50D Raw video

[Andy600]

No workie, your file is 18kb vs 260~ for the regular one?

oops, my bad. Have you tried the last updated one here? https://bitbucket.org/hudson/magic-lantern/downloads

[Andy600]

I second that, Resolve's sharpening algorithm is pretty good. The best results can be had by sharpening only the luma channel and not the chroma, this will avoid colour fringes.

http://www.liftgammagain.com/forum/index.php?threads/building-a-better-sharpen-in-resolve.278/

Yep, I built one of those node setups ages ago and saved it as a look. Forgot all about it 

[bzhwindtalker]

oops, my bad. Have you tried the last updated one here? https://bitbucket.org/hudson/magic-lantern/downloads

Yep that's the one I used. I can correct this tone in post but it's always better to start with files looking good!

BTW is there any developpemnt going on to port the  audio sync beep feature on the 50D? Is it even possible on the hardware side?
 
Adam

[Andy600]

Yep that's the one I used. I can correct this tone in post but it's always better to start with files looking good!

BTW is there any developpemnt going on to port the  audio sync beep feature on the 50D? Is it even possible on the hardware side?
 
Adam

Yes, I think 1% got it working along with screen filters (anamorphic squeeze, defish etc).

[KahL]

I know we've all gotten used to it by now but, I'm madly in love w/ the 50D's new-found digital cinema capabilities thanks to you guys here.
I alternately swap between RAWanizer DNxHD export and Lightroom export depending on how much latitude I want. Here's one workflow I've used for the commercial spot we're shooting:

1. DNG to Lightroom (specifically to save latitude)
2. export upscale to 1920px horizontally at 100% JPEG quality
3. edit in Premiere CS6 (JPG frame sequence)
4. export as DPX LOG frame
5. color in AE CS6 (combination of adding a specific LUT base, then grading in curves, sharpening and adding 35mm grain scan)

[Andy600]

...

1. DNG to Lightroom (specifically to save latitude)
2. export upscale to 1920px horizontally at 100% JPEG quality
3. edit in Premiere CS6 (JPG frame sequence)
4. export as DPX LOG frame
5. color in AE CS6 (combination of adding a specific LUT base, then grading in curves, sharpening and adding 35mm grain scan)

So you are exporting to JPEG first? Surely you are losing all that nice color information 

[arrinkiiii]

I know we've all gotten used to it by now but, I'm madly in love w/ the 50D's new-found digital cinema capabilities thanks to you guys here.
I alternately swap between RAWanizer DNxHD export and Lightroom export depending on how much latitude I want. Here's one workflow I've used for the commercial spot we're shooting:

1. DNG to Lightroom (specifically to save latitude)
2. export upscale to 1920px horizontally at 100% JPEG quality
3. edit in Premiere CS6 (JPG frame sequence)
4. export as DPX LOG frame
5. color in AE CS6 (combination of adding a specific LUT base, then grading in curves, sharpening and adding 35mm grain scan)

Thanks for the workflow! The pic's look very good. Wend can we see the final work?

I have some questions,
-why export in DPX Log?
-what is this espcific Lut base?

Hope to see the final output. Good work =D

[JulianH]

Yes, I think 1% got it working along with screen filters (anamorphic squeeze, defish etc).

Anamorphic (de)squeeze... omg, can't wait!

Thanks for all the Resolve tips guys. Going to shoot something for the Vimeo Weekend project and will do the CinemaDNG/Resolve workflow

[menoc]

For those of you who are new to Magic Lantern and are not very adept at the command line, here's a tutorial on how to merge ML RAW files without having to use the command line. This tutorial was created for the Mac, but it will also work in Windows. You'll need a hex editor and of course, a DNG extractor Utility like raw2dng, RAWMagic or raw2cdng.

