"Love Youth Dignity War" - 5D Mark III RAW

Started by sergiocamara93, June 24, 2013, 05:09:21 AM

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sergiocamara93



As I have previously stated in the forum, I was truly excited when the RAW hack appeared since it opened a new world of possibilities for my 5D Mark III. We shot this music video a couple weeks ago with the 25th May Build. I've found the hack to be incredibly reliable and I haven't lost a single file due to corruption or similar issues to the date.

We needed to monitor the video output so we shot in 2.20:1 which allowed me to feed the image through the USB to a Windows 7 laptop running EOSUtility while simultaneously recording continuous 24p. I also shot some 30p scenes. The slow motion shots in the end of the video were shot in 1920 (2.20:1 squeezed aspect ratio). The ISO employed through the shoot goes from 100 to 6400 (last 2 scenes, obviously denoised in postproduction).

The cards I used were two Transcend 64gb 1000x cards (not the fastest but they never let me down and they handle 1080p RAW quite well). I had to offload one card per shooting day (a total of two shooting days) but the cards read fast so it wasn't a problem.

The post workflow I chose was quite a nightmare but I decided to cope with it to get the ultimate image quality. I used RAWMagic to convert the .RAW files to CinemaDNG Files. At the time Driftwood hadn't published yet the Resolve workaround for the pink fringing so I imported all the frames (almost 83.000) to Lightroom and output them to 16bits TIFFs. Then I imported those into Resolve where the final grading was performed. Since the Lightroom processing took over a day (in a quite powerful desktop computer), I did quick Cineform proxies with RAWmanizer which I used for the offline edit. In the end, I didn't have to wait per se, I just used some more batch-processing :) Now, let's talk about the hideous roundtrip. I can't understand how Resolve can't match by itself files with the same name and the same number of frames. I mean, at least it could try. I had to force-conform each file in the project which took "just" 3 hours (1 hour per minute of final video edit approx.).

But, when the files are in Resolve and you see the RAW information... all the pain is gone. I LOVE the format, I couldn't be happier with the results and the image quality. I'll certainly be using it A LOT in the future. It's really hard to go back to H.264, all my shots seems out of focus now!!!

I wanted to share with you the video, I'd love to hear any comments about it! Of course, thanks again to all the developers and the wonderful ML Community. This video couldn't exist without you, guys.
5D Mark III

noisyboy

Great work :) LOVE the idea of monitoring via eos utility ;)

noisyboy

I should reiterate... STUNNING work dude  8)

aaphotog

Quote from: sergiocamara93 on June 24, 2013, 05:09:21 AM


As I have previously stated in the forum, I was truly excited when the RAW hack appeared since it opened a new world of possibilities for my 5D Mark III. We shot this music video a couple weeks ago with the 25th May Build. I've found the hack to be incredibly reliable and I haven't lost a single file due to corruption or similar issues to the date.

We needed to monitor the video output so we shot in 2.20:1 which allowed me to feed the image through the USB to a Windows 7 laptop running EOSUtility while simultaneously recording continuous 24p. I also shot some 30p scenes. The slow motion shots in the end of the video were shot in 1920 (2.20:1 squeezed aspect ratio). The ISO employed through the shoot goes from 100 to 6400 (last 2 scenes, obviously denoised in postproduction).

The cards I used were two Transcend 64gb 1000x cards (not the fastest but they never let me down and they handle 1080p RAW quite well). I had to offload one card per shooting day (a total of two shooting days) but the cards read fast so it wasn't a problem.

The post workflow I chose was quite a nightmare but I decided to cope with it to get the ultimate image quality. I used RAWMagic to convert the .RAW files to CinemaDNG Files. At the time Driftwood hadn't published yet the Resolve workaround for the pink fringing so I imported all the frames (almost 83.000) to Lightroom and output them to 16bits TIFFs. Then I imported those into Resolve where the final grading was performed. Since the Lightroom processing took over a day (in a quite powerful desktop computer), I did quick Cineform proxies with RAWmanizer which I used for the offline edit. In the end, I didn't have to wait per se, I just used some more batch-processing :) Now, let's talk about the hideous roundtrip. I can't understand how Resolve can't match by itself files with the same name and the same number of frames. I mean, at least it could try. I had to force-conform each file in the project which took "just" 3 hours (1 hour per minute of final video edit approx.).

But, when the files are in Resolve and you see the RAW information... all the pain is gone. I LOVE the format, I couldn't be happier with the results and the image quality. I'll certainly be using it A LOT in the future. It's really hard to go back to H.264, all my shots seems out of focus now!!!

I wanted to share with you the video, I'd love to hear any comments about it! Of course, thanks again to all the developers and the wonderful ML Community. This video couldn't exist without you, guys.

If you had shot any bigger than 2.2:1, you wouldn't be able to monitor through eosutility?
So if you wanted to shoot in 2.35:1 or 16x9 and you hooked it up to usb, the image would no longer show in EOS utility?


deleted.account

What ops did you do in ACR or was it simply to get 16bit tiffs.

Just wondering as dcraw will go .dng to 16bit linear RGB tiff's ( or sRGB, AdobeRGB) does bake either auto or camera white balance, but all with no user intervention required. Gives a flat, linear domain 16bit image.

sergiocamara93

Quote from: aaphotog on June 24, 2013, 05:52:20 AM
If you had shot any bigger than 2.2:1, you wouldn't be able to monitor through eosutility?
So if you wanted to shoot in 2.35:1 or 16x9 and you hooked it up to usb, the image would no longer show in EOS utility?

2:1 is feasible with that build but it buffered sometimes with my cards. We also wanted a wider aspect ratio without going all the way down to 2.35 and 2.20 was safer, so we went with that. 2.35 is absolutely reliable with EOSUtility and my cards.

Quote from: y3llow on June 24, 2013, 02:44:02 PM
What ops did you do in ACR or was it simply to get 16bit tiffs.

Import -> Whites -100 / Blacks +100 /// Slight noise reduction depending on the take -> Export
5D Mark III

sergiocamara93

Quote from: noisyboy on June 24, 2013, 05:14:19 AM
I should reiterate... STUNNING work dude  8)

Thanks a lot!!! I'm really happy you like it!
5D Mark III

emmikiruba


ijw01

This is definitely the best looking Magic Lantern RAW footage I've seen. Great work, dude.

Tim Jones


davidjm

I agree some scenes have an alexa look. May i ask what lenses you used?

sergiocamara93

Hi, David!

Thanks for your kind words. I love the Alexa look and I tried to replicate it with ML RAW, I'm glad you noticed it. I think the key for the interior shots was smoking the room, I used a small smoking machine with regular fog and I kept a light mist through most of the interior shooting.

For the interior shots I used: Canon 28 1.8 (although I can't recommend that one in terms of resolution or overall optical quality), Canon 50 1.4, Canon 85 1.8 and Canon 100 2.8 L IS (the last shots of him with the objects and the trunk, though there was almost no smoke on those ones). In the exterior shooting I mostly used my Canon 24-105 4 L IS with a Hoya HD polarizer. In the last shots, as it when darker I put away the pola and at the very end, I change the lens to my 50 1.4 and the 28 1.8.

I metered with the on camera histogram and with my laptop screen (IPS panel) which acted as a monitor through the usb connection and EOSUtility, as I mentioned in the first post. I relied on the histogram and I checked it every time I added the smoke to keep the overall contrast and luminance levels where I wanted them. I recommend you using a contrasty and saturated profile while recording RAW, it's easier to know where your mid-tones are and it helps me to distribute the dynamic range better.

I hope you find the information useful,

Regards!
5D Mark III