Jump to content
Andrew Reid

Magic Lantern Raw Video

Recommended Posts

EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs
On 29/06/2017 at 3:24 PM, BrorSvensson said:

is 48fps possible on the 6d?

It has a slow write speed, so anything in decent resolutions will never be continuous. It's possible you could do 48fps for a short time until the buffer fills, but I think it will also be squished if it is possible, so you will have to resize in post (like anamorphic lens). Likely as well that the Liveview will not display correctly.

Share this post


Link to post
Share on other sites

I've been testing out a simple LUT workflow and I have found a few that work fairly well. This is known as Hunter's LUT. The idea behind it is to underexpose 5D3 ML Raw footage by about a stop and then this LUT is supposed to help mimic Alexa footage.

Here is where you can find information.

And here is a screen grab from my film using the LUT and some slight adjustments in FCPX... 

pierce's point 3.jpg

I've just been testing some different looks for my film. It seems like an interesting concept, but it isn't a hundred percent what I'm looking for. Here is another screengrab using Captain Hook's Basic LUT for BlackMagic Film... they work pretty well with 5D3 Raw footage...

Unsure - Followed.jpg

I believe @hyalinejim made a Kodak Ektar LUT for 5D3 Raw as well. Does anyone know of any other LUTS specifically designed for ML Raw footage?

Or some that work well with it?

Share this post


Link to post
Share on other sites

Part of the problem is that any given LUT is expecting a certain range of luminance values, as well as a certain range of chromaticities, which it then transforms to create the desired look. If either the luminance or the colour of the input is wrong the results will be unexpected. Luminance is not such a big deal as this can be fairly reliably manipulated before the LUT in the post pipeline using curves or something similar. Ben Turley's LUTCalc can generate LUTs that transform gamma and colour primaries from known specifications of various cameras. It also gives the option for transforming colour primaries - this does have an effect, but it's not a magic camera emulator machine.

This is a long-winded way of saying that it helps if you know what gamma and colourspace your ML footage is in. This is why I like Cinelog - it gives Cineon gamma and Alexa primaries. So let's say I have a LUT designed for Alexa, I just need to transform the gamma from Cineon to Alexa, and leave the colour as it is and it should work well.

What's your post workflow?

I'll add that Juan Melara's print film emulation LUTs are great. There's also Tom Majerski's VisionT luts for BMD and Digital Bolex, but ML footage will need to be manipulated for these. Also Andres De La Cruz Kodak PFE . Finally, Light Illusion have a film emulation LUT available on request.

Finally, you can use IWLTBAP LUT generator to convert Lightroom or ACR presets to LUTs. So if you have a bunch of VSCO presets, for example, you can convert them for use with Rec709 ML footage (although the effect of DCP profiles within a preset can't be converted).

Share this post


Link to post
Share on other sites

Ok, @hyalinejim this makes perfect sense. Thanks for the the detailed reply. Right now I am processing my MLVs through Raw Magic to create my CDNGs. I was using MLRawViewer and exporting as "LogC" and I was VERY happy with the results, but ever since I updated my Mac to Sierra it has become very temperamental. So I've been going the Davinci Resolve route as Blackmagic Film. I'm still shooting so I am not really invested in any particular method yet, but I have deleted most of my original MLVs, so I have to go forward, with this project at least, using a program that will accept DNGs.

For the "dailies" I've been just processing them out as ProRes, as shot, and then doing a basic correction/grade in FCPX. Inside FCPX I've been testing various LUTS, in Color Finale, including BM Film to Rec709 LUTS, Arri to Rec709 LUTS, a universal LOG to Rec709 LUT or running it through Colorista IV as Alexa. I've also tested just using the simple Color Board tools in FCPX.

I was very adamant about WB while shooting, so the footage usually need little to no adjustments and I am mostly playing with saturation and exposure and then adding a finishing LUT or using Tint, and/or Colorize as a final "look." I then use Sharpen, in FCPX at default.

I have found many looks and methods I like but I am a little concerned because correcting/grading a long project is something very new to me. Other than a couple tests, I've never tackled to color anything long form, so I am searching for a method that will offer both ease and consistency.

