kaylee

bump

Forum member @essbe mentioned this in another thread, but I think it deserves it's own topic.
Magic Lantern developer theBilalFakhouri is showing compelling evidence that he has figured out how to implement full real-time preview in most raw recording modes across the EOS-M, 100D, 650D, and 700D. Live HDMI output is supported across all recording modes too. Many have found that these are the last two major usability hurdles for these cameras. He is trying to crowdfund £2,214 (about $2750 USD) for the 300 hours he's spent figuring this out before he releases it, and says that he will begin work on full real-time preview on the 5D iii after this campaign gets funded. As of this morning, he's about 2/3 of the way to his goal, but donations have slowed down significantly over the last 24 hours. If you'd like to pitch in, instructions on how to contribute are in the link above.
I haven't used either of my ML-enabled cameras in about three years, but this feels like it could be the final chapter in ML history. I would love to see it succeed and keep some of these cameras out of landfill as well as to provide the next generation of broke filmmakers with a truly affordable 16mm/S16 raw camera.

My Leica M-P 240 got sold last month due to needing the money to keep EOSHD afloat and new gear coming in. Was sad to let it go but need to sell a LOT of my inventory to keep the wolf from the door at the moment. However before I let it go, made sure to do one last shoot with it, alongside my Canon 1D C and Leica M9. As far as colour science goes, I rate the 240, M9 and 1D C right at the top of the tree. The M9 has a special look with CCD but 1D C and the 240 are very very close, and much better in low light.
It got me thinking, what other cameras like the 1D C better known for video, are actually really really good stills cameras?
Panasonic G9 springs to mind with the amazing EVF and very responsive performance, fast bursts, all-round very big feature set for stills. E-M1 X I think is also underrated, it feels lovely in the hand, controls are fantastic, every bit the pro Micro Four Thirds camera it set out to be. Olympus colour science and white balance always nails the look you're after.
But I think the Panasonic S1H takes the prize.
It's better than a Leica SL2-S.
Better battery life, better screen, more features.
The main strengths for stills are the best EVF on the market, even better than the S1R and GFX 100. It's enormous and 5.76m dots!
AF is absolutely fine for stills in S-AF mode, decent light, native lens. It's very fast and reliable. Sure it's rubbish with Canon EF adapter and in 24fps video mode but don't mind manual focus with Leica M lenses on it - much nicer, and less heavy.
Dual native ISO full frame sensor, absolutely rocks in low light. 6K / 24 megapixel is enough resolution for me and makes for much faster performance, more responsive, smaller file sizes when shooting a lot of stills. It also has XPAN style wide aspect ratio settings, one of my favourite shooting styles so you can accurately compose in these modes, looks fantastic in black and white. Picture styles even have a film grain setting.
Built quality is amazing, the huge top panel LCD great for checking settings at a glance whilst leaving the back screen completely free of clutter.
Shutter mechanism feels so premium, better than Leica.
What's more it cost me £1800.
And that's before you even factor in the FX6 level video camera thrown in for free 🙂

Word has it that the mark 2 is imminent and will apparently have the following :
50MP sensor 8K/60 6K/8K ProRes RAW (to external SSD as far as I can tell) Phase Detect AF I suppose that would take care of your AF woes and it does all that at the  current price of the mark 1 then you might be flogging off more gear to get it.
It might change my Z9 plans as well. 

I have been thinking about this a lot. Why can't current cameras do 14 bit 4k raw?

The 5d MK3 featured a processor capable of 14 bit RAW at 3.5k, that was 11 years ago. I guess color depth isn't marketable? Although 10 bit seemed to be and still seems to be a huge selling point.
All these years later and no cameras have this feature outside of cinema cameras which have been doing this since 2010. To me that is what is missing in the lower end cameras. I have been tempted to get an old 5d MK3 and run magic lantern on it as a B-cam to my Alexa. Obviously there is a dynamic range difference but the color information is there. The workflow and ergonomics simply aren't good enough for me to use the camera on professional projects.

 

New blahg post.
https://www.eoshd.com/news/whats-best-out-of-the-new-releases-comparing-the-canon-eos-r7-r10-fuji-x-h2-panasonic-s5-ii/

My vote is to formally change the term ‘creator’ to that of ‘shitter’ from this point onwards.
But being serious for a moment and playing devils advocate, I think there is room…a need even, for ‘content creators’ alongside the more traditional titles of photographer, videographer, filmmaker etc.
Ultimately, we are defined by what we do/produce rather than the titles we give ourselves. 
Now I do have 2 creators that need to go for their morning walk in the woods… 

The 6K Pro is a vastly better pick-up-and-go camera than the 4K – decent internal battery life, EVF, tilting screen, NDs, better in the hand. So in that way, it's more fun. I gotta say though, I went the opposite way. Blackmagic pocket cams to Sony mirrorless. I'm having way more fun now lol.

