Search the Community
Showing results for tags 'raw'.
-
http://youtu.be/--umjPBUqFU I'm still holding out on buying a new camera body so until then I'm still trying to pump the best image I can out of my trusty mark 2.
- 1 reply
-
- 1
-
-
- magic lantern
- raw
- (and 1 more)
-
Here's some vacation footage that I turned into a semi-narrative. My friend composed an original score.
- 9 replies
-
- 2
-
-
- travel
- short film
- (and 6 more)
-
I would love to share with you my first Raw video with the 5d Miii / Its an experimental teaser that i have made for a party Exept 2 or 3 shots all was shot in RAW aspecially all the Slow motion shots. Some of the slowmotion shots were twixtored in post. Hope you enjoy it and share
-
I've spent the last several months in Dubai doing work for Etihad Airways. Directed/shot/edited these pieces, plus several more coming up soon. RawRec --> Rawmagic --> Resolve, export flat (BMDFilm) --> FCP X (Apply LUT + EOSHD 5dMKIII LUT) Rokinon 14mm, 24mm, 35mm Zeiss 50mm f/1.4 Canon 16-35mm Canon 24-105mm Lighting: 2.5k HMI 1k HMI Litepanels 1x1 LED Panels Titles were done by the agency. Music by my friend Steve Davis at Trevor Morris Music. Cabin Showcases: Launch video for "brand ambassador" Martin Kaymer:
-
Greetings friends, Several months back I purchased a Canon 5d Mark III for video and photography. I was debating between that and the GH3 and had chosen it for fear that the GH3 would give me too much of a "soccer mom video" feel to my videos. Since ML I have loved what everyone has been producing with it but have yet to dive in myself since I'm pretty much an amateur enthusiast, though I am willing to learn if it is not obnoxiously time intensive. With the announcement of the GH4 with 4K video I was contemplating selling my 5D and taking the cash to purchase a new GH4 assuming the video surpasses the GH3 and is close to 5D raw. My internal thoughts are as follows for pro/con: 5D raw pro: 1. full-frame 2. raw quality 3. lowlight capabilities 5D raw con: 1. extensive workflow that demands intensive computing and time 2. Komputerbay errors when recording with fear of missing content GH4 pro (unknown obviously to full extent): 1. simple workflow for high quality 4K 2. high quality video without massive need for space like raw (assumption) GH4 con (unkown obviously to full extent): 1. lowlight capabilities still show artifacts and noise like GH3 What are your thoughts? The BMPCC would be a great option too but the fact that it doesn't take pictures make it less desirable to someone who would like to create great videos and take excellent stills. I am looking to finance an iMac 27" and research the best configuration and an affordable external storage workflow to correspond with either the ML Raw if I keep my 5D or the replacement camera (GH4 etc) Any and all comments/observations/advice is greatly appreciated in advance!!
-
http://www.magiclantern.fm/forum/index.php?topic=7122.900 Audio recording while shooting in raw (MLV) has now been enabled by g3ggo. It seems like they are still working out some bugs, but it's good news. It has been out for a few days now, but I have not seen anyone else talking about it so I figured that it warranted its own thread.
- 9 replies
-
- 4
-
-
- Magic Lantern
- raw
- (and 3 more)
-
I have done some quick trials with RAW with 5d mark II. I have used raw2dng to create the dng sequence from the raw footage. I then modify the raw sequence with photoshop Cs6. This works well. When I go to import the sequence into AfterEffects I get the raw window popping up- here's where I am stumped. This raw editing window that comes up is an older version of raw editor, older than the one I modified the sequence with in PS. And, the footage looks way darker- like 2 stops or more under- so I am always tempted to tweak it again. It often looks over processed/corrected and grainy then, once it's in AE. When I just import it as is with no correction in the raw editor during the AE import it ends up looking better, but still too dark. How do I update the raw editor in After Effects (CS5) to match the photoshop raw editor? Am I having a color space issue or something like it? Why does the footage that looks good in PS not look good in AE? the movie file that raw2dng creates from the raw file is also very dark. thanks for any help you can offer. opening a dng file from the sequence in PS- the images look good and the exposure seems pretty right on.