HEX EDITORS:
Hex Fiend Hex editor for Macintosh
http://ridiculousfish.com/hexfiend/
HxD Hex editor for Windows
http://mh-nexus.de/en/hxd/

RAW UTILITY:
RAWMagic
http://www.mediafire.com/download/ht3ydb4s254ka5z/RAWMagic-beta7a.dmg
raw2dng
http://www.magiclantern.fm/forum/index.php?topic=5404.0

[rockfallfilms]

1. DNG to Lightroom (specifically to save latitude)
2. export upscale to 1920px horizontally at 100% JPEG quality
3. edit in Premiere CS6 (JPG frame sequence)
4. export as DPX LOG frame
5. color in AE CS6 (combination of adding a specific LUT base, then grading in curves, sharpening and adding 35mm grain scan)

As Andy600 said, you are exporting as jpeg and killing your colour information (going from 14bit to 8 bit) then grading an 8 bit image in AE.

A better workflow would be to open the DNG image sequence directly into AE via ACR, that way you keep all your colour info. Then you can export out of AE as prores 4444 or DNXHD and keep it at least 12bit.

[Viente]

I've read that for better upscale results we shoud use 4:4:4 format (as pretty much obvious since we have more unique pixels). So what is the best encoder to use for this? Let's say we need to keep 14 bit and 4:4:4 subsampling at the same time?

[paulforte]

Is it posible to export a low rez proxy out of After Effects (from the DNGs) into FCP or Premiere, edit and then relink to the DNGs back in AE and export a high rez final master from AE? Basically and offline/online workflow?

[Andy600]

Is it posible to export a low rez proxy out of After Effects (from the DNGs) into FCP or Premiere, edit and then relink to the DNGs back in AE and export a high rez final master from AE? Basically and offline/online workflow?

Of course. It will work the in the same way as any AE proxy does. Just scale the proxy size if you want to keep color depth.

[rommex]

I know we've all gotten used to it by now but, I'm madly in love w/ the 50D's new-found digital cinema capabilities thanks to you guys here.
I alternately swap between RAWanizer DNxHD export and Lightroom export depending on how much latitude I want. Here's one workflow I've used for the commercial spot we're shooting:

1. DNG to Lightroom (specifically to save latitude)
2. export upscale to 1920px horizontally at 100% JPEG quality
3. edit in Premiere CS6 (JPG frame sequence)
4. export as DPX LOG frame
5. color in AE CS6 (combination of adding a specific LUT base, then grading in curves, sharpening and adding 35mm grain scan)

Man, you do color corr to 8-bit picture. Why bother with RAW then? )

[KahL]

So you are exporting to JPEG first? Surely you are losing all that nice color information 

You would think I would be, but from my tests in AE using 32bit channels, there is virtually zero difference.
Before I settled on JPEGs as a workable file, I tested the DNG files, TIFFs and JPEGs on the same timeline in AE  to see the color differences. I didn't notice any discernible difference  between the three whatsoever. Of course the TIFF and JPEG files become baked-in, so it's the DNG's flexibility that is a main advantage. Beyond that point, there were virtually similar. Though I'm sure there are some differences that I don't see so far.

Is it possible that Lightroom's JPG settings are of a higher quality? I'm going purely off of what my eye sees at this point, of course.

[KahL]

Thanks for the workflow! The pic's look very good. Wend can we see the final work?

I have some questions,
-why export in DPX Log?
-what is this espcific Lut base?

Hope to see the final output. Good work =D

I normally export in DPX for color work because of the color density the frames provide. Even if doing this from a lower quality source (such as DSLR h.264 footage), it produces higher flexibility similar to that of RAW.

The oddity right now is that LR's JPEGs appear to be giving me similar density and flexibility as the .DNGs sources when coloring. RAW does however provide the absolute BEST source negative out-of-camera and unlike JPEG or DPX, none of the information is baked in (which is why you can recover highlight information). I may just be exporting in DPX out of habit at this point, but in DPX LOG, it allows me to utilize a proper LUT before color grading.

For a LUT base, I use a few that I've created in Resolve or a Kodak one.

