EOSHD 5D Mark III Shooters Guide to Raw Video
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The EOSHD 5D Mark III Raw
Shooter’s Guide
By Andrew Reid
First Edition
A guide to recording cinematic raw video on the 5D Mark III with Magic Lantern
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Index
TIP: If you are reading this book on an electronic device, you may click or touch the
chapter heading to go to that page.
Chapter 1 - Introduction
Chapter 2 - Enabling Raw Video
Chapter 3 - Recording Raw Video
Chapter 4 - Recommended settings
Chapter 5 - Recommended software and editing codecs
Chapter 6 - CineForm raw workflow
Chapter 7 - Uncompressed Cinema DNG raw workflow
Chapter 8 - ProRes / Ginger / After Effects
Chapter 9 - Kodak, Fuji and Alexa film looks for Resolve
Chapter 10 - Suitable Compact Flash cards
Chapter 11 - Raw shooting advice from Andrew Reid
Chapter 12 - Cinematography advice from Andrew Reid
Appendix A - EOSHD articles and sample videos
Appendix B - Technical glossary
Appendix C - Troubleshooting and FAQ
Appendix D - Disclaimers
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Contents
Chapter 1 - Introduction
An introduction to the world of raw recording with Magic Lantern and the 5D Mark III.
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Welcome to the book
New 5D Mark III specifications with raw enabled
Magic Lantern: liberators
Advantages of raw
Types of filmmaking suited to raw
Understanding raw
Chapter 2 - Enabling Raw Video
Practical advice so you can begin shooting raw video on the 5D Mark III immediately.
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Preparing your 5D Mark III
Preparing your Compact Flash card for raw recording
Installing Magic Lantern - Step 1
Installing Magic Lantern - Step 2
Installing Magic Lantern - Step 3
Activating the raw recording module
Chapter 3 - Recording Raw Video
A guide to making use of raw video and exploiting the full extent of the feature.
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Changing resolutions and frame rates
Aspect ratios
Higher resolutions than 1080p (2k to 3.5k)
What are the maximum continuous recording times?
Understanding data rates
What is crop mode?
Playback and file manager
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Chapter 4 - Recommended settings
This chapter contains my most frequently used reliable and interesting settings for shooting
raw video on the 5D Mark III.
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Introduction
Recommended settings
Optimizing performance
Slow-motion 48p / 50p / 60p
1:1 crop mode
Anamorphic aspect ratios
Movie tweaks menu
Chapter 5 - Recommended software and editing codecs
Canon raw video files usually require converting to an editable raw format. Here’s an
introduction to which formats you can use to edit raw.
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Summary of software requirements
List of recommended software
Standard DNG uncompressed raw
Cinema DNG uncompressed raw
CineForm compressed raw
Compatibility with editing software
Chapter 6 - CineForm raw workflow
CineForm saves huge amounts of storage space but maintains the advantages of a raw
workflow. This chapter deals with how to use it.
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Introduction / advantages
System and software requirements
Converting to CineForm
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Chapter 7 - Uncompressed Cinema DNG raw workflow
For maximum image quality you can edit uncompressed raw in DaVinci Resolve and other
applications (such as Adobe After Effects) which support Cinema DNG (but not Adobe
Premiere).
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Introduction / advantages
System and software requirements
Converting to Cinema DNG on a Mac
Converting to Cinema DNG on a PC
Getting started with Cinema DNG in DaVinci Resolve
Chapter 8 - ProRes / Ginger / After Effects
For alternative ways of processing your raw footage - conversion to ProRes does not allow
grading of raw on-the-fly but maintains a high level of image quality and a codec which is
compatible with almost any editing software. Ginger allows direct editing of 5D Mark III raw
clips in Premiere via a plugin but it is in the early stages of development.
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Convert to ProRes in After Effects
Ginger for native raw clip editing in Premiere and After Effects
Chapter 9 - Kodak, Fuji and Alexa film looks for Resolve
LUTs are common film industry tools for giving raw footage a certain look and feel. Along
with a selection of carefully crafted cinematic looks, this chapter deals with how to use them
in DaVinci Resolve.
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What is a LUT?
Recommended software and format requirements
Kodak & Fuji film looks by Juan Melara
Rec.709 to Canon LOG
Alexa film look by Hunter Richards
Applying a LUT in Resolve
Chapter 10 - Suitable Compact Flash cards
Raw recording on the 5D Mark III is extremely demanding on Compact Flash card
performance and capacities. In this buyer’s guide I look at which ones work, and which
don’t.
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Benchmarking your card
Card buyer’s guide
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Chapter 11 - Raw shooting advice by Andrew Reid
With raw shooting the DSLR video rulebook has changed. Here I look at shooting
techniques and how to shoot better looking raw footage.
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Be economical with your footage and ‘edit in camera’ like John Ford
Prioritize shadow or highlight areas
Avoid too much highlight recovery in post
Ignore the native ISO
Shoot at these ISOs for best results...
Experiment with crop-mode framing before selecting another lens
Don’t be shy about investing in Compact Flash cards and spare batteries
Stop down the lens when necessary
Try to avoid shooting handheld without a rig, avoid a complex rig
Chapter 12 - Cinematography advice by Andrew Reid
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Drama in simplicity
Rule of thirds
Composition
Natural light
Tips from the Tree of Life cinematographer Emmanuel Lubezki, ASC, AMC
Dead space
Color
Focus and depth of field
Location - not just a backdrop
Appendix A - EOSHD articles and sample videos
An index of articles and videos relevant to raw video on the 5D Mark III
Appendix B - Technical glossary
Commonly used jargon explained
Appendix C - Troubleshooting and FAQ
Common questions answered and problems solved
Appendix D - Disclaimers
Legal disclaimers from EOSHD, Magic Lantern and Canon
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About the author
Andrew Reid (silly pose, left) is a British
filmmaker based in Berlin, where he directs
his own personal film projects, music videos
and writes the popular blog about cameras EOSHD.com
As well as running EOSHD.com, Andrew has
written for DPReview.com, Mac User
magazine, Sound on Sound magazine and
EOSHD articles have been featured on
Gizmodo and Engadget.