Share this post


Link to post
Share on other sites
20 minutes ago, mercer said:

I've been going the Davinci Resolve route as Blackmagic Film..... I've been testing various LUTS, in Color Finale, including BM Film to Rec709 LUTS, Arri to Rec709 LUTS

The BM Luts should work well in terms of luminance with your BM ProRes exports. For Arri luts try these settings in Resolve:

b1kgkZ.jpg

Untitled-2.jpg

 

Share this post


Link to post
Share on other sites
15 minutes ago, hyalinejim said:

The BM Luts should work well in terms of luminance with your BM ProRes exports. For Arri luts try these settings in Resolve:

b1kgkZ.jpg

Untitled-2.jpg

 

Thanks, I think you suggested the Arri workflow to me before and I forgot to test it... thanks for reminding me. CineLOG is available for Resolve, isn't it? If so, once purchased and installed, does it appear in the Camera Raw settings in the right corner as an option along with Blackmagic Film, Arri, etc...? I've read some about CineLOG and it seems to give you the most options for coloring? Is it a simple process, or will it require a lot more time and/or skill to eek out a good image?

Share this post


Link to post
Share on other sites

I think that for Resolve, Cinelog operates as a LUT and has been pretty much made redundant by the addition of the color management options shown above - it basically did what Resolve can now do. The only advantage it would still have is that it may improve colour slightly. So you may not need to buy it.

Cinelog is at its best, in my opinion, with ACR: the ability to get a log image from the best debayering application for ML DNGs. If I'm doing a quick job for a client I'll use Resolve with the above settings. If it's my own work and image quality is of the utmost importance, I'll go through ACR and AE using Cinelog. Colours are nicer than from Resolve (this might be just my opinion) and noise is definitely handled much better.

Share this post


Link to post
Share on other sites

I'm back in the world of Magic Lantern again! Alex is a genius. Can't wait to test the new builds. 1920x1920 is just perfect for my (very unique) needs.

Gone from 5D iii to Sony A7s to NX1 and back full circle.

The 5Diii has really held it's value... I sold mine for £1500 with 24/105mm lens for £1500 2 years ago and they are going for more than that now!

Share this post


Link to post
Share on other sites
8 hours ago, kkfok1031 said:

May I know the highest resolutions that can be achieve with 5D Mark III with crop not more than 2x? 25p is enough for me. I have been trying to search for this info in Magic Lantern forum, thanks.

3072x1308 (2.35:1) is the sweet spot, right now. Continuous, smallish crop (under 2x)

Share this post


Link to post
Share on other sites

3072 x 1308 is 95.5MB to the card with 14bit lossless. What card are you using that gives you such a high sustained data rate? I thought it maxed out at around 85MB/s on the 5D3?

It is a shame they have not got live-view working yet with the 3K/4K mode, it's impossible to frame a shot.

Share this post


Link to post
Share on other sites
1 hour ago, Andrew Reid said:

It is a shame they have not got live-view working yet with the 3K/4K mode, it's impossible to frame a shot.

I've found that if using ML build 123 for 5D3 (that supports external monitor non-mirrored) - you can use the choppy camera LCD live view for framing and composition, and use the external monitor for focus since the feed to the external monitor is punched in considerably (but real-time). Not ideal at all, but it can work ok for many scenarios when shooting 3.5k centre crop mode.  

Share this post


Link to post
Share on other sites
10 hours ago, Andrew Reid said:

3072 x 1308 is 95.5MB to the card with 14bit lossless. What card are you using that gives you such a high sustained data rate? I thought it maxed out at around 85MB/s on the 5D3?

Just ran a full test.

Filled the card with 3072x1308 24fps... ISO100… not much movement.

Data rate is 82MB/s... Stayed in the green throughout.

Will test some more difficult shots later. See if it crashes.

Share this post


Link to post
Share on other sites
4 minutes ago, Jimmy said:

Just ran a full test.

Filled the card with 3072x1308 24fps... ISO100… not much movement.

Data rate is 82MB/s... Stayed in the green throughout.

Will test some more difficult shots later. See if it crashes.

High detail--deep focus--bright will be the highest rate. Movement is irrelevant cause compression is intra-frame.

Share this post


Link to post
Share on other sites
11 hours ago, Hans Punk said:

I've found that if using ML build 123 for 5D3 (that supports external monitor non-mirrored) - you can use the choppy camera LCD live view for framing and composition, and use the external monitor for focus since the feed to the external monitor is punched in considerably (but real-time). Not ideal at all, but it can work ok for many scenarios when shooting 3.5k centre crop mode.  

Good to know! Thanks

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.

Guest
Reply to this topic...

×   Pasted as rich text.   Restore formatting

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.


×
×
  • Create New...