May 25, 2013, 10:46:17 AM

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Messages - LetTheRightLensIn

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1
First, of course ACR should be set to sRGB working space and 16bits when using it to do ML RAW video (for stills ProPhotoRGB 16bit makes most sense).


2
Basically when you use the Photoshop/ACR workflow to process the RAW DNG folder you have to set working space for ACR to sRGB 16bits which is all fine BUT most people calibrate monitors and TVs to something like gamma 2.2 but you were editing in sRGB and as soon as you take the footage out of something not completely color-managed which includes almost all video playback software you end up with the sRGB video file's sRGB tone response curve not getting converted for use on a gamma 2.2 display and you get the contrast and saturation a trace boosted and the shadows and lower mid-tones become too dark.

The fix is to add a step right before you save out as TIFF in your batch action. Use "Edit->Convert To Profile->Custom RGB" and then rename it to "REC709 Primaries With Gamma 2.2" (or whatever) and hit OK (it should already have selected REC709 primaries and gamma 2.2 for you automatically, if not, make sure it has gamma 2.2 set and REC 709/sRGB primaries set). This will store each TIFF in Gamma 2.2 with sRGB/REC709 primaries instead of in sRGB TRC with sRGB/REC709 primaries so your videos should look the same when played back on your sRGB/REC709 primaries and gamma 2.2 calibrated display as they did when you edited the initial frame in ACR/Photoshop.

But that is not all. That simply makes the TIFFs get stored as gamma 2.2 but AE will still convert them back into sRGB TRC instead of leaving them at gamma 2.2 unless you make sure to set "Preserve RGB" as one of the options for the output codec in the render queue and I believe that you also need to change AE preferences to chose "None" for working space to turn off its color management engine.

That does the trick (it's actually simple all you do is turn off the AE color management once and save those prefs and then just add the convert to profile with gamma 2.2 thing to your RAW batch action in Photoshop once and you are good to go with nothing more needed to be done each time.

Then when you import into Premiere Pro it looks the same way as it did in Photoshop/ACR (assuming your monitor is internally calibrated to sRGB/REC709 gamut and gamma 2.2 D65m if not there may be slight variations due to primaries in different locations and such although if you at least calibrated it through software the gamma/WB ramp should still work in your video card and that should still match up more or less).
It really makes a considerably noticeable difference. Your video won't end up overly saturated/contrasty/dark in dark to midtones compared to what you thought you had prepared in Photoshop/ACR. If you were fine-tuning in Premiere Pro anyway I suppose it doesn't matter but it saves you from having to re-tune to make up for sRGB vs gamma 2.2 differences which is hard to exactly do by hand and it means less need to push bits around once you are possibly no longer in full bit format.

3
Here's some footage I edited together from last weekend in Central Oregon:

https://vimeo.com/66866250

All but the last three shots are with the Magic Lantern firmware....it's a bit tedious in post but WORTH IT!

nice!

4
They have fixed the Mac GUI version of raw2dng, no more 2GB recording limit!  That was very fast and very un-Canon!

That's because it's not Canon, it's the MagicLantern team  :o

Exactly!  A rag-tag band of part-time, just-for-fun programmers can fix their software in a couple of days...meanwhile Canon announces a firmware update and then takes over 6 months to actually roll it out... :o

Well, they have some advantages. If things break and your camera no longer works, they aren't legally liable. Granted if it happens to too many people they'll just stop using it. But Canon needs to make sure things are as bullet proof as possible, otherwise they face potential massive liabilities. Also, ML runs on top/alongside the Canon firmware, they don't have to do everything top to bottom like the firmware does.

That said...I definitely agree Canon should move faster with some of their firmware updates.

They also have some pretty huge disadvantages though. Zero documentation to work off of (other than for the basic ARM core and a few standard bits)!

5
EOS Bodies - For Video / Re: yes or no..6d for video...
« on: May 23, 2013, 09:12:58 PM »


No, not the 6D for video. Too much aliasing and moire. If it is going to be a Canon, then the 1DX is definitely the best and the 5D3 the next best. The others won't do much for you.
[/quote]

VAF filter for 365 is still 700 less than 5D with same video quality.
[/quote]

With the ML hack the 5D3 is miles better than 6D+AA filter. 6D uses slow SD cards that can't support ML RAW so well.

6
Theory!

Flipping the switch triggers metering. Since evaluative metering invokes code that looks at multiple metering points and tries to intelligently guess what to do, it's somewhat reasonable to assume that it might a different decision on what to do each time it's invoked if the light entering the lens in non-uniform across the image.

A way to test if this is happening is to point the camera so the image is completely uniform in brightness across the image — at the sky, or a flatly coloured wall, etc.