I am pleased to bring you the third book in the EOSHD Shooter’s Guide series. Each book
so far has covered a subject I’m passionate in, be it the groundbreaking Panasonic GH2 or
the cinematic beauty of anamorphic lenses. Raw video on the 5D Mark III is no exception it’s an enormous breakthrough and an ingenious technical achievement by the Magic
Lantern developers and their community.
I’ve been using it a lot in my filmmaking, even though still early days. The 5D Mark III is the
first DSLR to shoot raw video and the first camera of any kind to offer raw video on a
photographic 35mm full frame sensor.
This book aims to bring you fully up to speed with the bleeding edge world of raw video on
the 5D Mark III. It will expand your technical knowledge on the subject and hopefully inspire
you creatively too.
Please do enjoy the book and if you have any questions don’t hesitate to ask myself and
the EOSHD community on my forum and at the Magic Lantern forum.
EOSHD Forum
http://www.eoshd.com/comments/forum/4-eoshd/
Magic Lantern forum
http://www.magiclantern.fm/forum/
Cheers!
Andrew Reid, EOSHD.com
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Important advice
Please keep this document safe - a message from the author
EOSHD.com is one person. A large corporation can
absorb losses from piracy but I can’t. It has a personal
impact on my life and my filmmaking.
•Please do not pirate this book
•Please do not upload to your personal web server
•Please do not share with forum users
This book contains a digital stamp to identify the owner
and uploader. Please do not upload to a non-password
protected folder on your web server or webspace even for your own use.
This book is only available at http://www.eoshd.com/eoshd-5d-mark-iii-raw-shooters-guidepdf-book-download.
If you feel you have come by this document through a source other than EOSHD please
contact me at http://www.eoshd.com/contact or tweet me at https://twitter.com/EOSHD
Andrew Reid
EOSHD.com
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Chapter 1 - Introduction
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Welcome to the book
New 5D Mark III specifications with raw enabled
Magic Lantern: liberators
Advantages of raw
Types of filmmaking suited to raw
Understanding raw
Welcome to the book
The Canon 5D Mark III with Magic Lantern is the first full frame 35mm photo camera in the
world to shoot raw video.
Raw video on the 5D Mark III gives you the most cinematic image quality available in video
mode on any DSLR and far better than the stock Canon video mode. Raw recording (like
raw for stills photography) is an industry gold standard and the raw format is used on
cutting edge Hollywood cinema cameras like the Sony F65, Arri Alexa, RED Epic and
now.... the 5D Mark III.
This book has the emphasis on the 5D Mark III but you can also apply most of the
knowledge in this guide to the Canon 600D, 60D, 50D and 5D Mark II.
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With the right handling and knowledge, reliable results can be gained from the 5D Mark III’s
raw video mode and recording made practical and hassle free.
First of all I want to thank the Magic Lantern team for making raw recording on the 5D Mark
III possible. In particular, thanks go to - A1ex, Malcolm, Giovanni C, coutts, g3gg0, 1% and
all the Magic Lantern developers who contributed to the achievement. My gratitude goes
also to Trammell Hudson and AJ who pioneered Magic Lantern on the 5D Mark II in earlier
days. Magic Lantern are not a profit seeking organization or business and donations are
only sought when they need funds for a development related task. Keep an eye on this
page to see what they are up to right now and whether they require any donations:
http://magiclantern.wikia.com/wiki/Donate
Why the 5D Mark III?
Of all the Canon DSLRs Magic Lantern works on the 5D Mark III leads the pack on raw
video performance, featuring one of Canon’s newest generation of CMOS sensors and a
modern UDMA 7 Compact Flash card interface.
Key advantages include:
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Superb image quality from a modern sensor
UDMA 7 Compact Flash card allows continuous raw recordings at 1080p...
... And higher. No other Canon DSLRs are capable of such fast write speeds
over 100MB/s
No significant moire and aliasing issues
Very good low light sensitivity
Full frame sensor
Reduced rolling shutter skew
Robust build quality and weather sealing
The older 5D Mark II and cheaper 6D shoot raw video too but image quality and overall
performance is far better on the 5D Mark III. The 5D Mark III is the only camera in the world
to record 1080p uncompressed raw video on a photographic full frame 35mm sensor.
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New 5D Mark III specifications with raw enabled
Video recording format in raw mode
Sensor output! !
Data rate! !
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Recording media!!
HDMI output!!
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Audio! !
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14bit RGGB bayer raw
Uncompressed 83MB/s (for 1080/24p)
UDMA 7 Compact Flash card
Yes, 720p (while recording raw)
WAV file or audible sync beep for dual system recording
Standard raw recording formats
1920 x 1080p (16:9)! !
1600 x 1200p (4:3)! !
24,25p *
24,25p *
For all other resolutions see Chapter 3.
Maximum extended resolutions
Full frame! !
Sensor crop! !
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1920 x 1280 (3:2)!!
24p / 25p **
3584 x 1320 (2.71:1) !(sensor output is 30p) ***
Frame rates
Sensor output! !
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Recording frame rate! !
24 to 60
0.150 to 65
1:1 crop mode
Magnification factor! !
Crop factor! !
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Maximum resolution! !
5x, 10x
Varies depending on selected resolution
3584 x 1320 ***
Aspect ratios
Industry standard!!
CinemaScope! !
Other! !
