Author Topic: MLV App 1.11 - All in one MLV Video Post Processing App [Windows, Mac and Linux]  (Read 482179 times)

2blackbar

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Yes and when you enable creative adjustments then image gets crushed until you set dark range o 0, so i suggested setting dark range to 0 automatically when creative adjustment is enabled when log-c is chosen

ilia3101

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HIGHLIGHT RECONSTRUCTION AND HIGHLIGHTS SLIDER ARE DIFFERENT THIGNS >:(

2blackbar

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Yeah.But i recover with slider at 50, more than that looks artificial.At 0 most of the time doesnt work.
But my main focus was dark range affecting image , disabling it to 0 will fix that.

scotophorus

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I've had some trouble with highlighs as well, i recorded a video showing it.
Also it would be great if we could embed the metadata from the mlv to the prores file, so the date and time for instance of the exported mov could be the same as from the day we shot the video.


masc

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@scotophorus:
the main problem with your clip is a overexposed sky. Note, that overexposed areas can't 100% be recovered. The problem with the color comes exactly with that. One (the green) channel is overexposed, while 2 channels are okay, what results in pink. Now the challenge is to reproduce the correct color without the green channel  ( =2/3 of the information ).
The best you can do: make sure to not overexpose important areas in your picture. Use e.g. the ML histogram which does a great job.
Unfortunately I don't know any way to embed any metadata into a prores file. Is this possible at all? I have never seen this. Let me know if someone knows how to do!
5D3.113 | EOSM.202

Lucjan

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Hello everyone!

I have problem with the dual Iso processing. I have dual Iso Raw I can import the file but don't know wot to do next. Always I receive blinking exported file or black and green mess.
MLV App 1.10
file from - Canon 5D mk2 - 1280x960 Iso 100/800 - Raw 2
I am confused it is quite simply program.  :(

ilia3101

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@scotophorus

That highlight reconstruction issue will be fixed. I need to think about how though. I almost have ideas.

For now:
Move the tint slider around. You will be able to make the recostructed areas match the rest of the shot... Then you can correct the resulting tint with the green curve ;)

masc

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Hello everyone!

I have problem with the dual Iso processing. I have dual Iso Raw I can import the file but don't know wot to do next. Always I receive blinking exported file or black and green mess.
MLV App 1.10
file from - Canon 5D mk2 - 1280x960 Iso 100/800 - Raw 2
I am confused it is quite simply program.  :(
Have you activated dual iso in RAW Corrections tab?
Please upload a short clip for analysis.
5D3.113 | EOSM.202

Lucjan

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Thank you for the quick reply.

In "Enable RAW Correction" "Dual iso" I do "Force" then Off, On, Preview

MLV file -110 and 20 frames of my test film and dark frame:
https://drive.google.com/drive/folders/1PkKXz0XYTQzWVOlBAofcqSNr6uEt8rLJ?usp=sharing


ilia3101

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That's not Dual ISO, that's HDR video. I know no cure for that.

masc

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That's not Dual ISO, that's HDR video.
Haha... that was my first idea when I heard 5D2 and DualIso.

@Lucjan
If you are on OSX, you can choose a post export "HDR_MOV.command" script in the export settings of MLVApp. On other OS you'll have to search your own solution.
5D3.113 | EOSM.202

Lucjan

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OK.
So I know now that it was my misunderstanding of the settings of my Camera. I have my solution to that HDR files, separate high and lo iso frames - speed up 2x move one frame and speed up 2x then keying (color luma whatever, mask) and combine that to clips after all doubling frames so the speed is 1x. I end up with film 15 FPS but the dynamic range is high. I will do some experiments with HDR with RAW but the workflow will be a bit more complicated. I'm going to film welding process better then now.

My goal is something like these

togg

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Probably stupid question, if I select BMD film etc and export prores, then export dngs, then bring both of them into Resolve and select BMD film for the dngs the two recordings looks slightly different. Nothing else should be changed.
Anybody is having the same experience ?

ilia3101

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Because to be honest BMDFilm is a bullshit concept. For each Blackmagic camera it seems to have a different gamut and a different curve. I found a matrix on some blackmagic forum, and the log curve may have been added by masc. Both are definitely wrong.

What gamut and curve does BMDFilm have for non Blackmagic cameras in Resolve? Who knows...

TLDR: I do not recommend it, use a better defined log profile like Arri Log C

masc

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Because to be honest BMDFilm is a bullshit concept. For each Blackmagic camera it seems to have a different gamut and a different curve. I found a matrix on some blackmagic forum, and the log curve may have been added by masc. Both are definitely wrong.

What gamut and curve does BMDFilm have for non Blackmagic cameras in Resolve? Who knows...
Yes, I added that. That time I tested just with clips of my 5D2 and it looked extremely close to Resolve. So I could get the same look, I had before in Resolve, in MLVApp. But I can't garantuee it works the same for other cams, because Resolve is a blackbox for me.
5D3.113 | EOSM.202

rjakiel73

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Running Windows 10 Home with latest MS patches, etc... MLV 1.10 works perfectly EXCEPT for one thing.  I cannot export audio.  The option is greyed out in the Export Settings.  Any help would be appreciated.

EDIT:  Brain fart.  OK fixed.  When framerate override in checked it becomes unavailable.  Now I know.

togg

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Because to be honest BMDFilm is a bullshit concept. For each Blackmagic camera it seems to have a different gamut and a different curve. I found a matrix on some blackmagic forum, and the log curve may have been added by masc. Both are definitely wrong.