-
I've been experimenting with Resolve and ACR, trying to find the best workflow for RAW. By best, the highest quality possible in the shortest amount of time. ACR+AE runs a few frames/sec on my 4-core MBP and about 6-fps on my 12-core Mac Pro (both cases running with AE multiframe processing on). Resolve runs near real-time on the laptop, and slightly faster on the Mac Pro (Quadro 5000 is getting long in the tooth- a newer consumer card with hacked mac ROM would be faster). While I have been able to get Resolve looking closer to ACR, I have not been able to match it. http://www.dvxuser.com/V6/showthread.php?320727-Results-of-testing-various-5D3-RAW-workflows The first goal was to get Resolve to show an accurate image of what was shot. All the experiments with BMD Film color space and LUTs weren't able to do this (including the EOSHD and Hunters "Alexa" LUTs). I also experimented with creating 3D LUTs from scratch. The 5D3 RAW footage is pretty much linear RGB. It appears it can be transformed to BT.709/Rec709 with a simple matrix (linear transform). Using the Rec 709 color space and gamma in Resolve, I can get much closer to the correct colors for the scene shot. Unless we are going from 14-bit to 10-bit (for example), it doesn't make sense to convert to a log color space since we've already got everything captured in linear. From there we can grade for style then save out the final render with a Rec 709 compliant color space (it's not clear what Resolve does with out of gamut colors- clip, etc.). Log makes sense in a camera capturing and preserving dynamic range to a file format which can't otherwise store the full range sufficiently. Log can also make sense if one wishes to use a 3D LUT that needs log as input. However, there a many different log formats, ARRI, Canon, Sony, etc. all make different versions. At the end of the day, we need to get back to something like Rec 709 for broadcast (of course internet test videos are excluded). After comparing ACR, Resolve 10, and AMaZE (used by mlrawviewer: http://www.magiclantern.fm/forum/index.php?topic=9560.0, which plays MLV's in real-time and can output ProRes HQ (a little faster than ACR, but still slow (AMaZE only used for export)) debayering, they are all very close. ACR is doing something with color and microcontrast that puts it above everything else right now. It looks very accurate and also 'pops' in a way that I haven't been able to get from Resolve (granted, I'm just now really learning it). I'm planning for a ~90-minute final product which means lots of footage. Even shooting Robert Rodriguez style (limited takes- edit as much as possible in-camera), there will be terabytes of footage. For now I'm thinking to use Resolve to make ProRes/DNxHD proxies quickly then go back and only process necessary clips with ACR+AE for the final cut (until or unless I can figure out how to make Resolve look as good as ACR). Or batch convert ACR+AE overnight and replace proxies as I go (deleting the massive RAW files). 5D3 RAW is amazing, but requires a lot of planning, work, and most significantly, drive space.
-
Hello everyone, I just installed Magic Lantern on my 5D3 last week. I have been doing some test shoots with it, but I keep coming up with this vertical banding. I have looked all over the place to find a solution, but can't seem to pin one down. I don't know if this is a problem within my camera, or the program I used to process the RAW image to CinemaDNG. Any suggestions would be incredibly helpful. Thanks!
-
Drop an MLV on the application and you can view the MLV with sound in real-time. Press E to encode to ProRes HQ (10-bit 422): http://www.magiclantern.fm/forum/index.php?topic=9560.0 (no GUI- all keyboard commands). I've been using ACR and AE with other workflows (mlvbrowsesharp etc.) resulting in a 175Mbit/s 10-bit 422 DNxHD file for editing. The final quality has been excellent, however the workflow was cumbersome. mlvrawviewer uses the AMaZE algorithm to deBayer with excellent results (paused and when exporting to ProRes: live playback with bilinear on GPU is also decent). While there's no Bayer sharpening or denoising options in this workflow vs ACR or Resolve 10, I am impressed with the quality and time to process files directly to ProRes HQ (tested so far on my MBP laptop- will work well for on set processing). As the 14-bit ML RAW tools improve, the 5D3 is indeed becoming a baby Alexa B). Great job everyone involved!