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16:9 (HD standard) / 4:3
2.67:1 / 2.50:1 / 2.39:1 / 2.35:1 / 2.20:1 / 2:1 / 1.85:1
5:1 / 4:1 / 3:1 / 3:2 / 5:3 / 1:1 (square) / 1:2 (portrait)
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Other notable Magic Lantern features for cinematographers
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Lightning bolt trigger for raw video recording
Timelapse intervalometer
Zebras (check for blown highlights)
Focus peaking (highlight areas of the frame which are in sharp focus)
Histogram (check exposure)
Waveform (check overall brightness)
Anamorphic de-squeeze (realtime display in live view)
Vignetting adjustment in movies
Silent picture
Electronic focus racking
Motion detection
In-camera card benchmarking
* Assumes high performance 1000x card with minimum 90MB/s sustained write speed
** Limited recording time, depending on card performance
*** Short bursts only at 24 / 25 / 30p (sensor output is 30p)
Factory 5D Mark III features
Sensor! !
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Sensor size! !
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Maximum sensor resolution!
Processor! !
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Standard ISO! !
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Extended ISO! !
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Built in monitor! !
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Maximum shutter speed! !
Standard video codec!!
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Standard video encoding! !
Standard video formats! !
Battery! !
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22MP full frame CMOS sensor with electronic rolling shutter
36 x 24mm (3:2)
5760 x 3840
DIGIC 5+
100 to 25,600 (in 1/3 stop increments)
50 / 51,200 / 10,2400
3.2” 1,040,000 dots TFT LCD
1/8000
H.264 in Quicktime MOV wrapper
ALL-I 90MBit and IPB 24Mbit
1080/30/25/24p. 720p/60/50p. 480/30p.
Swappable Lithium-Ion LP-E6 (1800mAh)
More specifications are available at DPReview
http://www.dpreview.com/reviews/canon-eos-5d-mark-iii/2
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Advantages of raw
Every DSLR released to-date has thrown raw data from the sensor away whilst recording
compressed HD video. Raw video gives you all the data back.
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Much better overall image quality than the factory 5D Mark III video mode
14bit color for smoother tones, even when doing heavy color grading
11 stop usable dynamic range for a more cinematic image
Increased resolution over 1080p and a much sharper image at 1080p
1:1 sensor crop mode mode for telephoto FOV without changing the lens
No compression artifacts
Multiple aspect ratios (including anamorphic 4:3)
Much finer grain structure
Better motion cadence
The ability to fix problematic shots in post
Dramatically improved performance for VFX, green screen work and keying
A more straightforward shooting experience - raw allows you to concentrate
on focus, aperture and monitoring the image, most other controls are in post
Allows correction in post of severely underexposed or overexposed shots
which were the result of the wrong aperture or shutter speed
Open choice of editing codec (including uncompressed raw itself)
More creative control in post production
Richer color and less banding over large areas of similar shading (for
example a blue sky or a painted interior wall)
No more CineStyle picture profile in-camera, instead you can easily convert
footage to Canon LOG in post before applying color grading or a LUT for
maximum dynamic range
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Magic Lantern: liberators
Raw recording on a Canon DSLR is made possible by third party software Magic Lantern
It is popular to refer to Magic Lantern as a hack and raw video as RAW. This terminology
isn’t actually very accurate. Magic Lantern is an Open Source software project and raw is
not an acronym. Raw refers to the ‘raw data’ produced by the imaging sensor in your
camera before it is cooked, baked or processed by the camera.
Much in the same way software runs on a laptop, Magic Lantern runs from your Compact
Flash card. When you remove the card or uninstall Magic Lantern from the card the camera
will run on unchanged factory settings as normal.
Magic Lantern adds features to the camera Canon chose not to implement, such as raw
video recording, focus peaking, zebras, faster continuous shooting, silent electronic shutter,
variable frame rates, compact flash card benchmarks, timelapse intervalometer,
anamorphic aspect ratios, electronic focus racking and more.
Magic Lantern is constantly being developed and improved so the reliability of the features
it offers increases over time. Raw video recording is a young feature so I recommend
throughly getting to know it and testing it before deploying on a professional project or paid
work.
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There’s little risk of Magic Lantern or raw video recording damaging the camera but Magic
Lantern offer no guarantees or warranties and Canon does not support third party software.
Please see Appendix D for more important disclaimers.
What are the risks?
Though your camera and Compact Flash card may feel warmer to the touch there are no
reported cases of a camera failing due to raw video recording.
Magic Lantern does not overclock the sensor and processor in your camera and all data
rates / processing is within the specification of the hardware. Raw is not processed incamera so the CPU does not need to do the complex processing to produce H.264
encoded and compressed video like normal.
The sensor operates normally. The CMOS sensor outputs a raw video stream for live view
under factory settings - Magic Lantern does not enable raw video on the sensor, it already
exists. Magic Lantern’s code copies the raw video data from the cameras internal RAM via
buffer memory to the Compact Flash card.
If you still have concerns you can read more of my research on the subject at EOSHD:
http://www.eoshd.com/content/10494/magic-lantern-5d-mark-iii-raw-video-and-camerareliability
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What kind of filmmaking is raw video best suited to?
Raw recording offers the best possible image quality and the closest to film-like
reproduction of cinematic images we’ve yet seen from a digital camera. It also encourages
a lot of creative time to be spent on color grading the image in post.
Raw suits filmmaking projects which are a labour of love, where long term creative
processes are at play. Raw is less suited to work which requires a very fast turnaround for
commercial clients.
Narrative drama work
Raw offers the advantages of a more straight forward shoot and much better image quality.
Exposure, color balance or white balance issues can be corrected in post, which frees you
up on the shoot itself to focus on the lens aperture and focus marks. With raw, the camera
gets out of the way.
Music video work
For creative music video work, raw offers fantastic flexibility in terms of style. You can apply
almost any look and feel to the images in post production and multiple aspect ratios such
as 4:3 and 3:2 make better use of 2x anamorphic lenses than standard 16:9 video.
