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Here's an app to convert Magic Lantern raw to C-LOG and S-LOG on Mac


Andrew Reid
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I like this -

http://www.magiclantern.fm/forum/index.php?topic=18949.0

Martin has done a superb job.

It converts to ProRes or Cinema DNG, you just drag and drop the MLV clips direct from your card into the app window.

Select the gamma curve, i.e. Canon LOG.

Select the touch-up options, for example to remove focus pixels on cameras with phase-detect AF on the CMOS sensor and aliasing around highlights.

Go to File, Export, choose flavour of ProRes. And it's fast!

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Yep it's not bad, focus pixel fix is the best part probably (previously no good solution on mac). I think MLrawviewer is still probably better in some regards.

Ultimately though the best workflow is to use MLVFS+NLE, everyone should be using that if they have a semi decent computer (unless they need to fix focus pox).

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14 minutes ago, tweak said:

Yep it's not bad, focus pixel fix is the best part probably (previously no good solution on mac). I think MLrawviewer is still probably better in some regards.

Ultimately though the best workflow is to use MLVFS+NLE, everyone should be using that if they have a semi decent computer (unless they need to fix focus pox).

I started shooting a film two weeks after I got my 5D3. I used the traditional RawMagic to Resolve workflow. I save all of my DNGs on one drive and then all of the ProRes files on a second drive I work from in FCPX. While I am gathering footage and putting together an assembly cut, I do a basic correction and grade, but I'm probably going to go back and do a little more work to the DNGs and replace the files when I know exactly which clips I need. So to make a long story short... I understand the concept of MLVFS but since I need to reuse the cards, MLVFS don't seem practical with the ass backwards workflow I've employed for this project. Granted I haven't really researched it too much because I was more worried about writing and production but the idea of them is their ability to go straight from card to Resolve/ACR without the need to convert to DNGs, correct? But wouldn't you rather have a DNG back up? Or again am I missing something about the process?

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In Martin's Footage app, the focus pixel fix doesn't quite work for my 100D on all shots, but MLVFS + Resolve is perfect - no focus pixel pattern with that workflow. So apparently MLVFS is removing them?!

Footage app seems to leave behind some focus pixel patterns at the edges of the frame and on highlights... But only on some recordings, not others. Very strange!

I think it works best with 5D3 for now... Early stages though.

70D might not have the same problem though as it has Dual Pixel AF, not whole pixels replaced with phase-detect points.

6 minutes ago, mercer said:

MLVFS don't seem practical

It is very practical. All it does is mount a virtual folder for each MLV clip, containing the DNG frames. You can then simply open each folder as a Cinema DNG clip in Resolve. No transcoding necessary to reach this stage, it's instant. RawMagic is great but it does not convert from MLV to CinemaDNG instantly, it takes time.

You don't even need to copy the MLV files off the card with MLVFS.

You can of course copy the DNGs onto permanent storage, because the MLVFS virtual drive becomes inaccessible when you remove the memory card, obviously.

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Yeah I guess I can just copy the MLVs to a hard drive and then use the MLVFS from there, but copying them takes the same amount of time as it does to process the MLVs to DNGs. So, for smaller projects where you don't need to reuse the cards, MLVFS are great but I don't see the practicality of them if I have to reuse the cards on the same day. But like I said, I haven't researched them enough, so I am probably ignorant on the topic... plus I am 6 pints deep as I type this reply. 

34 minutes ago, Andrew Reid said:

In Martin's Footage app, the focus pixel fix doesn't quite work for my 100D on all shots, but MLVFS + Resolve is perfect - no focus pixel pattern with that workflow. So apparently MLVFS is removing them?!

Footage app seems to leave behind some focus pixel patterns at the edges of the frame and on highlights... But only on some recordings, not others. Very strange!

I think it works best with 5D3 for now... Early stages though.

70D might not have the same problem though as it has Dual Pixel AF, not whole pixels replaced with phase-detect points.