-
A WORK IN PROGRESS. Everyone, feel free to correct, add, subtract... Storage, power and bandwidth constraints necessitate the need for video compression. It's easier to understand the trade-offs, and issues, once you understand the ideal world. In the ideal world, you would work with all the data recorded by the camera. The total pixels in a frame of 1,920 pixels wide, and 1,080 pixels high is 2,073,600, or about 2 million pixels. In one second, we watch 30 of those frames, so that 2 million times 30, or roughly 60 million pixels per second. For a minute we’d need 60 million times 60 seconds, or 3,600,000,000 pixels per minute, or 3.6 billion. When you’re watching your HD-TV your eye is viewing 3.6 billion pixels every minute. What makes up a pixel? A color. Colors are often described in their red, green and blue components. That is, every color can be separated into a red, green and blue value, often abbreviated RGB. Most cameras record each color as a brightness value from 0 to 16,383 (14 bits). You need three sets of numbers, red (0 to 16,383), green (0 to 16,383) and blue (0 to 16,383) to numerically describe ANY color that the camera has recorded. Some simple math tells us that we will get a range of values between zero and 4.3 trillion. (16,383 times 16,383 times 16,383) To make matters REALLY confusing, cameras only shoot one color at each pixel location (red, green or blue (or yellow, magenta or cyan), in a "bayer" pattern. So each pixel is only accurate about 25% of the color at that location. It assumes that two pixels near it can give the correct color information to create a full color, through "de-bayering". This trick of borrowing color information from nearby pixels is ALSO used in video compression in a completely different way. Too complicated to get into here. We can only "see" about 12 million colors. We don't need 4.3 trillion. That is, we don't need 14bit * 14bit * 14 bit, we need 8bit * 8bit * 8bit (which actually gives us about 16 million) Therefore, for viewing purposes, we can throw out most of the recorded data Let’s go back to the optimum image we’d like to see, 3.6 billion pixels per minute times 24bits (3 bytes). That would be 10.8 gigabytes per minute. As you know, you’re not streaming 10 gigabytes of video to your TV every minute. Video compression does a marvelous job of cutting that down to a manageable size HD 720p @ H.264 high profile 2500 kbps (20 MB/minute) HD 1080p @ H.264 high profile 5000 kbps (35 MB/minute) If your compressed image "overexposed" your original data, you cannot get back the correctly exposed data from the compressed video. You would want the original data. Put another way, in compressed video you are starting out with 24-bit pixels (8/8/8). In the original data, you have 42bit pixels (14/14/14/). Those 42bits aren't all equal (the sensors aren't as accurate at the extreme ends of their readings), but this should give you an idea of why RAW sensor data is the ideal. REFERENCE BAYER SENSORS http://www.siliconimaging.com/RGB%20Bayer.htm DEBAYERING http://pixinsight.com/doc/tools/Debayer/Debayer.html PATENT BELIEVED BEHIND CANON's CURRNET VIDEO FOCUS PIXEL TECHNOLOGY http://www.google.com/patents/US20100165176?printsec=abstract#v=onepage&q&f=false SIGMA/FOVEON NON-BAYER SENSORS (not currently used in video due to technical problems) http://en.wikipedia.org/wiki/Foveon_X3_sensor CAMERAS MUST DUMP IMAGE DATA IN REAL-TIME. Or, not all SD cards created equally http://en.wikipedia.org/wiki/Secure_Digital VIDEO COMPRESSION http://tech.yanatm.com/?p=485 Oh this stuff makes my head swim ;)
-
In the poll if you bought your 50D in a package deal, as best you can, estimate the portion that was due just to the Canon 50D body sans grips, lenses, flashes, etc. I picked up a Canon 50D a couple of weeks ago for a little more than $350. That was about the price I heard being kicked around months ago. The question I have is was there ever a bubble post ML RAW announcement? When I check eBay in the United States there seems to be a continuous unbroken stream of Canon 50Ds offered for sale. Most of the body only sales can be had for $330-$430. I also notice a lot of the 50Ds are sold with accessories. The battery grip seems popular. Rather puzzlingly kit lenses seem popular as well. I always preferred to get the consumer line of cameras and use the money I saved to get primes and L glass. It's strange to me that so many people opt for semi-pro bodies and things like battery grips and then skimp on the lens. So is the lack of the predicted 50D bubble an indication of how niche video on DSLRs and particularly RAW on DSLRs is?