[rawmania]

@ kahl
In my opinion your workflow is something like the basic "telecine" concept from commercials
Colorisation was done BEFORE editing...
For the  new generation of "digital cinematographers"  this concept "telecine" is maybe stupid but is used even today
However, 99 percentage of our work is in 8 bit teritory
The raw files from Canon DSRL raw are like kodak or Fuji frames in my analogy
If I'm wrong please correct me...

[1%]

So I checked out video modes and it doesn't want to take 24FPS or different display modes.. Seems to be hard coded for either 640 x 480 or 1080P.

There are several spots for frame rate and gop, I'm looking for those.

Found shutter frequency for fps, ae value, shutter timer, frame aperture/shutter/etc

Still working on beep.

also hunting for flush rate, found slice already... getting same 70MB/s max out of the module... I think we can gain some write speed if the edmacs get killed correctly, right now they are not.

[arrinkiiii]

I normally export in DPX for color work because of the color density the frames provide. Even if doing this from a lower quality source (such as DSLR h.264 footage), it produces higher flexibility similar to that of RAW.

The oddity right now is that LR's JPEGs appear to be giving me similar density and flexibility as the .DNGs sources when coloring. RAW does however provide the absolute BEST source negative out-of-camera and unlike JPEG or DPX, none of the information is baked in (which is why you can recover highlight information). I may just be exporting in DPX out of habit at this point, but in DPX LOG, it allows me to utilize a proper LUT before color grading.

For a LUT base, I use a few that I've created in Resolve or a Kodak one.

Thank you for the information. Never use DPX LOG or any LUT's but I will investigate more. Wood be nice an video tutorial of the workflow...

Do you know were I can get this LUT's base from Kodak to trie out?

[arrinkiiii]

So I checked out video modes and it doesn't want to take 24FPS or different display modes.. Seems to be hard coded for either 640 x 480 or 1080P.

There are several spots for frame rate and gop, I'm looking for those.

Found shutter frequency for fps, ae value, shutter timer, frame aperture/shutter/etc

Still working on beep.

also hunting for flush rate, found slice already... getting same 70MB/s max out of the module... I think we can gain some write speed if the edmacs get killed correctly, right now they are not.

Good news

[pbr]

For those of you who are new to Magic Lantern and are not very adept at the command line, here's a tutorial on how to merge ML RAW files without having to use the command line. This tutorial was created for the Mac, but it will also work in Windows. You'll need a hex editor and of course, a DNG extractor Utility like raw2dng, RAWMagic or raw2cdng.

HEX EDITORS:
Hex Fiend Hex editor for Macintosh
http://ridiculousfish.com/hexfiend/
HxD Hex editor for Windows
http://mh-nexus.de/en/hxd/

RAW UTILITY:
RAWMagic
http://www.mediafire.com/download/ht3ydb4s254ka5z/RAWMagic-beta7a.dmg
raw2dng
http://www.magiclantern.fm/forum/index.php?topic=5404.0

I just bundled a windows and os X executable of a python script I wrote to concatenate spanned raw files.  It takes all XXXXXX.RAW files in a directory for which there are also XXXXXX.R00 files and then looks for any .R01, .R02, etc with the same name and then cat's them together into a XXXXXXX_merged.RAW file in the same directory.  And provides minimal command line output so you know it's working. 

It's pretty simple and uses the OS specific copyfile command.  I havent' run into any problems but PM me if anyone does.

The mac file will need to be run with admin privileges ("~$sudo [directory-to-executable]/ML_RAW_cat.command") to work.


https://dl.dropboxusercontent.com/u/22921777/ML_RAW_cat.rar

[simulacro]

Do you know were I can get this LUT's base from Kodak to trie out?

http://juanmelara.com.au/print-film-emulation-luts-for-download/

[simulacro]

http://www.arri.de/camera/digital_cameras/tools/lut_generator/lut_generator.html

[johansugarev]

What kind of video card should around 100-200 usd would be enough to run resolve properly? 18-20 fps is enough for me.

[arrinkiiii]

http://juanmelara.com.au/print-film-emulation-luts-for-download/

Thanks Simulacro =D