Magic Lantern enables 14-bit RAW CinemaDNG on 5D

IM having some what of a problem getting video out of light room. Not sure if there is a tutorial for how people are doing it but a link would be great.

Also, I am still using final cut 7, and not x nor the adobe suite, so please let me know if this will be a problem for me. Im excited to get started.
 
I spent 3700 and got myself a great raw post workflow for CDNG (mac pro w/ gtx570 and 8tb raid). playback and grade in real time R9, best money I have spent in a long time. I just dont get where all the fear of cost and time is with raw is coming from. R9 has made life very easy and powerful with CDNG. It may sound weird but I edit music videos (a single track of audio-chase track) in resolve 9 with no transcoding or round-tripping using CDNG straight from the camera (full playback). Yes edit, not just grade. The little things are missing in R9 for editing but 90 percent of its already there. R10 will add of the other bells and whistles (effects plug ins- more audio tracks- text etc..) At the moment I am completely satisfied leaving premiere for it- R10 will be the next true competitor for adobe and FCP. Raw from start to finish. No sweat. THis workflow isnt for everyone, but for me its a dream come true.
 
Ok, Dustwaterindfire, glad you squared away. Now back to my initial question. Can someone please point me to a link/tutorial of someone doing a light room work flow for mac. Thanks in advance.
 
reem12 said:
Ok, Dustwaterindfire, glad you squared away. Now back to my initial question. Can someone please point me to a link/tutorial of someone doing a light room work flow for mac. Thanks in advance.
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I don't have lightroom but I think it's a similar workflow to photoshop. Check out the workflow @ cinema5D.
 
Thanks squig, I did see that but I dont think I have adobe camera raw in lightroom in which it looked like they used in the end to make the files a sequence.
 
Surf it Mike said:
Congrats ML for this hack......

What I find interesting is how on this forum we hear too often that raw workflows are "not needed for 1080" or "just too expensive" or you need "Terrabytes of HD storage"or you need a computer system "thats worth 10K " to effectively handle the thru put. This was all raised in a recent thread for a competitors product.

So the big question ......what has changed ?
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Nothing. Just the normal double-standard in play. But, now people can see what the rest were saying: Original 5D3 quality was very... hmm... undesirable from the get-go. Can't imagine anyone that's been shooting with the RAW firmware desiring what came before it.

It does make the camera more appealing.
 
Once you've tried raw from the 5D3 there's no going back. It has become so easy with Rawanizer to get many flavours of files to suit almost any NLE or grading software. The only obstacle to overcome is to get hold of fast CF cards.
 
Osslund said:
Once you've tried raw from the 5D3 there's no going back. It has become so easy with Rawanizer to get many flavours of files to suit almost any NLE or grading software. The only obstacle to overcome is to get hold of fast CF cards.
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Wellll I think Squig and a few others have a longer list of obstacles to overcome when shooting RAW. I know I've seen that list posted way too many times before the 5D3RAW thing came around.

If I recall right, storage of the beast is one?

... Might be time to watch Ghostbusters, again.
 
I'm used to handle everything from H264 to Epic raw files so to me fast CF cards is the only thing that I have to solve. Have already sent two CF cards back to different sellers and I'm waiting on new cards to arrive that might be fast enough.
But I do short formats and often just end up with 25GB to 600GB projects.
 
Osslund said:
I'm used to handle everything from H264 to Epic raw files so to me fast CF cards is the only thing that I have to solve. Have already sent two CF cards back to different sellers and I'm waiting on new cards to arrive that might be fast enough.
But I do short formats and often just end up with 25GB to 600GB projects.
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Same here. Agree that it's mostly about acquisition media, storage is cheap enough.

The best images come at a cost one way or another.
 
I'm getting a 32 terabyte thunderbolt raid :happy: and an LTO-6 tape drive for backups. The only real problem I have is this damn exposure flickering in ACR, it really limits what you can do to the raw files. Considering it's only been in existence for 3 weeks and I'm already shooting narrative scenes I can't complain too much.

A few guys are working on a CF card slot to SSD recorder which will be a lot cheaper than CF cards and possibly a bit faster. I got by with 2 64Gb cards yesterday offloading to my macbook with an expresscard CF reader.
 
Osslund said:
Once you've tried raw from the 5D3 there's no going back. It has become so easy with Rawanizer to get many flavours of files to suit almost any NLE or grading software. The only obstacle to overcome is to get hold of fast CF cards.
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This, exactly.

Shot some footage tonight at my son's baseball game - 5d3 + 1920x1080. Used the 70-200 USM II and the Tamron 24-70.

Ungraded footage; only shadows/highlights adjusted and white balance in Adobe after effects.

 
Now most with a 5D iii will be shooting raw, owners will start noticing that you don't need a 10K computer to work the files. Where did that come from BTW?

Anyway "POP" thats the sound of another raw myth disappearing.

P.S. What is the size of the ML Raw file say per minute ?
 
Kholi said:
Wellll I think Squig and a few others have a longer list of obstacles to overcome when shooting RAW. I know I've seen that list posted way too many times before the 5D3RAW thing came around.

If I recall right, storage of the beast is one?

