7D Raw Thread

[hdclip]

Actually i can get 30 seconds  (2048 x1148)

Komputerbay 1000x

For me with a 1000x 32gb Lexar 2048X1152 Only 5 Seg....

[Deem]

My new short film in ML RAW 

[edwmotion]

For me with a 1000x 32gb Lexar 2048X1152 Only 5 Seg....

if i change frame rate to 23... i can get at least 1 minute. 1:30 from time to time 

[hdclip]

if i change frame rate to 23... i can get at least 1 minute. 1:30 from time to time 

I was recording at 25FPS, if a put to 24...1min!!!!!!!!!!!!!Perfect!!!

[Brawl]

my 7D arrived this morning at home and it's awesome!!!!

[edwmotion]

I was recording at 25FPS, if a put to 24...1min!!!!!!!!!!!!!Perfect!!!

At least for me 1min is enough for serious work. The 7D is a 2k raw monster, buffer helps a lot.

[hdclip]

At least for me 1min is enough for serious work. The 7D is a 2k raw monster, buffer helps a lot.

for me it is like putting a foot on Mars...!!!!!!

[edwmotion]

my 7D arrived this morning at home and it's awesome!!!!

Enjoy your new 7D 

[Cypressentgrp.com]

Question, How do you record higher than 1728 ? , It's stops there, anything hire says it's not capable in current video mode.

[Walter Schulz]

Look for "Movie Crop Mode". Much like digital zoom and therefore limitations involved.

Ciao
Walter

[kirklasalle]

Question, How do you record higher than 1728 ? , It's stops there, anything hire says it's not capable in current video mode.

From your Liveview screen, hit your 5x zoom (NOT 10x), THEN go back into your resolution settings.... You'll see the dialogue for your max res will change.
Also, I've disabled 10x under  PREF > Liveview zoom tweaks (I have an older nightly build, don't know if the 10x was fixed)

[jayzed]

Wow. I've been using ML for the video utility features but after reading through the issues here haven't bothered trying raw video. Well, yesterday I had a couple of hours spare so decided to give it a try. Amazing. There's a lot of talk about latitude, and it certainly improves there. However, the flickering problem (I use ACR and AE) when adjusting the highlights etc disappointed me at first. These adjustments were part of why I was getting a great looking image, the problem being when the light changed the video had a sort of dodgy film print look. Not terrible, but a little disappointing.

Anyway, I tried again this morning when there was more light and discovered what for me is the real benefit - bypassing the H.264 codec. Shadows are dark and clean, details are incredible. I shot out my window at a view I've used to test for ages and even at the sub 1080p resolution, it was sharper and more real than anything I've seen from my 7D before. When I first installed ML, it was like getting a new camera. Raw is like another one again. OK, I'm not going to stop using the standard codec but if I want a beautiful shot, say for a website background, or a title sequence raw is the way I'll go.
By the way, I avoid the flickering by keeping away from the basic adjustments in ACR but I'm sneaking them back in, a little at a time. I ease off if I notice the flicker (by reloading the file in AE, which brings ACR back up). Then I use the curves page instead, although they're not as precise as the basic parameters.

Here's something I did. Note that I forgot to switch off IS on the lens so the pan jerks a bit at the end and it's hardly going to win me a cinemaphotography oscar but I've never been able to get this much range and detail before. The vimeo codec has disappointingly softened the image a little (I guess even for Vimeo there's too much going on for the compression) but I'm impressed at the difference between this and H.264 versions I've recorded previously.

Thanks again, everyone. Brilliant work. Hopefully Adobe will realise that a lot of people are using ACR for raw workflow and add a switch to prevent the basic parameters from changing throughout an image sequence. I'm going to shoot some city views when I'm at work today, I'm really looking forward to it.

BTW, the camera does stop recording sometimes, usually after more than 10 seconds. Most of my shots are shorter than this anyway, so I can work around it. I've learned to work around the h.264 codec (I try to use shallower depth of field and selected backgrounds to keep the detail in less important bits low to avoid the smudged look), but now I have raw as an option. I use a Microtrack II for audio (assuming I want any) but now I'm going to have to use a visual cue to resync in editing as there's no camera audio with raw. No biggie, just another adjustment to make. It's worth it for the times I will want the best possible image.