-
I'm looking at buying some 1000x and up CF cards for my canon 5d2 to record raw (via magiclantern firmware) and came across some info about recording from hdmi and even a cf>ssd interface instead of cf cards. These CF cards are expensive and fill up fast. SSD makes more sense given that a decent 500gb ssd is only $250. Anyone have some experience with non cf card recording? -
Hello fellow EOS users i have had a 5d mark iii for sometime now, and I finally have all the necessities to use the magic lantern rare recoding function. I have downloaded the recommended firmware, and followed the guidelines of the EOSHD_G3_RAW Guide. I have downgraded the firmware to 1.1.3, formatted my cards with the exFAT file system, installed the magic lantern alpha, and then installed the magic lantern night build, as well as the mac-boot to prepare the cards to make them bootable. After all this was said and done and after I hit update firmware, My camera screen said, Firmware update program. Update file cannot be found, please check the memory card and reload the battery and try again. I am using a 64 GB compact flash UDMA 7 LEXAR Professional 1000x CF card, and a PNY Professional X 64GB class 10 SD card. Can anyone give me some insight to what I might be doing wrong?!!!!!!
-
It's Chinese New Years! Got my SLR Magic Anamorphot just in time to get all the celebrations: Food, festivals, and Lion Dances! I walked around getting footage with my Canon 5D mkIII using Magic Lantern's RAW Hack. The SLR Magic Anamorphot is very sharp and it is easy to use. There is slight vignette on the footage because my Vari-ND fader is 72mm, the front of the SLR Magic Anamorphot is 77mm. I'll have to get a new one at 77mm to solve this. Most shots were at F2.8 on a cloudy day, F4 for the Jupiter 9. Details: SLR Magic Anamorphot Canon 5D mkIII w Magic Lantern RAW Hack Canon EF 50mm 1.8 (majority of shots) Helios 58mm (near end) Jupiter 9 85mm (near end) Lightcraft Vari-ND Fader
- 25 replies
-
- 3
-
-
- SLR Magic
- Anamorphot
- (and 6 more)
-
Hey everyone! Just wanted to share some stills from music video i'm workin on. My first video to be exact. Gonna finish it real soon i hope, there's only a bit of live action left to shoot but i got a lot of other things goin on so... I'll try to upload some footage later this week. Everything shot on 5Dmk3 ML RAW using raw2cdng processed in AE CS6 and partly in Resolve Lite. The video is for russian metal band called "Reborn" (song called "Your Life Beats In Hands"), they realising their first album later this year, so if you like this kind of music they totally worth hearing. A little loop - http://coub.com/view/mo1hux2
-
Hi Camera:Canon 5d Mark III Firmware Running: Magic Lantern August 21st (938047c) (updated by lourenco @ http://www.magiclantern.fm/forum/index.php?topic=6362.msg49471#msg49471 ) Requirements: 1.Settings for Continuous recoding of both raw and normal recording. 2.Settings for 3.5K 24FPS RAW recording. (I can post a screenshot of the Magic lantern menu on my 5D3 if you guys need it) Regards SPROY
-
Hi there, i have finished a Ducati Spec Commercial i have been working on. We shot it with a small crew of 3 people in two days. The whole promo spot was shot on the canon 5D Mark III with Magic Lantern Raw! I am really excited by what the magic lantern guys did. The raw is really great to work with and grading is a blast. Take a look and tell me what you think: Here the Vimeo link:
- 2 replies
-
- 2
-
-
- Ducati Monster
- Ducati
- (and 4 more)
-
Mostly shot on a 5D Mark III with the Magic Lantern Raw Hack with some H264 footage mixed in. I believe I was shooting at ISO 20000. Lenses used were the Super Takumar 50mm f1.4 and the Canon 24-70m f/2.8. The raw files were graded in Resolve with bmd film applied and exported as 444 prores. I was very impressed at how well the raw footage looked in the low light. With the h264 video I have to turn on a z96 LED to not get noisy footage....but its sooo soft. It's incredible how well raw does in low light.
-
My first trial with slow motion at the pier, going for a hyper-real technicolor grade. Continuous recording at 1600x500. Also shot some regular 24p stuff.
-
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.
-
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! >
-
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.
-
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.
-
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.
