Magic Lantern enables 14-bit RAW CinemaDNG on 5D

macgregor said:
Hi, so is there a build that gets rid of the strips and works with no other glitches right now?
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The 17/5 build has no glitches but I think it only records 4Gb files. I used it at the zoo yesterday but all my files were under 4Gb. Footage looks great.
 
lawriejaffa said:
Hey Squig thanks for taking the time to reply - appreciate getting first hand info from those experimenting with the pre-alphas. It's great to know that has been your experience. I shoot low budget features, and (have a decent rig for editing in post/grading etc) so being able to shoot RAW for this purpose on a 5d mk3 is a very very attractive prospect!
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I'm planning to shoot an indie feature with it in September. I did a quick test with it vs the FS100 the other day (the FS100 being my initial choice for the film) and the FS100 just looked like another video camera compared to the MK3 which looks like a digital cinema camera. For indie features it's the bomb!
 
Anyone tried actually shooting someone speaking in a run/gun scenario? I cannot get the built-in audio to sync up at all. Tried the FPS override and it needs about a 103% time stretch per minute or so (still not perfect) and if I only use the raw video feature with FPS override disabled the audio is even worse. Meaning the video then is way ahead of the audio. I can't always use external recorders - anyone having any luck synching up their audio with raw shooting?
If anything it always helps have a reference track that's accurate...
 
The devs have been focussing on raw video up till now. I've tested external audio sync and a 12min file syncs perfectly.
 
I frankly am not interested if you synched 12 hours with an external device. I'm talking about getting the internal recording working. I read your post already on the ML forums. Long night, and yes I'm cranky. Don't take it personally.
 
squig said:
The 17/5 build has no glitches but I think it only records 4Gb files. I used it at the zoo yesterday but all my files were under 4Gb. Footage looks great.
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Hi!
do you know by any chance in what page in the ML forum that is?
I´m ok with 4GB files. XD
 
sparky33 said:
I frankly am not interested if you synched 12 hours with an external device. I'm talking about getting the internal recording working. I read your post already on the ML forums. Long night, and yes I'm cranky. Don't take it personally.
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Sorry mate but you've probably tested the internal audio more than anybody else. Keep in mind raw recording has only been a reality for 2 weeks and there's only a small team of developers who do this for love. You can't just expect everything to work perfectly overnight, when the video is sorted I'm sure they'll put more time into getting the audio synced but nothing is for certain, this is the bleeding edge.
 
Hey sparky33- also tested audio: not sync'd and has dropouts/missing packets (clicks & pops).

Shot some footage yesterday on Santa Monica pier with a model/actress and the colorful Ferris wheel in the background. Used the 5D3 RAW 1920x1080 (Komputerbay 32GB 1000x) and a 24-105 F4L as well as with the FS700 with Speed Booster and another 24-105 F4L. FS700 used Noah's nLog 1.2 (http://noahyv.com/v2/fs700-picture-profile-guide/), 24Mbps internal codec. While the 5D3 RAW is more colorful, the FS700 + SB looks excellent and the actress preferred the FS700! (ungraded to boot).

I've gotta say it's really hard going back to lesser image quality once having worked with 14-bit RAW, however no usable audio and expensive workflow makes it unusable for the amount of free time I have to shoot & edit. If there was usable audio and a reliable one step process from RAW to ProRes/DNxHD 10+bit (12-bit 422 XAVC would be very cool ;), or any 100-150Mbps 10+ bit 422 LGOP codec), then it gets a lot more interesting. It appears the FS700 will get SLog2 and 422 XAVC (probably 8-bit) next month.
 
I've been following this development in both threads and the 5DIII with ML is looking increasingly attractive over the still non-existent MFT BMCC.

However....

All the workflow that I've seen so far involves Adobe software, AE and Premier, none of which I have or have any intention of acquiring (For a multiplicity of reasons).

Does anyone have suggestions for a viable workflow in a PC / Avid environment?

I do have Resolve 9 lite.
 
As I said I don't have AE or any other Adobe software beyond the basic Reader / Air / Flash.

Any other suggestions?

My only hope ATM is that the ML geniuses manage a converter to CinemaDNG that Resolve will ingest.
 
daveswan said:
As I said I don't have AE or any other Adobe software beyond the basic Reader / Air / Flash.

Any other suggestions?

My only hope ATM is that the ML geniuses manage a converter to CinemaDNG that Resolve will ingest.
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I posted this in the other thread on this subject.

For Windows users, you can use this freeware app called RAW2TIFF to convert the DNGs into TIFFs,

http://www.easy2convert.com/raw2tiff/

and then you can use the following tutorial to convert that TIFF image sequence into ProRes 4444,

http://www.authorityfx.com/encoding-...44-on-windows/

It seems that all 3 of these methods are scriptable, including RAW2DNG that is, which means that it is possible to have 1 script run all 3 programs with just a few parameters.

It could be something like "raw2prores <source file> <destination folder>" and boom, you have your prores file.

Maybe even slap a GUI on it.
 
jcs said:
Hey sparky33- also tested audio: not sync'd and has dropouts/missing packets (clicks & pops).

Shot some footage yesterday on Santa Monica pier with a model/actress and the colorful Ferris wheel in the background. Used the 5D3 RAW 1920x1080 (Komputerbay 32GB 1000x) and a 24-105 F4L as well as with the FS700 with Speed Booster and another 24-105 F4L. FS700 used Noah's nLog 1.2 (http://noahyv.com/v2/fs700-picture-profile-guide/), 24Mbps internal codec. While the 5D3 RAW is more colorful, the FS700 + SB looks excellent and the actress preferred the FS700! (ungraded to boot).

I've gotta say it's really hard going back to lesser image quality once having worked with 14-bit RAW, however no usable audio and expensive workflow makes it unusable for the amount of free time I have to shoot & edit. If there was usable audio and a reliable one step process from RAW to ProRes/DNxHD 10+bit (12-bit 422 XAVC would be very cool ;), or any 100-150Mbps 10+ bit 422 LGOP codec), then it gets a lot more interesting. It appears the FS700 will get SLog2 and 422 XAVC (probably 8-bit) next month.
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I think if I had a FS-700 I wouldn't even think about the 5d3 for video. It's just tough for me to go back to standard 5d3 video now; I've fallen in love with the raw image and the 3x sensor 1:1 crop mode.
 
Getting 6FPS converting 5D3 RAW to Matrox MPEG2 I-frame HD (422) on a 12-core MacPro 24GB RAM (AE set to use 1.5GB per render, 10 processors).
Cineform 10-bit 444 also rendered ~6FPS. Quick A/B between 150Mbps Matrox 8-bit 422 vs. Film Scan 2 444 10-bit Cineform (700MB vs. 1.89GB): 400% zoom can see subtle smoother gradations. At 100%- can't see any difference.
 
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Has the 55 second RAW limit be fixed? Because it really isn't that useful except for making montage or comparison videos.
 
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