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Started by Andy600, May 22, 2013, 03:40:57 PM
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Quote from: Andy600 on July 23, 2013, 02:00:57 AMTry this one: https://bitbucket.org/andy600/andy50d/downloads/raw2dng.exe
Quote from: artiswar on July 23, 2013, 06:58:41 AMGrades from today:
Quote from: rockfallfilms on July 23, 2013, 04:07:02 PMA local festival was on so I shot some video with the 50D using Magic Lantern Raw.A bit of moire crept in here and there but it's not overly distracting. Also some shots could benefit from de-noising as I may have increased the shadows too much. I'm still trying to optimise my shooting and post workflow.- Used Tragic Lantern by 1- Shot at 1584x892 and upscaled to 1080
- DNG's extracted with RAWMagic 1.0 Beta 7- Tamron 17-50mm f2.8Logish grade in ACR, rendered out to Prores 444 and then applied a custom LUT in Resolve with a little sharpening. I might try the Resolve BMD Film workflow next.
Quote from: goldenchild9to5 on July 23, 2013, 08:36:07 PMVery nice footage looks like it was shot on a Blackmagic Cinema Camera.. The problem with the resolve BMD Film workflow is that Resolve doesn't de-bayer as efficiently as (ACR) I've been testing for a while.
Quote from: rockfallfilms on July 23, 2013, 08:50:59 PMCheers for the feedback.Yeah I did have a go a while back with Resolve and wasn't too impressed but the new version is supposed to be out any day now so I'm hoping they have improved the debayer.If someone could make a true log film profile for ACR then that would be a start, I've done a close approximation preset but I doubt I'm harnessing all the available DR from the dng, I don't know enough about log curves.An even better option would be to convert to LOG when doing the initial conversion of the .RAW files and render a proxy too.How's Cineform's debayer? has anyone given that a thorough testing?
Quote from: rommex on July 23, 2013, 09:25:13 PMHey 50D RAW community!I was the guy who brought up those ugly aliasing+moire pictures some time ago )) and even was referred to as a "moire gang" man )) so I continue to explore into the issue.Let me tell you I love my ML'ed 50D. But the issue of aliasing (whenever I some fine details / textures fall into the frame) still bothers me. And I try to find ways of workaround.According to the theory, the problem happens when the fineness of the details in your frame comes close to the distance between the most near pixels. In the case of 50D, it's 0.0140783 mm. Rough (and over-simplified) solution is to blur the image in those small details while keeping larger details intact.What do I do?First, I use the aperture values out of the sweet mid spot of a lens. Basically it's either wide open or completely shut.Secondly, I use some old manual lens (a guy in Ukraine does Canon EF mounts for old Olympus and Minolta lenses) and they lose some sharpness.Thirdly, I use a stills photography Cokin add-on and insert a cheap Chinese ND2 filter in front of my lenses to lose some sharpness.There is yet another method -- to de-focus your lens from the area with problematic details.And I'd like to suggest one tool to make this de-focusing slightly more scientific.It's a free application for Android that I wrote last winter. It does 2 things:- calculates DOF (nothing special)- calculates the degree of blurriness out of DOFIt gives a specific parameter that is called "Min Detail" that shows how much any object is blurred that is out of DOF (that is, de-focused). So whenever you have fine details / fabrics make sure that you take exact focus from that and that Min Detail parameter for that distance is not less than the real size of a detail / pattern unit.Will not go into detail here more, as I'm not sure if a lot of people will find this usefull...The app is here: https://play.google.com/store/apps/details?id=net.kadru.dev.visualdof2The help info is here http://dev.kadru.net
Quote from: goldenchild9to5 on July 23, 2013, 10:11:27 PM...If you wanna get better footage from your 50D trust me go (ACR). ..... (UV Filter) yes you heard me right UV filtration that's what's causing it. ........
Quote from: rommex on July 23, 2013, 10:24:00 PM1. Recently I was testing ACR as I read several posts here on the forum about it being better. However, ACR doesn't solve the issue for me as I wished it would.2. Maybe you mean that a good UV filter can eliminate Chromatic Aberrations, which it could for sure. But Digital (Bayer) color fringing happens when the ray of light has gone past the filter, the glass and hits Bayer pixels. You can't help it but blur at the length of the inter-pixel distance. That's why low-pass filters exists right in front of the sensor.
Quote from: jgerstel on July 23, 2013, 10:40:51 PMHi,Looks like shooting in crop mode has little less moire.Caonon 50mm lensMagic Lantern Raw - 1080P filmed in zoom / crop mode (exept for evoluon intro clip)ML build 11th July 2013
Quote from: rommex on July 23, 2013, 09:25:13 PMWill not go into detail here more, as I'm not sure if a lot of people will find this usefull...The app is here...
Quote from: savale on July 23, 2013, 03:06:08 PM@artiswar the upper ones are the original shots right? a question: did you underexpose the images on purpose?
Quote from: Gekko on July 24, 2013, 01:52:11 AMrommex, please don't get me wrong.I see a very hard-working community here and read all about the progress regarding the 50D with great pleasure. There are tons of people developing the firmware and it's simply unbelievable what came out so far. And this all because these people work for all of us, taking no money for it and releasing it free of any copyright. ML is absolutely free. But here's the issue that makes me concerned. Without ML, especially the 50D would not be of ANY interest to anyone of us anymore. And i can't believe, that the guys at EOSHD.com don't hesitate to make MONEY with it. Although the progress in developing ML is not made by them, they try to earn money with it.And so are you. Please, by any means: PLEASE stop trying to make money with this FREE work and respect the hard efforts the developers give even YOU as a GIFT. Try to merchandize and sell your products anywhere. But PLEASE don't do it in this forums. Thank you for your understanding.
Quote from: a1ex on July 24, 2013, 07:22:24 AMIn raw you are getting only full stops (you can't get digital gain). Make sure you expose to the right.
Quote from: DJG on July 24, 2013, 07:29:09 AM@GoldenChild9to5 - Thanks! @rommex and @Andy600 - Thanks for the tips!*Actually the last video (page 95) was the June 11th build! Sry about the mix up.I went and got a few test clips today and I ran into a new problem. Still using June 11th build.Anamorphic shooting this time. 4:3 Mode. 1280x960. Used RAW2DNG. All the DNG images came out fine.POST:Color corrected in ACR. Imported RAW sequence into AE. Resized to 2560x960. Rendered out DNxHD 444 10 Bit. No problems there.This is a VLC snapshot:Then I imported DNXHD clip into PPRO to make a sequence. Rendered to 1080p H264, and got this:I also tried rendering to 1080p MPEG2, Quicktime H264, and 2560x960 DNxHD. I still get a video with those weird white dots the second time I export. Nothing was clipping in the highlights in any of the versions. All scopes in PPRO show everything within a normal range too.Has anyone else run into this problem?
Quote from: goldenchild9to5 on July 24, 2013, 07:33:34 AM My workflow I don't render out as DNxHD I always render ProRes files, so I'm not sure what would cause such problem. I'll try and replicate your workflow and see if I get the same results.
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