[dmilligan]

Hopefully Adobe will realise that a lot of people are using ACR for raw workflow and add a switch to prevent the basic parameters from changing throughout an image sequence.

I think the reason that the highlight slider is "so good" is also what is causing the flicker, at least to some extent. It's causing the flicker because it's 'image adaptive'. It analyzes the image and determines the best curve on the fly based on image content. This is what makes it work so well, it's also what makes it flicker, each frame is slightly different.

There are however, other controls that Adobe has made 'image adaptive' that don't neccessarily need to be, and it would be nice if Adobe would make them 'temporally aware' or something like that. It's my understanding that fewer of the 'Process 2010' controls are image adapative, so a lot of folks use 2010 mode in ACR for RAW video.

@DFM can probably shed some more light on the issue, including if Adobe has any plans to resolve these issues.

I have written a script for deflickering images in Bridge/ACR (mainly for timelapse, but also useful for raw video) that I have also had success with deflickering when using large amounts of highlight and shadow recovery. I recently did an HDR timelapse that I toned using ACR (I merged brackets into 32 bit TIFF and toned the TIFFs with ACR). I was using -80 highlight, +80 shadow and +30 clarity, and the images from the camera were already flickery b/c I was using auto exposure (b/c it was a sunset and the light was changing). The result was completely flicker free. It should work just the same for RAW video sequences since the only real difference is RAW video is a smaller resolution.

[jayzed]

Thanks Dmilligan. Yes, I've heard about the 2010 process selection but haven't tried it yet. Mostly as I've seen reported that it doesn't fix the problem entirely.

I've seen your script in passing but as I haven't been doing any timelapse haven't looked into it. I just want to say - wow. The first thing I thought was that it was going to be something that adjusted exposure. The ACR parameters we're talking about fiddle with a lot more than just exposure so it might improve flicker but probably not fix it. But no, I was wrong. It looks like it manages the ACR parameters in much the same way I was hoping for Adobe to implement. I'll be installing it today! Excellent work.

As for the comment about the image adaptive parameters, highlight slider etc, I do understand that they are image relative. What I was thinking was that once  the underlying (invisible to us) parameters are set for one image that they could be applied to all of them. I definitely don't understand it all so it's highly possible I'm one of those people who asks questions (or worse, makes statements) that make no sense when the situation is better understood. Still, it sounds like this is almost exactly what you are doing in your script, with a lot more features added in!

[jayzed]

Flicker: I'm still working on testing dmilligans amazing script, but in the meantime I tried a copy of the RE:Match plugin when I dropped in to an agency I work with who has just about every AE plugin known. I've seen this plug mentioned before but the workflow I saw spoke about using JPEG previews as the sequence to match to. I didn't need to do this to get a usable result, what I did was:

duplicated the ACR sequence in AE, found a frame I considered middle of the road wrt range and brightness in the lower version and set 'time/freeze frame' in AE.

inserted RE:Match on the top version and, after a bit of playing around, used these settings:
Get color from: lower (time frozen) sequence
Transfer method: gain+offset
Color space: LAB

Other combinations of settings ranged from horrible to almost as good with the video I'm using.

And that's it really. The flicker is completely gone. I still have some very mild slow brightness changes visible (the ACR changes between frames are more than gain+offset differences) but it looks much better than before. You could also use the snapshot/match to still feature rather than the time freeze thing I did but potato potahto.

Next, to experiment with the Bridge script! Perhaps I can save a few quid and not have to buy RE:Match. Dmilligan could easily charge for the script if it works as expected, I'm pleased he doesn't of course.

[arrinkiiii]

Does somebody knows what happened to dual iso video on the 7d?

Don't now  about it     What i think is missing from the 7D

*Dual-iso in video mode

*ExFat

* Video Hacks? ALL-I

*Zoom 10x   

[hdclip]

Does anyone have problems with the RAW2CDNG????reaches the middle of work and stays K.O.... Build November25...

[javyelow]

Hi everyone!! Any way to have moré than 1728x972 without the crop factor?? Regards!

[mucher]

It comes out like a lightning in a flash. If CHDK's code can be borrowed to ML, ML can actually steal the whole area of photo shooting into raw sequence, namely 1:1 raw video

[edwmotion]

Hi everyone!! Any way to have moré than 1728x972 without the crop factor?? Regards!

there is no way. get some wide angle lens.

