14bit RAW DNG silent pics! (silent.mo)

[aaphotog]

So YUV is different from the DNG burst mode? How do I access recording with it?

[1%]

modules-> load modules on supported cameras, on 600D the DNG size is not set, I can't read the files back with no header... will have to hex edit and copy paste one and see what comes of it. Its hard coded to only 1080P anyway but yield will probably be double when it works. Wonder if SRAW trick will help here too to increase it even more.

I'm thinking sraw lowers the amount of memory some process uses... maybe thats another way to increase yields, kick/shrink canon process memory (that use shoot_malloc).

[shuggyrasklat]

this entire vid is comprised of 5x zoom recordings, 51 frames a piece, on the 5dmkii on a 60mb/s sandisk 16gb 2152x1076 comp size, all at 135mm.

http://www.youtube.com/watch?feature=player_embedded&v=e7Pu6m8GhdM

[1%]

So I actually have a Q. The header makes the DNG load as 8bits per channel... should it be 16? 3x8 is 24bit total... 3x16 is 48bits... 14bit dng is 14bits all data or per channel?

[Mati]

Canon 5D mark II, Canon 85mm 1.8, 51 frames per sequence, 1s video = 24 frames.

[Audionut]

So I actually have a Q. The header makes the DNG load as 8bits per channel... should it be 16?

As far as I know, all Adobe products default to 8bit/channel.  Generally, 8bits is enough, and it significantly reduces memory/disk usage.

3x8 is 24bit total... 3x16 is 48bits... 14bit dng is 14bits all data or per channel?

Per channel.  Good practice is to load your RAW's @ 16bit in ProPhoto RGB color space so as not to clip any information.

http://www.outbackphoto.com/color_management/cm_06/essay.html

[1%]

So color profile and bits are wrong from the header? I think it picks adobe RGB or something as the profile.

BTW SRAW/MRAW should help increase available buffer for H264 video too since it works for DNG.

[Andy600]

...
BTW SRAW/MRAW should help increase available buffer for H264 video too since it works for DNG.

I can't say for sure but that seems to be the case. I just had BR up to a constant 130 (GOP3/flush3 using TLv2.0) on a detailed shot with SRAW selected. It falls over at around 90Mbits when RAW is selected on a class 10 SDHC card. Need to do more tests.

[Andy600]

BTW, I haven't seen a full list of expected frame sizes / frame amounts for DNG shots so here's my list of what I have achieved on the 600d using 1%'s TLv2:

FPS override NOT set / Global draw OFF / PicSize SRAW
1920x1080p 24fps - resulting frame size = 1740x1154 (22 frames)
1920x1080p 24fps x3 Crop - resulting frame size = 1804x1020 (25 frames)
1920x1080p 24fps 5x focus assist - resulting frame size = 2520x1148 (19 frames)
1920x1080p 24fps 10x focus assist - resulting frame size = 2520x1148 (19 frames)
1280x720p 50fps - resulting frame size = 1740x692 (37 frames)

These are maximums. When you change to MRAW/RAW etc the frame count goes down.

[ideimos]

Could double digic processors on the 7D provide any help with this new RAW findings?

[1%]

Dunno... on EOSM + probably other digic V there is a YUV to JPEG compression path.

FF22FEB0 str_SetJpegYUVBuffer    , etc...

[Audionut]

So color profile and bits are wrong from the header? I think it picks adobe RGB or something as the profile.

There is no wrong, it's a choice.  Personally I think 8bits with adobeRGB is the better option for the header.  It will satisfy a larger percentage of the user base.  Those of us who want different, know it's just a header and will have our RAW editors set to overwrite the header anyway.

[noisyboy]

Just a quick question on current workflow with what we have working at the moment. How are people identifying which DNG's belong to a particular burst? As in, if I do say 5 bursts, when I come to pull them off a card and into a sequence, does anyone have an easy way of being able to tell where each burst starts and ends? Maybe just me being stupid and there's an obvious answer to this, I just haven't had a great deal of time to play yet.

Also, does anyone know how to correct a frame other than the first frame of a sequence with Adobe RAW once your Raw sequence is imported into AE? Might give Resolve a blast with these badboys in a bit - getting my geek on 

[noisyboy]

So color profile and bits are wrong from the header? I think it picks adobe RGB or something as the profile.

BTW SRAW/MRAW should help increase available buffer for H264 video too since it works for DNG.

Something else I wondered about this...

When opening a DNG in AE you get the Camera Raw options but with no choice on colour space, depth, resolution etc. but in Photoshop, when you look through those options you can choose up to 3072x2039 (6.3MP) . Anyone explain if this is correct and what the actual resolution of the DNG's really is? Cheers 

[noisyboy]

Anyone explain if this is correct and what the actual resolution of the DNG's really is?

May have just answered my own question - it's 1840x1221 isn't it? 

[mucher]

I can see the color band in the sky in the video captured by 7D, so I am very sure 7D's video capture capacity is 8 bit color depth in the output end, which means that in the footage/clip, the video color depth is 8bit wide(total 256 grade grey tone)

Provided that the LV is 32bit and the hardware h.264 process is not 8 bit wide, anything capture at the LV can pass through into a video will be way better in color depth

I think for now the safest bet will be either: capture can turn it into small jpg files on the fly and jam them through into the CF card, or, jam the capture video through the camera's hardware encoder(get your fingers crossed that the camera's hardware encoder is not 8bit wide, but I dont think that it is likely so)--anything, 4:2:2, 4:4:4 or 4:2:0. Either way you will get better results than it is now.