Experimental and personal projects
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It helps to learn raw and your creativity benefits from it too. Very short test shoots also do
not require very much investment in Compact Flash cards or editing hardware so
experimenting with raw has never been more affordable or accessible.
Commercial shoots for clients
Often budget or travel limitations result in a location not being fully lit for the dynamic range
of the camera. With the extended dynamic range offered by raw on the 5D Mark III you can
avoid detail in windows burning out and correct many other lighting issues in post with the
click of a mouse. The cinematic image quality should in turn impress the client. It adds a
higher production value to your work.
Documentary shooting
As long as you have the relevant investment in memory cards and computer hardware to
manage the large amounts of data raw can potentially create, and the time to transcode
and manage the data, shooting a lot of raw footage for a documentary is perfectly doable.
Just bear in mind that maximum clip run-times are much shorter than the usual 29 minutes
to 2 hours of continuous recording you get with standard digital cameras and the impact
that could have on interviews. Audio also ideally needs to be captured separately offcamera, requiring a larger crew than just one man with a camera. All practical issues can
be overcome if you’re armed with the right knowledge, and that is what this book intends to
do.
...And what is raw not suited to?
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Live event filming or other situations involving long takes without pause and
many multiple angles
Time critical TV and news requiring a very quick turn-around
Multi-cam shoots involving many different cameras - it is very time
consuming to grade raw to intercut with other cameras and 5D Mark III
footage is not yet ACES compatible.
Shoots which suffer tight deadlines and a lot of commercial pressure. Extra
time is required for transcoding to editable format like Cinema DNG,
CineForm or ProRes.
Passing master files directly from the camera to a client - many won’t know
how to process raw video and may not have the hardware capacity for it
Low budget but recording heavy shoots which generate many terabytes of H.
264 or AVCHD footage over a single day - storing uncompressed raw master
files would in this instance be challenging and extremely expensive.
Converting would take longer or require multiple machines. An on-set DIT
would be required to unload cards between takes.
Projects which don’t require the most cinematic image quality or color
grading.
Jobs which require small file sizes directly from the camera (use the standard
Canon video mode for that)
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Understanding raw
The 5D Mark III records uncompressed raw video to a compact flash card using the Magic
Lantern hack. This can then be converted to an editable format such as uncompressed
DNG raw, compressed raw (such as CineForm) or a high quality non-raw video codec like
ProRes.
The sensor in the 5D Mark III is capable of capturing very high quality 14bit images. In the
normal video mode, these images are converted to basic 8bit color and heavily
compressed to save card space. This processing is done very quickly, but with limited
resources (in terms of processing power and memory).
Whilst this is a very convenient recording choice and still the right option for some kinds of
shoot (such as event filming and long continuous takes) normal DSLR video don’t offer all
the image quality the sensor is capable of giving us.
Raw bypasses the camera’s image processing and gives us the raw image directly from the
sensor. This image has better color, more detail and more dynamic range. Since no
processing is done in-camera, nothing is baked in. If you need to change the white balance
afterwards for example, with raw video you can.
Raw video offers better image quality and increased creative control.
A more technical explanation of raw video
The word “raw” refers to raw image sensor data. It’s merely a word rather than an acronym.
The image sensor data is created when light hits the sensor. This produces a signal which
can be stored, and later processed to create an image.
The sensor is arranged in a grid of red, blue and green photo sensitive areas which capture
the red, green and blue wavelengths of light. This grid is called a “bayer array” and in order
for a photographic or cinematic image to be produced consisting of the pixels and colors as
we typically know them in digital video, the bayer RGB raw data must be processed by a
CPU. This process is known as ‘debayering’ or demosaicing’.
Usually a DSLR would debayer the raw image data in-camera, churning out pixels and
applying it’s own sharpness, white balance, contrast, saturation and exposure settings
upon the image. In-camera whilst recording this process needs to be done very quickly in
real-time and using processors which are much less powerful than in a desktop computer
or laptop, resulting in a considerable drop in quality relative to what the sensor delivers in
terms of the raw image.
Since no processing is done in-camera, raw video data is stored alongside metadata.
Rather than making up the image itself, metadata describes how the image is to be
processed. Metadata contains values like ISO and white balance which can change how
the raw data is interpreted by the editing / grading software you’re using after the shot has
been taken, rather than before the shot is recorded in-camera.
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Raw data can be compressed or uncompressed.
People often tend to confuse raw with uncompressed but they’re actually two different
things.
Digital images are data files. Raw video and standard digital video are different stages of
processing. Raw video has little or no processing and is data direct from the sensor, whilst
standard video has been cooked and processing applied to the image in-camera.
Compression uses computational algorithms to describe the data. Uncompressed is ALL of
the data stored in one very large chunk. As you can see, compression is a different subject
to the data itself. It is a way of handling the data not the type of data.
Common non-raw video formats are usually compressed, such as H.264 (typically
24-90Mbit), MPEG (typically 50Mbit) or ProRes (typically 170-240Mbit). “Canon raw” from
the 5D Mark III is stored in proprietary uncompressed form on the memory card and can
then be converted to editable raw formats such as uncompressed DNG raw or compressed
CineForm raw.
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Chapter 2 - Enabling Raw Video
•
•
•
•
•
•
Preparing your 5D Mark III
Preparing your Compact Flash card for raw recording
Installing Magic Lantern - Step 1
Installing Magic Lantern - Step 2
Installing Magic Lantern - Step 3
Activating the raw recording module
Preparing your 5D Mark III
First start with a fully charged genuine Canon battery. For the installation stages I strongly
advice avoiding a low charged battery or non-genuine battery. Set the live-view mode dial
to Movie and the Mode Dial to M. Ensure a lens is attached. It can be any manual lens and
doesn’t have to be a Canon one with autofocus or electronic contacts.