[DFM]

I think the reason that the highlight slider is "so good" is also what is causing the flicker, at least to some extent. It's causing the flicker because it's 'image adaptive'. It analyzes the image and determines the best curve on the fly based on image content. This is what makes it work so well, it's also what makes it flicker, each frame is slightly different.

There are however, other controls that Adobe has made 'image adaptive' that don't neccessarily need to be, and it would be nice if Adobe would make them 'temporally aware' or something like that. It's my understanding that fewer of the 'Process 2010' controls are image adapative, so a lot of folks use 2010 mode in ACR for RAW video.

All the sliders in the Basic panel in PV2012 are image-adaptive, and things like Clarity always have to be. 'Exposure' and 'Brightness' in PV2010 were just offsets (the latter having a rolloff). Yes this does cause a problem when the input source is a sequence, and the need to tweak ACR to be more 'video-friendly' is one reason why it didn't make it into the 7.1 release. I can't comment on future updates though. Realistically with a DNG > ACR > After Effects workflow, you only use ACR for the factory corrections (white balance/tint and lens distortion, maybe just a tad of noise filtering but not too much) and all the exposure/contrast stuff is then applied with curves effects in AE. If you're working on a 32-bit comp there's no difference in final quality.

[jayzed]

Thank you for that DFM. Much appreciated. I feel much more confident now that I know that as long as I'm working in 32 bits in AE that I can still 'get at' all the data. I'd hoped as such, but without proper testing and your comment, it was a guess. So, I can confidently use video tools to do the problematic stuff I was doing in ACR. Lovely.
Your statement about NR - 'a tad of filtering but not too much'. Is that a comment on aesthetics or is there something that doing NR in ACR (as opposed to, say, Neat Video, or MB Denoiser) that means it's a worse choice?
Which also leads to my next question - Is the sharpening in ACR safe to use as well?
My trusty old 7D is exciting me again, and although there's workflow changes to go through, the results are worth it when you need them. I keep thinking of old projects I could have really used a few raw shots in :-)
When I was visiting the agency the other day (I just happened to have a CF card with the raw files on them :-) I had a play around in Nuke with the J_Ops additions. It's likely going to be a result of my limited skills with Nuke but I found the Adobe process more straightforward and I could get better results faster.
JZ

[DFM]

Sharpening and noise reduction in ACR applies per-image, so it depends how aggressive you are. Toning down luma noise from high ISO footage is generally OK, but if you smooth or sharpen the image too far the affected areas can be different enough between frames (at the pixel level) to introduce flicker. Some of the native video tools for sharpening and NR will peek at adjacent frames and make sure the pixel changes are gradual.

It's similar to the exposure/clarity question - in theory when you're shooting the real world, two frames should have extremely-similar contents (just with the pixels shifted a bit). Unless there's a speedlite going off you shouldn't see flickering in the footage even though the exposure slider is frame-based, as "90% of white" in frame 999 should be visually the same as in frame 1000. Push it too far and you do.

I wouldn't have any problem taking a high-ISO ML DNG sequence back to a "normal" noise/sharpness level with the ACR sliders,.

[hdclip]

Sharpening and noise reduction in ACR applies per-image, so it depends how aggressive you are. Toning down luma noise from high ISO footage is generally OK, but if you smooth or sharpen the image too far the affected areas can be different enough between frames (at the pixel level) to introduce flicker. Some of the native video tools for sharpening and NR will peek at adjacent frames and make sure the pixel changes are gradual.

It's similar to the exposure/clarity question - in theory when you're shooting the real world, two frames should have extremely-similar contents (just with the pixels shifted a bit). Unless there's a speedlite going off you shouldn't see flickering in the footage even though the exposure slider is frame-based, as "90% of white" in frame 999 should be visually the same as in frame 1000. Push it too far and you do.

I wouldn't have any problem taking a high-ISO ML DNG sequence back to a "normal" noise/sharpness level with the ACR sliders,.

I use the acr for the correction of luminance noise and detail and I think is an excellent tool.
Davinci Resolve however I think that in this sense the image loses qualities of fine detail and noise correction, even if a more comfortable tool...

[Brawl]

Enjoy your new 7D 

thx!