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My cameras and kit

  1. Hello, Everyone.   I am debating whether to jump into the Canon 5D Mark III Raw video capture world, but as I have been researching the topic and equipment further I am now considering using Cineform as an editing codec in Final Cut 7.   Up until now I have only work with ProRes, but I have read excellent things about Cineform, so I wanted to ask others what they feel about it as an editing codec.   Does cineform work well in Final Cut 7?   Does cineform require more computer performance in order to edit with?  More RAM?  RAID?  Or would a RAID setup be overkill?   Is there a version of cineform you really prefer to edit in?  Raw?  4444?  422?   Is there much visible difference between the various quality levels?   Does cineform grading integrate well from cineform studio into Final Cut?     These are some basic questions I have after having read about cineform a bit, so I would love to get some real world feedback on it from others.   Please don't hesitate to add any additional observations you might have from your experience.  Every bit of information is useful to me.   Thanks so much.  I look forward to your responses.  
  2. A short promo about studying in Rome. Shot in May 2013 on the Canon 5d mark 3 RAW when RAW had just been released. 

Lenses primarily used: Canon 35mm IS and Canon 70-200 f2.8 mk2. I only had 2 Lexar 1000x, now I use these and 4x Komputerbay cards. Edited on Premiere, ran through Adobe Camera Raw in After Effects first to get better debayer and graded on Davinci Resolve. I hope you like it, let me know your thoughts! >
  3. Hi friends, sorry if this was posted already, I just need a place to express my disappointment. I am on the verge of cancelling my BMPCC-order. What could be seen of 'test shots' of the Pocket's raw so far didn't convince me at all, whereas the Miii's raw just shines. Am I missing something? If not for the different price tag, what other reason should I have to look forward to the final arrival of that camera? Please share your thoughts.
  4. I just read about the new SanDisk Extreme Pro CF cards available in 160 MB/s speeds and 256 GB storage size.  They are UDMA7.  I was wondering if anyone knows if they might enable higher frame rates with the Magic Lantern RAW recording on the 5D Mark III?  It would be amazing if they unlocked slow motion capability at a decent resolution.
  5. My first few shots from my Dubai trip. Used the EOSHD 5D raw LUT in Resolve and it worked like a charm. I love how it lifts shadows without sacrificing black levels. I exported the clips from resolve with the LUT and then did additional grading on top of that in FCP X.
  6. Hi, Over the weekend I shot a short film using the Magic Lantern raw hack on a 5D mk III. Everything went perfectly and now I want to make proxies for the director to start his edit. The problem I'm running into this time is spanned 4gb+ files. I used automator to rename all of the files in each card with a naming scheme of r001c0001 and so on. R for roll and C for clip. When I dump all of these files into RawMagic it only see the takes that are in smaller than 4gb or unspanned. I assume by messing with the file naming I've broken the link between the spanned files. Can anyone think of a solution for this problem?
  7. Half the things I try with RAW end up no-where--just can't figure it out. Then one day it clicks. Last night I was finally able to create a video that shows the bayer pattern recorded in RAW, before debayering. I hope to do more in the future. I wish I had seen a video like this early on, so I would have visually grasped the importance of what de-bayering algorithm is used. Also, would see why one dead sensor pixel is insignificant. https://vimeo.com/79857693
  8. I am trying to get in the habit of exposing to the right with my 5D Mark III raw footage. But how far to the right?   Below is a contact sheet made up of screen grabs I've taken in Resolve from untouched DNGs. I set the exposure for the first image using the false color function on my SmallHD monitor (which works great for exposing H264/AVCHD footage, but here it actually looks quite underexposed) and then I upped the exposure in one stop increments.   I am hoping that someone more experienced with raw footage than I can give me an idea of which of these would contain the most recoverable data (click to enlarge image):
  9. Hey,   My first real video production in RAW. It took place in Berlin. It is for the indie clothing label called ZIRKUS-ZIRKUS   Date: September '13 Video: Calvin Müller Visa: Sarah Bleszynski Models: Valentina Belleza, Nadja Allegra, Haile Iskel, Alex Temme Location: Berlin-Kreuzberg, GERMANY Music: Cage - Nothing Left To Say (2009) Shop: zirkus-zirkus.com   http://vimeo.com/76925336  