7D is not UDMA6 bounded (UDMA7 compatible), so its CF writing bandwidth is limited 133mb/s, that should be around 1000x CF, I believe that there is no way one can jam through anything by raw video mode through to the CF card, even the CF card is 4000x CF and I don't think the 5D2 or 5D3 will be able to exceed that CF card performance enough to write video raw into a CF card. I personally see no reason to look into that direction.

Or, one can use a HDMI recorder...

[DTSET123]

When opening a DNG in AE you get the Camera Raw options but with no choice on colour space, depth, resolution etc. but in Photoshop, when you look through those options you can choose up to 3072x2039 (6.3MP) . Anyone explain if this is correct and what the actual resolution of the DNG's really is? Cheers 

Try using photoshop's image processor. Convert your dng to jpeg and then import to premeire. It will allow you to import as a sequence. I remember Adobe Labs used to have dng importer for premeire but from what I read they discontinued it

[noisyboy]

Try using photoshop's image processor. Convert your dng to jpeg and then import to premeire. It will allow you to import as a sequence. I remember Adobe Labs used to have dng importer for premeire but from what I read they discontinued it

Cheers man but I think I may have caused a confusion here 

Importing the DNG's as a raw sequence isn't a problem, I was just curious about how to work on a frame other than the first frame of the sequence once it's opened? As in when I load the Adobe Camera plugin to correct the raw sequence it defaults to the first frame when that might not be the hero frame I want to work with to correct my sequence. Does that make anymore sense? I think I just made it worse didn't I? 

[noisyboy]

I can see the color band in the sky in the video captured by 7D, so I am very sure 7D's video capture capacity is 8 bit color depth in the output end, which means that in the footage/clip, the video color depth is 8bit wide(total 256 grade grey tone)

Provided that the LV is 32bit and the hardware h.264 process is not 8 bit wide, anything capture at the LV can pass through into a video will be way better in color depth

I think for now the safest bet will be either: capture can turn it into small jpg files on the fly and jam them through into the CF card, or, jam the capture video through the camera's hardware encoder(get your fingers crossed that the camera's hardware encoder is not 8bit wide, but I dont think that it is likely so)--anything, 4:2:2, 4:4:4 or 4:2:0. Either way you will get better results than it is now.

7D is not UDMA6 bounded (UDMA7 compatible), so its CF writing bandwidth is limited 133mb/s, that should be around 1000x CF, I believe that there is no way one can jam through anything by raw video mode through to the CF card, even the CF card is 4000x CF and I don't think the 5D2 or 5D3 will be able to exceed that CF card performance enough to write video raw into a CF card. I personally see no reason to look into that direction.

Or, one can use a HDMI recorder...

Surely if the Blackmagic Pocket Camera is going to be writing 1080p Cinema DNG to an SD card then the write and read speeds of cards we have already shouldn't be a problem?

[noisyboy]

Unless Blackmagic have a "trick up there sleave" - Eh! Get it!? Blackmag... nevermind...

[DTSET123]

Importing the DNG's as a raw sequence isn't a problem, I was just curious about how to work on a frame other than the first frame of the sequence once it's opened? As in when I load the Adobe Camera plugin to correct the raw sequence it defaults to the first frame when that might not be the hero frame I want to work with to correct my sequence. Does that make anymore sense? I think I just made it worse didn't I?

It does make sense but I dont think there is a work around that, at least not until someone will figure out how to put them in a container (like MOV wrapper or something).

[noisyboy]

It does make sense but I dont think there is a work around that, at least not until someone will figure out how to put them in a container (like MOV wrapper or something).

Cool - cheers

Lightroom with Autosync does it for now then I guess!

[kgv5]

Just a quick question on current workflow with what we have working at the moment. How are people identifying which DNG's belong to a particular burst? As in, if I do say 5 bursts, when I come to pull them off a card and into a sequence, does anyone have an easy way of being able to tell where each burst starts and ends? Maybe just me being stupid and there's an obvious answer to this, I just haven't had a great deal of time to play yet.

Also, does anyone know how to correct a frame other than the first frame of a sequence with Adobe RAW once your Raw sequence is imported into AE? Might give Resolve a blast with these badboys in a bit - getting my geek on 

Hi
in a 6D in the canon menu there is an option to make a new folder, after one burst i am just creating and choosing new destination folder, after shooting i have my bursts in separate places. It helps a lot. I don't know if other cameras have such feature but it is worth to check.

[mucher]

Surely if the Blackmagic Pocket Camera is going to be writing 1080p Cinema DNG to an SD card then the write and read speeds of cards we have already shouldn't be a problem?

as far as I know, that BPC uses a lossless compressed format:CinemaDNG 12bit RAW, that will take a processor that can compress the file in real-time, obviously 5d2, 5d3 and 7d or likes do not have that ability built-in.

[1%]

Well if that YUV to jpeg path could be used somehow then we'd get YUV 4:2:2 jpeg as video at least. Can't compress the DNG with CPU so would need to user parts of the camera designed to this to shrink it unless there is some CPU easy way to compress it you could recover on the computer.