I recommend making some settings changes to the 5D Mark III
Assign the 5x focus magnification button to the SET key, as the default position of the
feature is awkward. This feature is important for checking focus and activating the raw
video crop mode. In the main menu of your camera, go to the C.Fn2: Disp/Operation
screen and select Custom Controls to assign focus assist (magnifying glass icon) to the
SET button.
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Some main menu options are used frequently with Magic Lantern. I recommend
customizing your 5D Mark III’s favorites menu to store the following options Video system allows you to quickly choose between the PAL and NTSC regional video
standards, giving you access to 25p and 50p in PAL mode and 30p and 60p in NTSC
mode. 24p mode is available in either mode.
Movie rec. size allows you to change between the full frame 1920 x 1080p recording at
24p,25p or 30p and for higher frame rates you need to select 1280 x 720p recording at 50p
or 60p. The 640/30p option can be useful for enabling a 4:3 aspect ratio display in live view
for framing an anamorphic lens when a 4:3 aspect ratio for raw recording is selected.
TIP: To build your customized menu screen, enter the main menu on your camera and
navigate to the My Menu tab (star icon, far right). Go to My Menu Settings and select the
options to add.
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Ensure firmware version 1.1.3
Magic Lantern raw video recording currently requires Canon firmware version 1.1.3. If your
camera has older or newer firmware, download the 1.1.3 Canon firmware file, make sure
the ZIP archive is extracted to a folder on your computer and copy the file named
“5D300113.FIR” to your Compact Flash card. Download http://pel.hu/down/eos5d3-v113-win.zip
TIP: If this is your first time updating firmware on a Canon camera, the downloaded file
contains instructions in English, French, Japanese, Spanish and Chinese on the update
procedure, it is quick and easy to do.
After the firmware update the firmware file should be erased and the card formatted.
Power down your camera and prepare to format you Compact Flash card as described in
the next section...
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Preparing your Compact Flash card for raw recording
For optimal performance at 1080p, the 5D Mark III requires any of the following cards for
raw recording -
•
•
•
•
•
Lexar Professional 1000x 64GB UDMA 7
Lexar Professional 1000x 128GB UDMA 7
KomputerBay 64GB 1000x *
Toshiba Exceria Pro 1066x 64GB
Hoodman Steel 1000x 64GB
* The KomputerBay 128GB cards tend not to be suitable due to slower write speeds
That’s a minimum speed of 1000x. I recommend a minimum capacity of 64GB. For more
advice on choosing the right card please see Chapter 10.
TIP: SD cards are not suitable for raw recording. The SD card slot in the 5D Mark III runs at
a maximum of just 20MB/s, which isn’t fast enough to sustain the high data rates required
for raw recording (typically 80MB/s+).
Be sure the card does not have important files on it. The next few steps will erase
your card.
Format your card
To begin insert your card to a USB card reader attached to you computer or directly into
your PC or Mac card slot if available. The card needs to be formatted with the exFAT file
system.
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I am a Mac
1. Open “Disk Utility” in the Applications folder under Utilities or Others.
2. Select the card volume from the list in the left panel
3. Choose the “Erase” tab on the right panel
4. In the “Format” drop down box choose “exFAT”
5. Click the “Erase” button
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I am a PC
1. Open the Computer window of Windows Explorer
2. Under Devices with Removal Storage right click your card drive (usually EOS_DIGITAL)
and select Format
3. Choose exFAT as the file system, leave the other options alone
4. Click Start
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Installing Magic Lantern - Step 1
Magic Lantern’s software runs from either an SD card or your main Compact Flash card.
I recommend installing Magic Lantern on a small SD card so you can keep it in the camera.
This avoids the need to install Magic Lantern on every one of your raw recording cards.
If you are using an SD card, format it in-camera now.
Begin by downloading the Alpha version of Magic Lantern for the 5D Mark III:
http://www.magiclantern.fm/forum/index.php?topic=2602.0
1. Copy the following Magic Lantern files to the card:
- ml-5d3-113.fir (Firmware update file for Magic Lantern Alpha)
- ML (Folder containing essential Magic Lantern files and modules)
2. Insert the card into your 5D Mark III and turn on the camera
3. Go to main menu and choose Firmware Update, run the update
4. Wait until the process is complete, then turn off the camera
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Installing Magic Lantern - Step 2
This step updates the installation of Magic Lantern so that it is current and enabled for raw
video recording. It also adds the ability to automatically boot into Magic Lantern every time
you turn on the camera.
Download the newest nightly build of Magic Lantern for the 5D Mark III with raw video
enabled. The part of the page you need to find is shown below (date will of course be more
recent). Once on the Google Drive select the ZIP file and download it.
http://www.magiclantern.fm/forum/index.php?topic=6362.msg49471#msg49471
Once unzipped you should have the following files -
1. Delete the previous ml-5d3-113.fir file from the card
2. Copy the following to the memory card:
- autoexec.bin (the auto-boot file and compiled source code)
- 5D3-113-bootflag.fir (enables Magic Lantern when the camera turns on)
- ML (this should overwrite the folder already present)
3. Insert the memory card into your 5D Mark III, turn on the camera.
4. Go to the main menu and choose Firmware Update, run the update and you should get a
notice about a ‘boot-flag’ being set. This indicates the update is complete.
5. Wait a minute then turn off the camera.
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Installing Magic Lantern - Step 3
Make your card bootable
Before Magic Lantern can run automatically every time you turn on the camera, you need
to make the card bootable.
I am a Mac
1. Download Mac Boot. Important note - users of the latest version of OSX 10.8+ (Mountain
Lion) must also download a patch file and run the app by double clicking the .command
file NOT the .class file.
http://www.zenoshrdlu.com/macboot/macboot.html
2. When Mountain Lion users run macboot.command it will ask for your Mac user account
password. Type it and hit enter. The program should now open.
