Explain steps to reproduce the problem, consistently.
I should be able to follow your step by step guide, and reproduce the problem.
For instance, "a small chance of crashing when changing the angle", is pretty poor bug reporting.
Thanks, and thanks for the zip. Will take a look at it.
Thank you for your answer, the steps when proceeding to film by using a higher bitrate via the utilization of H264.ini are the following:
- switch on camera
- load H264.ini once ML has bootet, wait for the on-screen info about this process to disappear
- start the recording
- stop the recording
Now it comes to the hefty part: When pressing record again, there is a high chance that the Err70 pops up, recording stops, mirror flips back and the camera needs a proper reset (pull out and re-insert battery). This happens sometimes but not all of the time, which is obviously annoying.
I am totally aware of the fact that my explanations are not sufficient for a proper "bug report", but then, again, the error seems to happen on a random basis (?), so we might need to approach the problem from a multiple perspectives.
Is it related to stressing the encoder or is it related to the implementation of the "load h264.ini" option within ML? [I have been filming an event last night for TV with higher bitrate and there are no obvious errors in the playback of the material, which I would interpret as the encoder being able to deal with the settings]
Might there be any part of Magic Lantern that is utilizing resources that inhibit the encoding and streaming once the bitrate is higher than standard?
On a different turf, the question might arise why we need a bitrate improvement for h.264 capture now that we have the incredible possibilities of raw recording:
As you may or may not have seen in the zip file I put online in the morning, a comparison between uncompressed 422 hdmi out and standard h.264 capture was included. What can be seen is that a) the uncompressed hdmi out contains the same color information (only spread over a 422 bandwidth) but b) without the macro-blocking of the onboard h.264 compression, which, from my point of view, increases the clarity and "perceived resolution" of the recorded material.
Onboard encoding at a higher h.264 bitrate will give a similar result (or at least a tendency towards it) which will be beneficial for 5D3 film recordings in situations where raw is not an option.
