error makes sense, but If I click ok on the notification the rendering continues for few seconds and then the same error notice pops up. Some volume error handling routine or maybe recovering from volume change would be great.
- Adding configurable strings for ffmpeg invocation presets would be nice as well.

General question to all MLV Producer users - what FPS do you get on h.264 renderings?
I`m having 14 FPS independent of h.264 preset on my new i7 laptop running win10 an it does not sound like a lot to me.

Thank you again for the great tool!

[AWPStar]

@dpjpandone

If your app could support SLOG2 or CLOG or LOGC, or VISIONLOG

I need right functions/formulas to convert image form linear cs. i can not find it.
so i have made the color space that is in my opinion the most suitable for export. I know that this is one of the reasons why the program is not so popular.

(edit)
ok, i found tech-doc for sLog2

@xaled
Thank You! Im trying.

- presets for hot pixel removal and corrections do not get picked after being copied from old to the new MLV Producer presets folder

ty. i will fix it.

- none of the h.264 renderings can be played out on my samsung TV. H.246 movs directly from my 600d camera play out without problem.

Probably your TV does not support h264 with non-intermediate frames. I will add preset with simple codec settings.

- Adding configurable strings for ffmpeg invocation presets would be nice as well.

That is a good idea. I will try to implement it.

General question to all MLV Producer users - what FPS do you get on h.264 renderings?

My tests.
AMD Phenome II 555. With 2 Cores Activated
1920x1080
218 Frames
Cache 1024MB (88 Frames)

Exposure +0.58
Contrast(Film) +100.00
Contrast(Digt) +36.51

[dpjpandone]

@dpjpandoneI need right functions/formulas to convert image form linear cs. i can not find it.
so i have made the color space that is in my opinion the most suitable for export. I know that this is one of the reasons why the program is not so popular.

(edit)
ok, i found tech-doc for sLog2

Thanks to ToS_Maverick (Michael Fischer) Here are the functions/formulas to convert from linear to:

S-LOG
S-LOG2 - (most accurate)
LOG-C

https://bitbucket.org/baldand/mlrawviewer/commits/406eaabb69134fd2a9189971187c7063f0a67825

I'm going to e-mail you some LUT's designed for those colorspaces so you can play with them.

[AWPStar]

@dpjpandone

This formula differs from the formula in the specification.

v = (379.0 * (log2(linear * 16384.0 / 7200.0 + 0.037584)/log2(10.0)) + 630.0) / 1024.0

linear =  (0 to 1)

y = ( 0.432699 * log10(155.0 * x / 219.0 + 0.037584 ) + 0.616596 ) + 0.03

x = (0 to 1)


White points; 0.534, 0.591

Am I doing something wrong?

[Andy600]

@AWPStar - IRE scaling You must first scale input values (float) then apply the transfer function to the scaled values. It's in the doc that @djpandone linked to. Even some pro apps still get this part wrong. Same goes for Canon log.

I don't think the log functions in MLRawViewer are correct btw.

Also @djpandone - a 1D log transform is not in itself a colorspace. A colorspace is defined by the chromaticity of the RGB channels, the white point and the transfer function or gamma. A 1D lin-to-log transform from Rec709 will still maintain Rec709 RGB values when the curve is inverted.