3. Notice “Max card size (GB)” and make sure it matches or exceeds the size of card you
intend to prepare and click “Refresh”. Also notice “Select card drive” and be sure your
card is selected in the drop down box.
4. Click the “Make DSLR-bootable” radio button and click “Prepare Card”
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I am a PC
1. Download and double click to run EOS Card
http://chdk.wikia.com/wiki/EOScard
2. Select your card from drop down box at the top
3. Make sure exFAT radio button is selected under “File system”
4. Click the ML icon to prepare the card
5. Should EOS Card copy an existing Magic Lantern installation to your card, delete them
replace with the ones you downloaded in Step 2.
Tip: If the “File System” option is greyed out and the wrong option selected, right click on
the card in Windows explorer under Computer and select Format. Here you can select the
File System. Once this is complete, open EOS Card again.
Magic Lantern should now run every time you turn on the camera with the Magic Lantern
card inserted (be it Compact Flash or SD card).
If the install did not work, please ask questions and seek answers on the EOSHD forum
here:
http://www.eoshd.com/comments/topic/2729-easier-5d-mark-iii-raw-guide-in-4-steps/
To enable raw video for the first time you need to follow the next step to enable the
module. This is explained on the next page.
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Activating the raw recording module
The Magic Lantern menus are accessed using the Trashcan (delete) button on your
camera.
The joystick and jog-wheel navigate menu options whilst the Q button enters a sub-menu.
Avoid pressing the Main Menu button whilst in the Magic Lantern menus as this changes
the display style of the menus to one more suited to developers than end users.
Select the M tab “Modules” and enable “Autoload modules on startup ON” so that it has a
green traffic light.
Below the line which says ----Modules---- should be listed “raw_rec”. Make sure is loaded
as in the below screen capture. This is the core module which provides raw video
recording:
Navigate to the Movie tab (denoted by a classic movie-camera icon). The Raw Video option
should be listed here if the raw module is loaded successfully.
You can turn raw video recording on and off by selecting this option and pressing the SET
key. Press the Q key to enter the raw video sub-menu itself and to configure it. These
settings are covered in detail in the following chapter.
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Chapter 3 - Recording raw video
•
•
•
•
•
•
Changing resolutions and frame rates
Aspect ratios
Higher resolutions than 1080p
What are the maximum continuous recording times?
Understanding data rates
Playback and file manager
Changing resolutions and frame rates
Resolution and frame rates are chosen in both the normal Canon menu and the Magic
Lantern Raw Video menu. Both sets of options are relevant as they affect the recording
mode of the camera and the final output.
•
•
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Canon menu changes the sensor mode (frame rate and resolution)
Magic Lantern menu changes the raw recording output (i.e. exact
resolution, crops, frame rate override, aspect ratios)
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Uses of the Canon movie menu
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•
Choose sensor frame rate
24p,25p,30p,50p or 60p
•
Choose sensor resolution
1080p or 720p mode
•
Set sensor to PAL or NTSC
Enables region specific frame rates such as 25p and 30p
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Uses of the Magic Lantern “Raw Video” menu
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•
Resolution. Controls the size of the frame written from buffer to card.
Resolutions are listed by horizontal pixel count from 640 to 3584 (Maximum
1920 in normal full sensor record mode). The aspect ratio option is used to
control vertical resolution.
•
Aspect ratio. Sets vertical resolution. For example • 16:9 gives you standard 1080p if 1920 is selected as the
resolution option (1920x1080)
• 3:2 uses the full 3:2 aspect ratio sensor to produce a maximum
resolution of 1920 x 1280
• 2.35:1 uses a narrower vertical crop for an anamorphic style
widescreen image (1920 x 810)
• 4:3 can be used for 1600 x 1200, great for 2x anamorphic lenses
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Uses of the general Magic Lantern “Movie” menu
•
•
•
•
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FPS override (frame rate override) can be useful for:
• 48p from 50p or 60p mode
• 24p from 30p mode
• Lower FPS overrides require lower data rates to write to the card
compared to native sensor output rates. Therefore you can for
example select high burst rate shooting speeds like 10fps or
15fps, to capture still frames or time-lapse sequences at
resolutions not possible in the native sensor mode of 30p.
Audio recording (sync beep or separate WAV file)
Note: WAV recording increases data rate to the card so you may have to
reduce resolution
Bolt trigger - capture raw videos of lightning strikes (automatically triggers a
recording when bolt is detected)
Various tuning options related to Magic Lantern raw video
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Aspect ratios
The Resolution option in Magic Lantern sets the horizontal resolution of the image.
To set the vertical resolution you select an aspect ratio.
The most common aspect ratio for digital video is 16:9. This is the HD TV widescreen
standard and is also used by many computer LCD monitors.
An aspect ratio simply refers to the shape of the rectangle box containing the image. For
example the image can be square (1:1) or narrower (3:1) - that means 3 parts wide and 1
part tall.
How tall the image is depends on how many vertical lines of resolution it contains. 1920
pixels wide with an aspect ratio of 16:9 requires 1080 lines of resolution vertically.
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Here are some examples of the resolutions you can choose by setting the aspect ratio in
Magic Lantern, with 1920 selected as your horizontal resolution (usually the narrower the
aspect ratio the lower the vertical resolution and the less demanding it is on Compact Flash
card write speeds whilst recording)...
2.35:1 gives you an anamorphic style 1920x810
2.67:1 gives you a narrower but still cinematic 1920 x 720
The narrowest / widest aspect ratio available in Magic Lantern is 5:1. This gives you 1920 x
384 but looks a bit silly!
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Squarer aspect ratios are useful, but only really for those who shoot with anamorphic
lenses. Aspect ratios like 4:3 and 3:2 make for a less extremely wide image than 16:9 when
a 2x anamorphic lens is used.