Just out of interest, why do you need to shoot 8K on a phone? 

im looking for a good deal on a used 1dc is this the right thread

It's learning...

I do think what's interesting is that video is finally starting to become equally if not more important than stills for the general public. surely the influence of YouTube, social networks etc. Everybody wants to get into it, do slomo, grade their footage. This has the beneficiary effect of camera manufacturers putting higher video specs than previous generations inside low-mid tier bodies. Its a real change in policy for companies like Canon & Sony that used to really cripple hard on video specs to protect cine lines. I still think FF4K60p in 10-bit with Clog3 is quite a nice surprise in an entry-level FF mirrorless. Yeah its no big deal for all those of us with R5's, A7SIII's, S1Hs etc but think of the little guys 😉 

There are cost saving measures for sure and of course FF 4K60p will surely overheat under long shooting.
But at least is has FF4K60p which neither S5II or even A7IV offer. DPAF2 will also be way superior to S5II AF.
Another strong benefit is the fairly low RS (15.2ms in FF / 9.5ms in S35).
So for $1500 its imo a great offering. Competition is healthy for us consumers no matter what system you're on.
 

Wow the R8 has the same sensor and specs as the R6II including FF uncropped 4K60p in 10-bit Clog3 as well as DPAF2 with subject detect only. It even keeps the handy photo/stills switch. Only thing missing is IBIS. But for a whopping $1K less. That's quite a deal if you can forego IBIS or maybe need a B-cam for your Canon setup. Oh yeah and recording time is supposed to be 2 hours instead of unlimited which is imo a pretty ok compromise. Let's find out about overheating..

It doesn't look it! I'd try exporting using one of Premiere's default settings, because I think the custom one you're using is probably where the issue is! 

thank you @newfoundmass, ive been busy but im trying to suss this out. this was a multicam shoot, i have to go thru all the data... ugh
one of the offending clips, below, is not hlg, right? talk to me like im 4. would i see that here?

im only seeing the 'hlg' on export, dunno why. been reading this
https://community.adobe.com/t5/premiere-pro-discussions/faq-how-to-fix-saturated-over-exposed-hlg-hdr-clips-in-premiere-pro-v-22/td-p/12489252
but all the settings in my projects are set to rec 709 as that thread describes, so i dunno. still working on it, just wanted to say thanks! 
obviously a general color issue upon export as described in this thread is a problem, and just confuses the issue for me, having not used premiere in a while. anyway!!!! 😡😤

 

I that case I have no interest in a conversation with you, I really don’t care about those kind of ridiculous technical obsessions. I know how to light and frame and do - you know - cinematography work.
 
To anyone interested in why HDR is a waste of time - go read this very informative Twitter thread.
 
 

So it looks like you're trying to export the file as HLG? Is the original footage HLG? The project doesn't look like it is (at least it doesn't mention it in the project settings.) Under "Basic Video Settings" hit more and see if you can change that.
Also is there any reason you're using custom settings instead of one of the presets?

Try applying this LUT to your footage on export, (it is in the export window settings in Premiere)
 
https://we.tl/t-eHqZmP04NB
 
It fixes the gamma problem.

Can you give us some info on your workflow? Are you working with log footage? What are your project settings? What export settings are you using? 

Post screengrabs of your export settings

There’s always a discrepancy between premiere renders and how Macs display them. The gamma will be lifted. It’s an apple / adobe disconnect. I don’t expect it ever to be fixed tbh 

Switch to Davinci Resolve....problem solved.  Just kidding (but not really). I used Premier for years, got tired of paying the subscription fees, learned Davinci Resolve in 1 week, best decision I ever made. If you shoot LOG with a DR supported camera, DR's managed color is another real time saver; there's also tutorials that help you do the same things you do in Premier in DR; I used a few of those, a few of Blackmagic's training courses, especially on color grading and project setup, and within 1wk could do everything in Resolve that I used to do in Premier.
No more endless subscription fees, no more weird render failures, no more crashing, no more forced updates leading to project instability, etc. etc. 

Massive data rate file that was uploaded in 4K, so that helps.  Seems to have maintained a lot of the detail.  I uploaded an .mp4 file.
We used the Universe plugin from Red Giant for the dust and the jumpy gate weave.  "Misfire" was the effect setting.  I think maybe those film damage effects subtly popping up as things go along helps with the look.  Black dust and very subtle splotching are there, but not too obvious.  We didn't want it to look like a reel that had been on the road for months,  suffering all that accumulating spooling damage, but what you would potentially see as the first pristine print at a premiere, you know?
The 'tight' gate weave keeps the frame hopping left to right just a little also, which I think looks cool. 
BTW, the plugin is too flaky.  Can't recommend Maxtor stuff based of this particular effect.  The effect is nice and this one did the job, but it wasn't reliable.  Crashed my system a lot.
Also used FilmConvertNitrate for the B&W stock film look and underlying film grain. "IL FN P4" for those of you that have that plugin.