RawMagic 1.1 released today - Easier Magic Lantern raw workflow

QuickHitRecord

QuickHitRecord

Veteran
Shooting raw with your 5D may have just gotten easier. RawMagic 1.1 by Rarevision is a $29 download that promises to eliminate many of the headaches of the ML raw (particularly the MLV) workflow on a Mac, including a Cinema DNG workflow and accurate audio synching. I'm on the road at the moment, so I haven't tried it myself yet. But others on the ML forum have commented that it works well so far (though, it's unclear yet if it offers vertical stripe correction):

https://itunes.apple.com/us/app/rawmagic/id856514119?mt=12
 
I have read through the forums a bit and feel like I'll stick with MLV Mystic for the moment since it's free, and seems to offer more options from the interface.
I know you don't get CDNGs from Mystic, but I'm not going straight to Premier so that doesn't bother me. Is there a huge file size savings in the 14 bit CDNGs that RawMagic transcodes?
 
PTRush said:
Is there a huge file size savings in the 14 bit CDNGs that RawMagic transcodes?
Click to expand...

I'm not sure, but I seem to remember reading that your options are 12 or 16 bit CDNGs (from the 14 bit source) and it would stand to reason that the 12-bit files would be smaller.
 
PTRush said:
Is there a huge file size savings in the 14 bit CDNGs that RawMagic transcodes?
Click to expand...
RAWMagic only writes 12 or 16 bit DNG files, per the CinemaDNG specification.

A 1920x1080 RAW DNG frame from a Canon 5D Mark III will have the following sizes:

12 bit: 3.1 MB
16 bit: 4.2 MB
 
Thomas Worth said:
RAWMagic only writes 12 or 16 bit DNG files, per the CinemaDNG specification.

A 1920x1080 RAW DNG frame from a Canon 5D Mark III will have the following sizes:

12 bit: 3.1 MB
16 bit: 4.2 MB
Click to expand...

Thats actually not bad at a %25 savings in file space- and could change my opinion of RAWMagic 1.1
 
Wait, what's the point of the 16 bit files from a 14 bit source?
I am pretty sure cinemadng allows for a bitdepth of 14 bits and both Resolve and Adobe have no problem reading the 14 bit files.
 
cpc said:
Wait, what's the point of the 16 bit files from a 14 bit source?
I am pretty sure cinemadng allows for a bitdepth of 14 bits and both Resolve and Adobe have no problem reading the 14 bit files.
Click to expand...
CinemaDNG only supports 12 and 16 bit. This makes perfect sense for performance reasons (data alignment). Regular DNG supports 14 bit.

From what I understand from Magic Lantern users, as of now RAWMagic is the only tool that generates CinemaDNG files that render properly in Premiere.
 
Thomas Worth said:
CinemaDNG only supports 12 and 16 bit. This makes perfect sense for performance reasons (data alignment). Regular DNG supports 14 bit.

From what I understand from Magic Lantern users, as of now RAWMagic is the only tool that generates CinemaDNG files that render properly in Premiere.
Click to expand...

From the CinemaDNG spec:
The image can be of any size, with a bit depth in the range 8 to 32 bits.
Click to expand...

CinemaDNG is really just DNG with a bunch of metadata tags added for convenience. Nothng fancy about it.
 
Thanks. When Adobe get around to improving CinemaDNG support in Premiere, I'll add more options to the CinemaDNG writer in RAWMagic.
 
The new RawMagic seems to be working great so far. I'm surprised how fast it is compared to the other conversion apps that I have been using. This makes ML raw a much more appealing shooting option now.
 
For those interested in seeing how the 5DIII RAW with Magic Lantern holds up in a comparison with high end tools. Here is a test of 35 mm film, the Red Dragon, and Canon 5DIII Raw on Vimeo:

https://vimeo.com/88834695


Atlantis Season2 Comparison Camera Test


from Dale McCready​

A comparative test of various lenses and cameras for Atlantis Season 2 at Take2 Film in London.

Sitting in is Actress Katherine Beresford. 2nd AC Alex Parish.

Our main format to shoot is 35mm film but it's interesting to compare the other formats out there at the moment. I know the Alexa well so didn't need to test it but I wanted to look at how the smaller cameras would hold up and so tested my 5Dmk3 in Magic Lantern raw mode and also I was able to get the Red Dragon in also.

This isn't a precise test of latitude or fidelity, but a real world test of matching cameras to each other. The 35mm Kodak Vision3 200T film was shot on an Arri ST camera, processed and then scanned on a spirit before being imported into the Baselight system at Prime Focus in Soho, London. There Kevin Horsewood and I looked at getting a standard grade on the film. The Red R3Ds and CinemaDNG files from the 5Dmk3 were loaded straight into the Baselight and debayered from raw files as we graded. The .R3Ds were 6K and debayered using RedLogFilm.


Lenses used were Cooke S4s and Cooke S4 minis on the PL mount cameras.
Canon 40mm Pancake and Lomography/Zenit Petzval 85mm lenses were EF mounted lenses for use on the 5D.

Due to the differing sensor sizes the lenses weren't perfect matches in field of view.

Filters tested were Schneider Classic Softs, Tiffen Black Diffusion FX, SoftFX and Black ProMists.
In testing the filters I was looking at skin detail, halo (candle glow) and filter patterning showing up in the bokeh.
​



This is pretty amazing to me, and should quiet some of the chatter about what we can and cannot do with the tools that we have! :)

It is also amazing to see someone testing the $120 40 mm panckae alongside an $8,000 Cooke mini and a $20,000 regular Cooke! What amazing tools we have available today.



Also from the comments on Vimeo, from Dale McReady, about using the 5D3 in the past:

"I've used the MK3 with Raw cut in with Alexa on BBC's In The Flesh for some action sequences and insert/macro photography and it looked great.

Same deal here. For me it was about not being able to pick up the 35mm cameras and really throw them around. So could I use the 5D instead (which I already own) to get some more kinetic shots I couldn't otherwise? In the end I've been using it more on the gimbal and cable cam as a remote head camera, but did shoot some shots on a long pole for some fights too.

I was trying to sneakily show the producer where the state of the art is with the Dragon too, as though I love shooting 35mm, the bulk and weight of the cameras (and cost of stock) really makes me want to push in the digital direction now. I can get more for the money on screen and that's the bottom line for me as the DP. I'm not overly romantic either. Give me a camera that makes good pictures in the right situation and I'm happy."​
 
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