  10. Hi there,   I'm pretty close to getting an Aquatech housing for my 5D Mark 3, and was just wondering if anyone has had any experience with shooting raw in the sea/surf?   I'm kind of resigned to the fact that it might not be too practical to be shooting raw over h264 with a housing, since you have limited controls - I think the trashcan button is not catered for - but presumably you can re-assign the magic lantern button? Also just the amount of footage you can fit on a 64gb komputerbay card, and possible card problems might not be great since you don't really have the luxury of swapping out cards in the sea.     anyone had any experience with this?   cheers        
  11. I have not seen this comparison yet so I decided to test it out.   I tried to match the shots and then colors as closely as possible, setting the look with the raw footage (starting from BMD Color Space) and then trying to conform the AVCHD to it. The severity of the grade was moderate:   5D Mark III (Raw DNG)     FS100 (w/ Frank Glencairn's G-Log Ultimate)     And here is where the codecs really show their differences:   5D Mark III     Sony FS100    
  12. I've just shot a short film using the ML raw hack for the 5DmkIII. We are using a PC workflow so we transcoded the raw files into Cineform raw using GoPro Studio Premium, RAW2GPCFv113, and RAWinizer. Cineform seems like a much easier workflow than cinemaDNG, so that is what we went with. However, the resulting Cineform .mov files that come out are pretty noisy. I shot almost the entire film at 100 ISO with Canon CN-E lenses so I'm pretty sure the noise is a result of the transcoding process.   Has anyone else worked with Cineform raw? Is the noise typical or am I doing something wrong? We purchased Andrew's 5D raw guide and I didn't see any mention of this, as either a problem to avoid or something typical to expect. I assume Neat Video Pro would be capable of noise reduction while maintaining the high bitrate of Cineform raw, but is this really necessary? As it is some shots almost look unusable "out of the box" so to speak without some noise reduction. I am posting this from work so the only clip I can show, at the moment, is this one I previously uploaded for the director to see. This one isn't particularly noisy but it is more noticeable in other clips.   https://vimeo.com/76398367
  13. https://vimeo.com/77332920   This video is really three parts - lens test (taking and anamorphic), people in shots and atmosphere on location.  BTW the set is for the TV show "Person of Interest".   Sorry no music on this one.
  14. Hey everyone, I'm new to the site. Just wanted to show a video I shot and edited. Shot on 5D MK III using ML raw format. Hope you enjoy and thanks for watching!   https://vimeo.com/77063826
  15. Hey guys, I'm buying my first camera soon, and I'll be using it to mostly make short films. Skits, shorts, comedy, maybe even record music videos and some landscapes?   Hoping to find a camera that is versatile in it's use so I can use two or three lens at most while I'm learning. I'm doing as much research as possible before I even put a dollar down because I know it can be pricey. I'd say my budget would be 3,000 and lower with few accessories maybe. Was hoping I'd be able to move my experience and lenset from this camera run onto my next in a couple of years.    I'm trying to find something that'll be able to last resolution-wise for the next couple of years as I learn and come into it. I'm hoping for something that shoots great HD 1080p 24fps right out of the box and more than likely i'll learn post production on H.264 and maybe move up to RAW or something higher eventually. I read that the workflow with RAW takes a bit of learning and processing power.    Here are my thoughts thus far:   I've found a $1600 5D MKII body only, and I wouldn't know where to start with the lens.  I've also found a$1700 6D body only [It doesn't have CF slots so I wouldn't be able to move into RAW]   I also saw that the D7 is getting RAW 1080p video soon from Magic Lantern, so I was curious if I should just wait around for that. Is this a guaranteed thing, by the way? ML isn't supported by Canon so they sort of just do their own thing, right?    I've also learned about the VAF filters to combat aliasing on certain cameras.    I saw the GH2[the hack looked very nice], GH3, and G6 and was wondering what my best option would be out of those three as well.    The 5D MKIII is way out of my budget for now.   So, if you guys could help me ingest this brand new world of DSLRs I'd appreciate it greatly. 