Please bear in mind that I don't own this lens or camera, but I do have experience in programming. In algorithms like this, it's often the case that there's some guesswork involved — hell, I once implemented an algorithm that would just randomly choose one of tho values if it couldn't determine one value over another with any degree of certainty, and it worked just fine.

Since I doubt the camera saves the reasoning behind its metering decisions between each metering, I can easily see this sort of thing happening in something that's supposed to be "smart" like evaluative metering. If you require absolutely consistent metering, I guess evaluative isn't the right mode to choose.

+1

7
LetTheRightLensIn, cayenne, Drizzt321, thanks. Yes that has been what I have been thinking too. Unfortunately I "want" the f8 focus and the faster AF for flash so I don't want to downgrade to 1.1.3...

I guess I will sit on the sidelines for an alpha on 1.2.1 and look at the game being played and drool...
 :)

Ah too bad. I don't use speedlight flash (only simple fill or macro ring) and the one combo I horrible badly wanted to work 70-300L + 1.4x TC doesn't work with 1.2.1.

8
Has anyone used the latest ML release (alpha 3 or nightly build) with the 1.2.1 firmware? Also how do I get the nightly build? Do I need to build it?

Thanks in advance.

I don't have it up in front of me, but I've been following in the forums....

1. THey are currently only working on the older firmware, I think it was 1.1.3?  The threads are like 50 deep, but in those they have links to get the older firmware so you can 'downgrade' to the version that works with current builds.

2. There are no 'guides' with everything you need to know about running the nightlies so you can play with the RAW video. YOu basically have to read through the long forum threads and take notes. ON some of those threads I saw links to outside sites where people have tried to put it all together into one guide, but if you're not familiar with a bit of coding, or more intricate computing methods, you might just want to wait till they have a more stable candidate.

That being said, the info is on a couple of ML forum threads.....I"m currently just watching the threads from the sidelines for now, but I may jump in at some point and try nightlies....

HTH,

cayenne

Yea, I'd recommend waiting until there's at least a pre-built alpha/beta that's officially released. A lot easier to install and use. Also it'll be a lot more stable and less experimental. But, if you do want to participate, please do so and help them out with any bug reports or suggestions!

The latest build are working remarkably well now though.
The only real bug is recording a file while card space runs out and I expect tht will be fixed in one day maybe two.

9
Has anyone used the latest ML release (alpha 3 or nightly build) with the 1.2.1 firmware? Also how do I get the nightly build? Do I need to build it?

Thanks in advance.


1. You MUST remove 1.2.1 and re-install the previous firmware.
2. check this thread for builds: http://www.magiclantern.fm/forum/index.php?topic=5413.125

10
EOS Bodies / Re: Patent: Canon Foveon Sensor
« on: May 22, 2013, 10:45:23 PM »
You will need a new type of monitor to really use it the way it could possibly be made.  Imagine no pixels, no 'resolution', just a standard size that everything is scaled to.  It might be vector-based with infinite resolution if the picture is digitally made.  Or if it captured with this type of Foveon sensor, it will have to use some math processing to figure out what color to put where.

??? why

monitors are already full color per pixel

11
EOS Bodies - For Video / Re: ALL-I or IPB?
« on: May 22, 2013, 02:55:52 AM »
There is no perceptible difference between the two encodings that I can detect. Not on moving or still or simple or complex images. The only difference I can find is ALL-I wastes a lot of card space.

What you want to do for broadcast use is get an Atomos Ninja 2 and the new Canon 1.2.1 Clean HDMI firmware for the 5D3. The Ninja 2 will record the HDMI output direct to ProRes in either 1080i or 1080p formats, up to 60i or 30p frame rates. You will have the best quality that way and the files will come out of the Ninja ready to submit and be cut.

http://www.atomos.com


If the entire frame is in transition then I do see a big difference between All-I Internal/Ninja 2 External vs. IPB Internal. For a static frame there isn't too much difference and IPB internal takes up less space.

(ML RAW video produces radically better quality (unlike using 1.2.1 HMDI out and Ninja 2). However it is a lot rougher to deal with the output and I wouldn't as yet trust it for a TV show since it still has card filled up ungraceful exit bugs which then means complicated file rescues etc. but it will be there soon. Just the RAW workflow is a bit intense compared to the Ninja 2 workflow. One is a breeze and quick to deal with but one produce vastly better quality.)

12
Hmm what happened to viewing by collections??? It has to be by photostream or sets only now??? What if you made special sports collections and landscape collections and so on? Wide gamut collections? Now way to organize everything? It's just all photos dumped at once or by sets all dumped out at once?? No way to organize?

