John, great work.
At 1/2 res on the timeline I get fluid playback on my Mac Pro with CUDA accelerated Mercury engine, GTX 560 Ti in Premiere CS6.
At 1/2 res the magenta highlights disappear but they are there on the full res debayer.
There's something else wrong too as I can't get the same latitude as I can on the DNGs.
The shot above was overexposed and I was able to bring it down fine in ACR. When I do the same in Ginger with the Manual Exposure setting, or any of the colour grading controls under Filmic Curve I get clipped highlights as if a lot of the dynamic range just isn't accessible.
I also think the UI needs an overhaul for this to become a really popular tool. I think it should show the full metadata, and have graphical dials and sliders for kelvin, ISO, exposure, tint, shadows, highlight recovery just like Adobe. I can't get a 'feel' for my image as I change it by having to type the digits in, and the sliders are way too sensitive and not responsive enough in the rate at which they change the image in the monitor.
One other point - although I get a clip preview in the project manager thumbnail gallery, nothing happens when I double click the raw file to bring it up in the source clip monitor. It works fine on the timeline but not in the source clip viewer.
This is all on Premiere CS6 under OSX Mountain Lion.
Cheers!
Hi,
First off, there's a new version on site:
http://19lights.com/wp/downloads/It's labeled June 12. In the past I've had slight problems with false color artifacts but it's never been a big issue. But it's a major problem on Magic Lantern RAW video because the data is point sampled. So I had to do some reworking of the debayer code. Please try it out.
This might sound strange, but the Tonemapping effect was never actually designed to be a RAW processor. The Tonemapping effect came first and Ginger HDR was first used for processing HDR timelapse footage. As time has passed we are getting more and more dynamic range out of sensors, so I've been moving into RAW processing. The Tonemapping effect assumes that its input is clean, HDR footage with a proper white balance. But since it was never designed to be a "RAW Processor" it's missing a few things that you need.
The proper solution is that there should be a menu that pops up in advanced settings (like ACR). You can't get an exact fix for white balance after loading the file because it ideally needs to happen before the color matrix. This hasn't been an issue with the BMC/Ikonoskop because they have WB data in the file, but since there's no WB in the Magic Lantern RAW data it can be so far off that it's difficult to correct. The only solution is to have that menu in the importer.
In terms of dynamic range, it's a longer discussion. In the current setup you lose some dynamic range during the initial import into D65 white balance, and you lose some more dynamic range if you shift the white balance away towards something else (like cloudy or indoor light). This would be solved by putting the WB in the importer.
Another feature that ACR has (and some other RAW processors) is better highlight recovery. For example, if your highlights become magenta, it can extrapolate the green channel to balance it out. The one thing I'm paranoid about is temporal coherency. Extracting the highlights sounds great until your footage starts flickering. So it could be done, but would have to be in a menu.
The big takeaways are:
1. Color Temperature, Tint, and Exposure need to be in a menu for the importer and should happen before the color matrix conversion.
2. The current Tonemapping effect is too complicated for a typical one light. And it has several other issues as well. I'm currently in the process of breaking it up into several smaller effects, which will make them faster and more intuitive.
3. While these will get fixed eventually, it will take some time.
One more thing EOSHD: Can you put one of those DNG files online somewhere? Thanks!