  16. Hello, Everyone.   I am debating whether to jump into the Canon 5D Mark III Raw video capture world, but as I have been researching the topic and equipment further I am now wondering what kind of real world computer performance in necessary in order to edit Raw video?   I have a Mac Pro (2009) with 16gb RAM and four internal HDs (500GB for OS and three 2TB for storage).   Until now I've only edited ProRes in Final Cut 7 on my machine, and I've never had a performance problem.  Moving into Raw shooting, however, I wondering if this will change my computer performance needs dramatically.   I'm planning on editing either in ProRes or Cineform in Final Cut 7, but I wasn't sure if the higher quality files and larger sizes of shooting Raw would force me to change my setup dramatically?   I will most likely need an external backup system to handle the larger storage needs, but I was wondering if investing in a RAID system is necessary?   I was also wondering is there were any dramatic performance need difference between editing with ProRes vs. Cineform?  Does one require more power to run smoothly?   I was also wondering where my money would be better invested in updates?  If I want better performance would it be smarter to add more RAM?  Or would I be better served by buying a RAID system?     Any input on how others shooting with Raw feel is greatly appreciated.  Please don't hesitate to add comments and insights beyond the scope of my initial questions here.   Thanks so much.  I look forward to your responses.
  17. Hello, Everyone.   I am debating whether to jump into the Canon 5D Mark III Raw video capture world, but as I have been researching the topic and equipment further I am now wondering how much data storage and backup will be necessary for larger files.   With estimated calculations of Raw footage being about 7GB per minute, I wanted to ask others who are shooting Raw how much storage space are you finding you need?   Terabytes seem like they would get chewed up quite quickly, so how many are people working with?  4TB?  16TB?  32TB?  And for what size projects?  5min?  30min? 90min?   Futhermore, data storage seems like it could vary dramatically depending on what editing format you end up converting the Raw footage into.  Up till now I've only used ProRes in Final Cut, but I am also seriously entertaining cineform.  It seems to have excellent feedback for a compressed file format, and would probably save space  compared to ProRes, as the Raw>DNG>TIFF>ProRes conversion for editing would require a lot of intermediate files, and storage space.   Finally, I also wanted to ask about computer performance when shooting Raw.  Since I will probably have to invest in an external backup system to get an adequate amount of storage space, I have started to entertain using a RAID system.   Do people find they need a dedicated RAID setup for editing speed now that they shoot Raw instead of H264?   Or is a RAID setup really overkill at this point from a editing performance standpoint?   Thanks so much.  I look forward to the responses.
  18. http://www.youtube.com/watch?v=TuEtZb3ZNLA   Just find a youtube that may be worthwhile to discuss. Everyone should know that 70D might be another chance of shooting raw video after the ML installed 5Dmk3. However, the video shows that the buffer for shooting raw image is about 34 shots and getting slow after 22th shots w/ Sandisk Extreme Pro @ max 90MB/s write. By estimation, the result means the internal buffer for 70D might be about 5XX MB. Do you thing it is enough for the shooting raw video or it reflects the writing speed for 70D is still under limitation? It looks better than 60D but not much. I still doubt that 70D can't be raw video shooter even ML is able to support the camera.   Let's discuss
  19. Reading through the shoother guide book I notice Andrew refers to the ML 50D as a Super 35mm raw shooting cinema camera, and this confuse me a bit, I know that within the ML you can set the camera to do a 4:3 crop mimicking the crop of a 35mm film yeah but the relationship with the optics is still like a crop sensor camera right? I mean the sensor is not getting any bigger so you still suffer from not being able to use all the glass and so having to do the Focal Length multiplication. I also noticed Andrew recommends using 64gb cards but frankly I can't afford them right now so are 32gb cards still fine? I will be working with a PC close so I will be able to upload the data while working. Thanks in advance. PD: I decided to make a forum trend after mailing this to Andrew after noticing that he doesn't like to be asked this questions by mail so sorry for that!!