13
Key question (albeit probably deserving of a separate thread) - SmugMug or Zenfolio?

Flickr if you want people to comment and to join groups, etc. and to be able to host wide gamut display galleries.

In addition, Smug or Zen? I used to love Smug but at this day and age I'd go Zenfolio for beyond 100% sure (and did so).

14
EOS Bodies / Re: 5D Mark III with Continuous RAW Video Recording
« on: May 21, 2013, 02:22:21 PM »
Magic Lantern RAW video for the Canon EOS 5D Mark III comes to the Mac & OSX
http://blog.planet5d.com/2013/05/magic-lantern-raw-video-for-the-canon-eos-5d-mark-iii-comes-to-the-mac-osx/?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Planet5dBlog+%28Planet5D+Blog%29


This was very helpful. It looks like the RAW workflow is starting to take shape!

I want to preface my next question by saying that I'm a video n00b. Should I do most of my tonal/color adjustments in ACR, or should I wait until I have the footage in AE/Premiere and do most of it in Davinci Resolve, MB Looks, etc.? Does it matter where I do it? My instincts tell me that there are two competing issues:

1. Which program is better at a specific task (e.g., recovering blown out clouds).

2. Flexibility of not having to go upstream to make changes to footage and then re-import downstream. For example, if I do my tonal/color work in ACR, won't that mean I have to go back-and-forth, rather than being able to quickly make adjustments via plugin without the extra step of re-importing?

Again... I'm just a n00b here. :-)


I think the stills software tends to have more powerful sliders when it comes to saving highlights, changing brightness, shadow, curves, contrast, etc. The CS6 version of ACR has some very powerful tools that are not just simple dials, pre-sharpening, NR, etc. And then do a few more tweaks in Photoshop itself if needed. Photoshop also hs some very powerful plug ins for creating B&W and such (although I'm having trouble getting the NIK stuff to batch so that is not working out yet). I'd try to get it right as much as you can with those controls. Then you can use AE to save it out to Cineform 12bit or something and do the rest in Premiere. Once it's save into video you can't use ACR or Photoshop on it anymore I don't think (without doing crazy stuff at least).


15
ML RAW gives MUCH better quality, have to blind AND not trying to not instantly see the difference. The Ninja 2 1.2.1 external recording stuff is a minor little difference that most times you have to reallllly look to notice and well a basic static shot and you'd be hard pressed to see much difference but with ML the difference leaps out at you.

Of course the Ninja 2 does record gobs of footage at once and is tres easy to handle and you don't need to do slow pr-processing step for every little minute clip (OTOH that slow pre-process also is done with full power of ACR and even ACR and PS so you can get things so good that you don't even need to process anything in PP or use any slow tools there which does greatly speed up final compression time in PP so you gain some time back there, it's just it is a bit nicer to have the slow stage later rather than earlier, but whatever).

But most people have been kinda hmm eh I mean I guess a little about the HDMI+Ninja 2 and like OMG!!!!!!!!!!! about the ML RAW.

Once ML works with 1.2.1 the Ninja would make a nice zebra/focus peaking monitor though over HDMI since, at least for now, the ML RAW hack tends to crap out earlier at times if you try to force it's focus peaking and zebras and fancy stuff to run full force at the same time as the ML RAW is going.

If you do run 1.2.1 over HDMI I think the Atmos Ninja 2 type stuff is the way to go over the Black Magic for various reasons.

But man that ML RAW is just wow!

I wonder if they will find a way to feed the HDMI out with a less mangled signal. It would have to be 10bits at most and probably 8bits since I bet Canon didn't use HDMI 1.3 although who knows 1.3 is ubiquitous these days. It seems criminal that it took Canon six months to get the same crappy singnal out of HDMI and ML gives us this RAW stuff in three weeks. Perhaps the digic chip just utterly sucks at debayer and processing (in cam jpgs were never nearly as crips as RAW, but then again they do seem much better than the video stuff so....) and maybe that is why they say they do not use digic in C300 but use older video cam chips for processing?? (but still the in cam jpgs are better than the video they get out of it so....)

That said they did slightly tweak the video for 1.2.1 so whether hmdi or internal it does produce a bit better signal than it does with the older firmware. (which also reminds me DO NOT compare 1.2.1 HDMI Ninja 2 footage to pre-1.2.1 internally recorded footage since that footage is worse than the new internal footage quality).

I gotta think the Ninja and other external HDMI recorders out there, expecting the 5D3 market to open up to them are just hating life right now, with the new ML Raw stuff coming out...that is so far, exclusively CF based.

There goes a market for them unless the ML people can somehow put this stuff out of HDMI, which by the numbers, doesn't look hopeful.

C

There will still be those who need the easier workflow, but yeah, they may be the biggest losers out of it all.

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