4:3 and 3:2 also gives you more than 1080 vertical lines of resolution. 3:2 for example is
1920 x 1280 or 1728 x 1152. The latter is more reliable as it requires a lower write speed of
80MB/s relative to 98MB/s for 1280p.
In 4:3 you can do 1728 x 1288 or 1600 x 1200. A typical 2x anamorphic lens turns this into
2.35:1 CinemaScope and a 1.5x lens such as the Iscorama turns this into 2:1.
4:3 shot with anamorphic lens
Corrected to 2.35:1 in post (2x anamorphic lens)
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Higher resolutions than 1080p (2K to 3.5K)
In raw mode the 5D Mark III is capable of breaking out of the 1080p box, for the first time
ever on a consumer DSLR.
Timelapse users may find it useful to use the FPS override and set the resolution to 3584 x
1320 while in crop mode. This will continuously record at this resolution if the frame rate is
set to 10fps or less.
At 24p and 25p the maximum resolution will depend on your card performance. Continuous
recording will require a data rate typically below 90MB/s whilst you may get away with
105MB/s for 10+ seconds per take at the highest resolutions such as 2560x1024 (2.50:1).
Here are some high resolutions to try out and the data rates they require (note the FPS
override must be set to 24 as the sensor output is 30fps in this mode):
2K
2048 x 1152 (16:9) 94MB/s
2048 x 1108 (1.85:1) 91MB/s
2.5K
2560 x 1024 (2.50:1) 105Mb/s
2560 x 960 (2.67:1) 98MB/s
2.8K (narrow aspect ratio less than 1080 lines)
2880 x 960 (3:1) 110MB/s
2880 x 720 (4:1) 83Mb/s
3.5K (narrow aspect ratio less than 1080 lines)
3584 x 716 (5:1!) 103MB/s
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What are the maximum continuous recording times?
Much in the same way motion picture film could store 12 minutes per reel the 5D Mark III
can store approximately 12 minutes 30 seconds of 1080p footage at 24p to one single
64GB Compact Flash card.
The raw files do not have to stay this large when archived or edited and can be
compressed 10:1 to CineForm. File sizes on the compact flash card however are much
larger than in the standard Canon video mode with the ALL-I codec (H.264). Recording a
digital negative on a DSLR is still more convenient and cost effective compared to shooting
film though.
Compact Flash storage capacities for 1920 x 1080 at 24p
•
•
•
•
10GB = 2 minutes approximately
32GB = 6 minutes 25 seconds
64GB = 12 minutes 30 seconds
128GB = 24 minutes approximately (conservative estimate)
Maximum recording time and storage requirements vary depending on resolution and
frame rate.
5D Mark III file system
Magic Lantern raw video recording supports ExFat. This is preferable to the older FAT32
file system standard since ExFat allows for single file sizes larger than 4.29GB.
What is file spanning?
When the camera is recording continuously and a clip size passes 4GB (around 50
seconds) the file can be split into multiple chunks of 4.29GB for better compatibility with
older file systems.
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Understanding data rates
The data rate refers to how much data per-second has to be written to the Compact Flash
card when capturing raw video. The data rate is calculated from the resolution and frame
rate selected in the menus. When selecting resolution in the raw video menu Magic Lantern
shows what data rate can be expected for the chosen selection.
The general rule of thumb is the larger the frame the more data and the more frames per
second, the more data. For example -
•
•
1080p at 24 frames is 83MB/s (which is OK for the fastest cards)
1080p at 30 frames is 104MB/s (this is too high for current cards)
So far extensive testing has sown that the fastest 1000x Compact Flash cards are capable
of around 98MB/s sustained write speeds - that’s a maximum and sometimes not reliable.
On these cards to record raw 1080/24p video at 85Mb/s is safer as it gives you some
margin and to record at 1920 x 810 (24p / 2.35:1) is safer still (at 62.8MB/s).
Magic Lantern has a buffer indicator where a sequence of stars light up. If the buffer is
emptying efficiently to the card it will stay at between 1-2 stars. When the card is too slow,
the buffer will begin to fill up (3-5 stars) and your recording may stop suddenly.
Some ‘fast 1000x’ cards don’t reach their advertised 1000x rates, notably the much
cheaper KomputerBay 128GB cards which are often around 20MB/s slower than the Lexar
128GB 1000x cards and the better examples of KomputerBay’s 64GB 1000x cards.
TIP: For those without a 5D Mark III and not yet running Magic Lantern, SlashCam have
developed a Magic Lantern raw video data rate calculator at http://www.slashcam.de/tools/ml-raw-calc.html
With this tool you can see what resolutions and frame rates come under the data rate you
can expect from your card.
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Playback and file manager
Even at this early stage of development, Magic Lantern raw recording offers a rudimentary
playback of raw video and a file manager to delete, move or copy files on the dual memory
card drives offered by the 5D Mark III.
Playback
At the moment the normal Canon playback mode (for stills and H.264 movie clips) cannot
be used to view raw video files. Instead, the previously recorded clip can be previewed only
in the Magic Lantern menus. After recording a clip, a black & white preview at a lower frame
rate will be available until the camera is turned off or a new clip recorded. This is located in
the Raw Video menu.
File manager
The file manager is useful for deleting raw clips or moving them to the SD card. If you have
both an SD card and Compact Flash card inserted, the SD card will be drive A:/ and the CF
card will be drive B:/
Navigate back and forth through the file manager using the SET key (enter) and Q button
(back). Raw files are stored in the usual DCIM folder (along with any normal Canon video
clips or photos).
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Chapter 4 - Recommended settings
•
•
•
•
•
•
•
Introduction
Recommended settings
Optimizing performance
Slow-motion 48p / 50p / 60p
1:1 crop mode
Anamorphic aspect ratios
Movie tweaks menu
Introduction
Assuming you have the best possible current 1000x Compact Flash performance of at least
90MB/s+ sustained write speed, you will have success with some of my recommended
settings for the 5D Mark III.