  20. Testing out my recently acquired lenses with my Canon 5DmkIII using RAW.  The ability to record 3:2 as 1920x1280 is really great, but there is still a very limited ability to shoot wide with 2x Anamorphic lenses, in this case my Sankor 16D.  I have a Panasonic LA7200, but it's only a 1.33x stretch and doesn't get me the nice oval bokehs and stretched OOF areas that I want.  I really wish there was some kind of wide option using a 2x Anamorphic lens.  I also tested 1920x1280 versus 1920x1080 to see the difference.   https://vimeo.com/72941440   https://vimeo.com/72941441  
  21. Just wanted to start a thread (sorry if it already exists) about Andrew's fantastic EOSHD 50D Raw Shooters guide.  I'm here to tell you that if you have a 50D, or the budget to buy one, I got mine to work in a couple of hours (bought it, with lens, for $500 on Craigslist).  And the workflow is surprisingly EASY!  (if you don't need the highest quality conversion).   First here's my first 50D Raw footage.  Everyone is so used to the video look they no longer realize how harsh it is.  Finally, I've shot video that have the natural film look!  I can't tell you how excited I am.   https://vimeo.com/72159787   First, I ignored all the high-end stuff Andrew covers and focused on the simplest workflow.  I got the impression from the manual that I'd have thousands of individual images.  Wrong, the output is a single name.RAW file.  Second, I figured I'd have to do multiple steps to convert that RAW file into something I could edit in Sony Vegas Studio.  Wrong.  I already have Go Pro Studio Fee.  After putting the Raw2GPCF in the right directory and configuring RAWanizer for it, I was able to convert the RAW file to Cineform 422 in maybe a minute.  It's really fast.  Lastly, I installed the Cineform codec and now the video plays in media player and I was able to edit it above in Vegas Studio.   On my own, it would have taken me a few solid days to get this thing going.  Many of the tools are buried in forums, which Andrew provides links to.     I also suspect that this workflow is easier on PC than Mac.     I was surprised at how many 50Ds were on Craigslist.  I get the impression that when Andrew wrote this manual he thought they'd fly out of the closets.  If he comes out with a second edition of his manual that focuses on the first time user (I'm a computer expert, so I understood his shorthand) I do believe he'll find himself with too many friends.   Finally, a lot of people seem unsure of RAW video.  I believe many reviewers focus on the second-most-important benefit, dynamic range.  The first benefit is skin color and tone.  We're so accustomed to the video look we don't realize how poorly the face displays in most video formats.  In the above video, it was dusk.  That IS HOW my wife looked.  There is no amount of editing, I believe, that could have converted the AVCHD video to look like it did in real life.  Again, just freakin amazing!  
  22. While in Iceland this summer, I shot some RAW Footage on my 5DMK3 and edited it into this tribute to the beauty of Icleand and to the work of the ML Team.   Tech details Camera: 5D Mk3 Shot in 1080p @ 24fps on Lexar 32 GB 1000x Lenses: Zeiss Planar 50mm 1.4, Voigtlander Color Skopar 20mm 3.5, Canon 24-105 f4L, Canon 70-300 DO IS. Processed with ACR in PS, Edited in FCP, final touches in AE + Film Convert Pro.   Special Thanks to Magic Lantern.   Hope you enjoy it and let me know what you think, Andrei   https://vimeo.com/71698566
  23. http://vimeo.com/70387959   For this video, I shot with a slower CF Card (60MBS) that gave me 1152 X 864 resolution at 24 FPS in 4:3 mode without skipping frames. I could shoot for at least 4 minutes (I didn't try shooting longer). I did my color correction with Adobe Photoshop and converted to 2304 X 864 in Compressor.   Anyone shooting anamorphic video in 4:3 with a 2X lens? Please share workflow and shooting tips.   Thank you.
  24. Does anyone know if it's possible to create a good "recipe" for converting BMCC raw video to something similar to what the BMCC camera would create when it outputs Film Log ProRes - preferably using Adobe Camera Raw and After Effects? (I'll be using Resolve at some point, but I'm waiting for the new MacPro's to upgrade, and my 2012 Pre-Retina MacBook Pro can't handle Resolve).   To be more clear: I'd like to shoot RAW, but immediately batch convert to something that closely resembles what I would get if I had shot ProRes422 Film Log.     Is there such a recipe?  Or does the BMCC apply something more like a changeable algorithm to create it's ProRes Log?   So... what kind of curve, saturation, highlight control, shadow control, sharpening, noise reduction, etc... would you be best to use if you were willing to do a batch convert and then grade the ProRes afterward?  There may not be a "one-click" solution but my current workflow is brutally slow.   Thanks for any help anyone can be,   -Aaron      
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