It is very practical. All it does is mount a virtual folder for each MLV clip, containing the DNG frames. You can then simply open each folder as a Cinema DNG clip in Resolve. No transcoding necessary to reach this stage, it's instant. RawMagic is great but it does not convert from MLV to CinemaDNG instantly, it takes time.

You don't even need to copy the MLV files off the card with MLVFS.

You can of course copy the DNGs onto permanent storage, because the MLVFS virtual drive becomes inaccessible when you remove the memory card, obviously.

 

29 minutes ago, Andrew Reid said:

It definitely needs a batch process! Martin is working on it I believe.

Awesome news. When I first started with ML Raw, I only used ML Raw Viewer which I still love but once I upgraded to Sierra, it doesn't always work on my computer. Hopefully the Footage App will take its place. It's definitely a cleaner interface with more control. 

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Well it depends what you are doing/needing I guess... Sure you could go straight from card or copy to a harddrive. I still think copying to a harddrive is way quicker than converting all those files (at least on my computer it is) and if you have the space it's nice to have the originals. With 5D3 lossless that will be less space needed as well now (I wish I had that). For me MLVFS is just a seemless workflow and it's a pleasure to use an edit with.

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Well if you plan to edit Cinema DNG you should copy them to a fast SSD or RAID drive anyway, so they have to come off the card, it can be flakey and risky to edit Cinema DNG direct from the compact flash or SD card via a reader.

If you plan to edit in anything else you need to convert to ProRes and here you can mount the card with MLVFS and do the conversion in Resolve 14, then reuse the card straight after if you only plan to keep the ProRes and not edit the raw.

LOG ProRes is a very good raw substitute :) If the camera recorded 10bit ProRes internally we'd all be very happy, so it's a small time penalty to pay for such a leap in quality from the absolutely shit Canon codec.

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2 hours ago, tweak said:

Well it depends what you are doing/needing I guess... Sure you could go straight from card or copy to a harddrive. I still think copying to a harddrive is way quicker than converting all those files (at least on my computer it is) and if you have the space it's nice to have the originals. With 5D3 lossless that will be less space needed as well now (I wish I had that). For me MLVFS is just a seemless workflow and it's a pleasure to use an edit with.

It's probably a little faster on my computer too. Am definitely going to go that route after this film. But since I started with the RawMagic to DNG to Resolve to ProRes to FCPX route, I'll finish this project that way. And then with my next film, I will probably test out the lossless. 

9 minutes ago, Andrew Reid said:

Well if you plan to edit Cinema DNG you should copy them to a fast SSD or RAID drive anyway, so they have to come off the card, it can be flakey and risky to edit Cinema DNG direct from the compact flash or SD card via a reader.

If you plan to edit in anything else you need to convert to ProRes and here you can mount the card with MLVFS and do the conversion in Resolve 14, then reuse the card straight after if you only plan to keep the ProRes and not edit the raw.

LOG ProRes is a very good raw substitute :) If the camera recorded 10bit ProRes internally we'd all be very happy, so it's a small time penalty to pay for such a leap in quality from the absolutely shit Canon codec.

Yeah I will stick with the LOG ProRes method. I just like working in FCPX. Is that how it works, you structure the CF card with MLVF using FUSE and then Resolve will recognize the files and I can process the Raw through the Camera Raw tab just as if they were DNGs and then render out as usual to ProRes? I assume if I wanted to save the MLVs to a hard drive, then I would just structure the MLV folder as MLVFS? Or something like that and I'm confusing the terminology. 

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51 minutes ago, Andrew Reid said:

Well if you plan to edit Cinema DNG you should copy them to a fast SSD or RAID drive anyway, so they have to come off the card, it can be flakey and risky to edit Cinema DNG direct from the compact flash or SD card via a reader.

If you plan to edit in anything else you need to convert to ProRes and here you can mount the card with MLVFS and do the conversion in Resolve 14, then reuse the card straight after if you only plan to keep the ProRes and not edit the raw.

LOG ProRes is a very good raw substitute :) If the camera recorded 10bit ProRes internally we'd all be very happy, so it's a small time penalty to pay for such a leap in quality from the absolutely shit Canon codec.