What gamut and curve does BMDFilm have for non Blackmagic cameras in Resolve? Who knows...

TLDR: I do not recommend it, use a better defined log profile like Arri Log C

Yes you're right, there're so many flavour of it that I should not compare the two implementations. I was just wondering about it specifically because that's how you have to process dngs inside resolve if you want to follow this path :

Anyway no big deal :)  I was just curious!

Luther

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@masc @Ilia3101 @bouncyball
Did you guys see this new feature on Rawtherapee? This is doing 'magic' with some of my photos:
https://github.com/Beep6581/RawTherapee/issues/5412

Might be too dificult to adapt the code to MLVApp, but something like that for video would be awesome. Maybe some day.

masc

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Thanks Luther. Looks very interesting. Code is hidden here.
Looks not impossible to port, but it is a lot of work. And if I see all the funny for-loops, it won't be very fast. But I like the results...
5D3.113 | EOSM.202

sonicthehedgehog@live.com

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Hi Guys ... I'm 'new' to both Magic Lantern and MLV App. Congrats to all for your amazing work ...
I've done some testing with the M/L 10/12-bit 'RAW' release on a 70D and created uncompressed files via the MLV App with 'good' results - until ....
my 3rd test which was a few seconds of a 'kitchen scene' and here that I discovered (after 'converting' via MLV App as usual) an unexpected result.
There was a 'cooking stove' in the back-ground with 6 identical circular gas controllers (all horizonally in line), and which, once the footage was converted, manifested a horizontal 'blur' on these dials on *some* frames, as though the encoder was confused as to which dial was which and trying to somehow compensate.

After further testing, (and one by one removing ALL *settings* that I'd used), it came down to the ●Smooth Aliasing● on the Export Setting. When selected, (and in ANY mode of selection), it will evoke the aforementioned problem of random (horizontal) blurring of the 6 identical circular gas controls, as though one dial was being 'confused' with the adjacent dial.

If I knew how to post an image of this anomoly I would (maybe someone could). I'm hoping it's not just me - ie: 'operator error', but I've really been rather methodical with my approach and feel that this may well be a legitimate problem. Thanking you for your precious time ....

~ Steve ~

sonicthehedgehog@live.com

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Images of the issue found here:

1st pic - Frame capture of a 'normal' unaffected frame
2nd pic - Frame capture of a 'blurred' frame where the intermittant/cyclic problem occurs:

https://www.dropbox.com/s/29z8ujzsd03v4jz/02%20Normal.png?dl=0
https://www.dropbox.com/s/96ticexdxu7f9n1/02%20Blurred.png?dl=0

Note that the merging/blurring is random and sudden during footage replay.

ilia3101

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Smooth aliasing has had many victims in the past.

It is not good for moving shots, and your issue seems to be a new one.

ilia3101

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Yes you're right, there're so many flavour of it that I should not compare the two implementations. I was just wondering about it specifically because that's how you have to process dngs inside resolve if you want to follow this path :

Anyway no big deal :)  I was just curious!

I think I have seen that video before. The point is not to use simple LUTs for converting log footage to rec709 then grading it... but instead use a colour space transform node so nothing gets lost or clipped (do I remember right?). That path is definitely possible with any colour space in Davinci resolve, not only for bmdfilm.

andrew_dotdot

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@sonic Re: ML on a 70D vs. Aliasing...

I sold my 70D (which I loved many things about) because the aliasing/moire/stairstepping was so pronounced. Hoodie zippers. Roof shingles. Fences. Water. You name it. : ((( 

Here's a film I made on the 70D. (720p 25 raw, which I could record continuously - yay!) ML was stable and I love a lot of how it looks, but the opening seconds really show off a zipper alias party. There were so many good shots that turned out to be unusable due to moire. : (((((


I have a feeling that if you feel you need to use the anti-aliasing feature, you're not going to be a happy camper. I tried everything, but it was still yuck.

sonicthehedgehog@live.com

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@ ilia3101 - thankyou - I'm just discovering things as I go ....

@ andrew_dotdot  Hey Andrew! .... thanks so much for your video, I really enjoyed it ! - It's so nice to see such intimate views of creative skills at work, most enjoyable. These are the 'hands-on' arts and crafts that are sadly *missing* from my life - my own doing of course - since I'm a movie making addict - lol.

But yes - I see exactly what you mean about the aliasing and moire - thanks for that ...... You know, though such shots might be 'objectionable', but there's a low percentage overerall. I'm wondering whether it would be possible to make 'changes' during the shoot like 'removing' such zipped clothing (hit and miss, I know), OR to somehow deal with these shots in post production by slightly blurring the affected region - granted, this would be easier on a 'static shot'.

Andrew, my 'problem' is I'm heavily invested in the 70D's. I have a mix of both APS-C and vintage Full Frame lenses all bought for this model. (I've actually got 3 x 70D bodies, all purchased second hand, and all in really good shape with low shutter counts). So I'm not sure I could make the change to other gear - it's taken me several years getting to where I'm at ...... This is a real dilemma .... Having 'tasted' Magic Lantern's visual quality, I don't think I could go back to filming compressed/lossy formats.

I've been experimenting with different horizontal resolutions between 1600 and 1832 pixels but the 'moire' always seems to be there on *certain shots*. Anyway, I guess it's a matter of how much I'm going to let this be a road block - (which it somewhat is) - since I like 'perfect shots' as much as most of us do .......

Thanks again for your kind assistance - I'll *keep on trying* - maybe there's an answer somewhere .....
 - Steve -