... Might be time to watch Ghostbusters, again.
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It really all boils down to what it is you shoot. In the corporate world (not just corporate taking heads, but working for corporations) in this day of Facebook, twitter and other social outlets which corporations are using to market everybody wants their work handed over yesterday. And if you can't do that, the client will find somebody that can. You can take all the time in the world on your little indie films so workflow can be to your choosing (thats not directed at you Kholi). But since digital has become the medium (both stills and moving images) and because many of your corporate clients have toys like iPhones, Canon Rebels, they think that it's just click and post.

You can talk technicals about the advantages of RAW over lesser codecs until your blue in the face with these types of people and it's harder than teaching them astro physics. If a company has a campaign and they want turnaround and you want to keep them as a client, YOU BEST DELIVER or the next guy with crap gear that we all laugh at is going to fill your space. I just got back from an event in my industry and I was talking to another photographer about this very same thing. We have been shooting combined with 50 years experience between us and both from the good old film days. Today because consumer cameras are very capable of imaging, you need to stay on your toes because there is a hungry kid lurking that will get that client what is "good enough" faster and cheaper. And if you don't feel that, experience that, or realize that it's because you don't have competition due to not being in your feilds game. I've been an advertising photographer for 20 years and I fight everyday against kids with Canon Rebels. Mostly due because marketing is moving more and more to digital deliveries and print is dying.

Time is money. That is the first law of business. And when your client lives by that law, it forces you to live by that law. I can't count the number of times I've heard since going from film to digital while having a client on set, "So when will we get these" or "we want to get this out by Friday" and it's mid week. I miss the good ol days of having the assistant drop off film at the night drop and having the first develops delivered in the morning sometimes. Check, push or pull, run second snip. Now it's shoot, go to post, e-mail all before you get to go to sleep...So in that world sometime the extra time it takes to shoot RAW might not just cost you in hard drives. It might cost you the job with a certain personality of a client and expectation of "i need this yesterday".

But it sure is hard to give up the flexibility of RAW imaging. But it's not always practical if you want to be booked every week. You got to wrap that job up and start the next one. And with the lurking kids with decent cameras out there undercutting budgets, it's just getting harder and harder. Regardless of how much hard drives set you back.

ANd now that there is RAW capabilities in cameras costing less than $3000, there will be that many more shooter flooding the scene of what film and high quality expensive equipment once protected you with.
 
Surf it Mike said:
Now most with a 5D iii will be shooting raw, owners will start noticing that you don't need a 10K computer to work the files. Where did that come from BTW?

Anyway "POP" thats the sound of another raw myth disappearing.
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Yeah, don't know where the $10k figure came from unless he's talking about masses of storage volumes and backups.

I edit on a 2008 circa i7 920 slightly overclocked w/12 gigs of ram. Probably about a $400 computer nowadays, not counting the 4 2TB raid drives and the hardware Raid controller in it.
 
squig said:
I'm getting a 32 terabyte thunderbolt raid :happy: and an LTO-6 tape drive for backups. The only real problem I have is this damn exposure flickering in ACR, it really limits what you can do to the raw files. Considering it's only been in existence for 3 weeks and I'm already shooting narrative scenes I can't complain too much.

A few guys are working on a CF card slot to SSD recorder which will be a lot cheaper than CF cards and possibly a bit faster. I got by with 2 64Gb cards yesterday offloading to my macbook with an expresscard CF reader.
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I'm not having this "flickering" issue that you are experiencing. You're doing something wrong in the process. I haven't seen this flickering a single time. But then again I'm sure our workflows are vastly different. It must be in your AE step using ACR.
 
Hehe I wish I was doing something wrong. It's just how ACR works. If you only do really minor corrections you won't see it. I spent days getting to the bottom of it and I know for sure it's an ACR issue.

10k+ is what a system to cut a feature on costs. You could skimp on that but when your raid array crashes and you don't have a backup :badputer:
 
sparky33 said:
Yeah, don't know where the $10k figure came from unless he's talking about masses of storage volumes and backups.

I edit on a 2008 circa i7 920 slightly overclocked w/12 gigs of ram. Probably about a $400 computer nowadays, not counting the 4 2TB raid drives and the hardware Raid controller in it.
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I'm one of the guys that says you would "WANT" to upgrade to a beefy computer. WANT not NEED. Come on... Most are playing with this RAW and looking at 30 second clips at a time of footage. Try SHOOTING 4 TB's of footage on a PAID gig and process with your Electronic store laptop or two year old computer. TIME IS MONEY. Eventually you will WANT that beefy computer so that you are working at the pace you were when you were shooting HDslrs or in DVCpro, XDcam codecs. You might be patient but the client might not. So how do you crunch all those TB's of shot footage quicker? OK, export proxies then and edit those. Most of what I was talking about with the 10K computer (than includes your raids) is when the BMC4K hits and you're shooting RAW.
Sparky? Are you editing 4K RAW on the Circa 2008 I7? Are you editing RAW projects that are 5-10 minutes in length for the finished piece with 3 TBs of shot footage? All while a client is breathing down your neck. Hand over first version and they ask for an adjustment in the edit and you have to fix and export again? Only to be asked for another adjustment?

If it were that easy, I suggest you step into a production house and look at the investments they have in computer hardware. Time is money...
 
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