Yep this is what I do. Just export to prores through DR14 if you want to convert (I don't as I don't see a need and would rather original quality files). This doesn't help if you need focus pixel fix though.

@mercer Yep you basically have it worked out. You can just save MLVs as usual. All you need is all MLVs for your project to be in one folder, then you do a simple right click and mount the files in another empty folder on your harddrive using MLVFS, after this you can edit/select the files normally in DR. In this way you could also simply just export them all to Proxies or Prores or whatever you need.

p.s. I noticed one big benefit of MLVFS over using MLRawviewer and for me that is - in MLRawviewer whenever I convert something with really clipped highlights it always makes them pink (like really pink), I read this was to try and save more highlight information? I'm still not sure though as it was hard to find a clear answer (not sure if 5D3 does this). I don't know if I'm stupid or it's just my setup or my camera but I could never get around this. It doesn't happen when I use MLVFS with original MLVs.

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38 minutes ago, tweak said:

Yep this is what I do. Just export to prores through DR14 if you want to convert (I don't as I don't see a need and would rather original quality files). This doesn't help if you need focus pixel fix though.

@mercer Yep you basically have it worked out. You can just save MLVs as usual. All you need is all MLVs for your project to be in one folder, then you do a simple right click and mount the files in another empty folder on your harddrive using MLVFS, after this you can edit/select the files normally in DR. In this way you could also simply just export them all to Proxies or Prores or whatever you need.

p.s. I noticed one big benefit of MLVFS over using MLRawviewer and for me that is - in MLRawviewer whenever I convert something with really clipped highlights it always makes them pink (like really pink), I read this was to try and save more highlight information? I'm still not sure though as it was hard to find a clear answer (not sure if 5D3 does this). I don't know if I'm stupid or it's just my setup or my camera but I could never get around this. It doesn't happen when I use MLVFS with original MLVs.

Ok, thanks good to know about MLVFS vs. MLRV. I actually found two shots with a pink sun in my shots I processed yesterday, I'm pretty sure I had highlight recovery checked... but maybe not. I was overexposing a little to try and get cleaner blacks for the silhouette... maybe I went overboard. 

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17 minutes ago, mercer said:

Ok, thanks good to know about MLVFS vs. MLRV. I actually found two shots with a pink sun in my shots I processed yesterday, I'm pretty sure I had highlight recovery checked... but maybe not. I was overexposing a little to try and get cleaner blacks for the silhouette... maybe I went overboard. 

Yep. I think MLraw for my purposes looks best when I expose more for the shadows. So that means often a blown out sun and pink highlights. You can select that colour in Resolve and edit it away, but it's just a step I don't need or want to bother with.

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11 minutes ago, tweak said:

Yep. I think MLraw for my purposes looks best when I expose more for the shadows. So that means often a blown out sun and pink highlights. You can select that colour in Resolve and edit it away, but it's just a step I don't need or want to bother with.

I've been doing everything in my control to shoot this film under the best circumstances. I'll drive a couple hours to get that sweet spot during magic hour for two or three shots. I've been lucky so far, and have ended up with a dozen more shots than I planned, but I either need to start lighting my talent or get a faster lens. Since I am shooting incognito at these places, the lens will be my first attempt. I've been using the 24-70mm f/4 and I love it but I need a little more speed. I'm hoping the 35mm f/2 will be a good fill in lens for those scenarios. Oh yeah, I'm also shooting entirely handheld... so I need the IS... so yeah... I'm a moron.

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35 f2 should be good for what you need. I also have mainly all f4is lenses and low light is a bit of an issue sometimes, I have vintage primes that are fast but no IS... 35 f2 is kind of on my radar as well, but it's not really a priority so I haven't scooped one up.

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Of course I have been shooting up to 1600 ISO without any noticeable issues, but I'd rather keep it under 800 or lower if I can. And it's funny... with all of the tests I've done over the past couple of years, I never realized how much I love silhouettes. With my D5500, the blacks are so clean I could have underexposed during magic hour and still have noise free shadows, not as easy with the 5D3... especially while trying to not clip the sun and get sun stars. 

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