You can also experiment yourself as Magic Lantern provides a very helpful note when
selecting resolution about whether continuous recording will work reliably for continuous
takes or for how many frames the recording will last before stopping.
TIP: Always test extensively before deploying on an important shoot or paid work
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Recommended EOSHD Settings
Full frame sensor recording modes
1920 x 1080 - Full HD 1080p at 24p and 25p
•
The standard video mode, but in raw. The cinematic frame rates of 24p and
25p are OK but 30p is not supported for continuous recording due to the
limitations of currently available Compact Flash cards.
1728 x 972 - Max 16:9 resolution for 30p, upscales to 1920 x 1080 in post
•
For 30p you must drop to this resolution. You can upscale to normal 1080p in
post production without much noticeable loss of quality.
1600 x 540 - Max 16:9 resolution for 48p, upscales to 1600 x 900 in post
•
For slow-motion you can choose 1280 x 720 at 50p in the Canon menu then
select 1600 x 540 with a frame rate override of 48p. The image is stretched
so you need to apply a correction in post to 1600 x 900. For slow motion
simply interpret the frame rate as 24p.
1600 x 1200 - 4:3 for anamorphic lenses at 24p and 25p
•
Anamorphic lenses work well with 4:3 and 3:2, indeed many anamorphic
lenses with a 2x stretch are designed for 4:3. With this setting you can gain
extra vertical resolution whilst stretching in post horizontally for the correct
anamorphic aspect ratio. For more on anamorphic shooting please see the
EOSHD Anamorphic Shooter’s Guide.
Crop modes
2560 x 854 - Crop mode 3:1 for wide aspect ratio, high horizontal resolution
•
Close to the maximum resolution you can get on current Compact Flash
cards. For a wider aspect ratio without an anamorphic lens and 2.5K
horizontal resolution. Frame rate is 30p from the sensor so it is necessary to
use the FPS Override feature and set it to 24fps, otherwise the data rate will
be too high for the card.
1728 x 1296 - Crop mode 4:3 for anamorphic lenses
•
Return to index
Maximum vertical resolution in crop mode is 1320 but current cards cannot
handle it. By selecting 1728 for the horizontal resolution and a 4:3 aspect
ratio, you can still gain a high vertical resolution of 1296 as well as the 4:3
aspect ratio for your anamorphic lenses. Again it is necessary to set FPS
override to 24fps as the sensor output is 30p in crop mode.
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Optimizing Performance
The recommended settings above assume only basic Magic Lantern features are turned
on. Features such as zebra, histogram and live anamorphic squeeze add an overhead,
decreasing recording performance and should be turned off if your camera cannot do
continuous recording at your desired resolution.
Magic Lantern optimizing the code on a fast moving basis. Currently the Raw Video menu
has some experimental options to exploit larger buffer sizes and squeeze out extra write
speed to the card during raw video recording. These include Preview
This changes the way live view works. You can select Auto or Greyscale for proper framing
in crop mode (but the display quality and frame rate is currently low). You can also select
HaCKeD for an experimental speed increase, which kills live view during recording.
Memory Hack
This increases the amount of buffer memory available for raw video recording by allocating
the memory with live view turned off. Live view continues to operate during raw video
recording as normally but there’s a short black-out time upon hitting the record button.
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Slow motion 48p / 50p / 60p
The 5D Mark III can do higher frame rates up to 60fps when the video mode is set to 720p
in the Canon main menu. Magic Lantern can exploit these for raw video recording.
High frame rates are useful for producing seductive slow-motion sequences. For example
interpreting 48fps as 24fps results in smooth flowing motion what is 50% the speed of the
real-time capture.
Due to a current quirk in the system, images captured in 720p mode are stretched and
don’t exploit the full 720 lines of vertical resolution you’d expect. This is fixed by resizing the
frame during the editing process, in Adobe Premiere for example. The stretch factor to be
applied is 1.61x vertically (i.e. 672 becomes 1080).
Reliable settings
On my fastest 1000x card I have had the most success shooting at the following settings Canon video mode:! !
!
!
720/50p ALL-I
Magic Lantern FPS override:! !
48 from 50
Aspect ratio:!!
!
Stable resolutions:!
!
!
!
!
!
!
!
!
!
!
!
!
!
16:9
!
!
!
!
!
!
!
!
!
1728 x 606 (Stretch to 1728 x 972 in post) - 83MB/s
1600 x 540 (Stretch to 1600 x 900 in post) - 72MB/s
1280 x 448 (Stretch to 1280 x 720 in post) - 46MB/s
These must have the frame resizing applied in post and for slow mo the best method is
usually to right click to the clip and choose Interpret, entering the correct frame rate.
I don’t recommend using the high frame rates for footage which isn’t going to be slowed
down. There’s no image quality advantage to doing so. If you prefer the smoother more
video-like look to movement choose the high resolution 1080/30p mode in the Canon
menus (NTSC mode must be enabled instead of PAL) and turn the FPS override off in
Magic Lantern. You will likely need to reduce resolution to 1728 x 972 in the Magic Lantern
Raw Video menu for your card to be able to record at 30fps continuously.
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1:1 crop mode
The 5D Mark III has a 5x and 10x focus zoom feature, and when enabled you can record
raw video from a narrower window of the sensor.
Activating crop mode
The camera live view display must be in focus assist mode. Press the magnify button on
the camera to toggle this mode. I recommend assigning this feature to the SET button.
Advantages of crop mode
Crop mode offers a lossless telephoto / zooming effect whilst maintaining or even
increasing the quality of the image. In this mode the camera also offers additional
resolutions higher than 1920 pixels horizontally and 1080 lines vertically, all the way up to
3584 x 1320 at 30fps.
What works and what doesn’t?
On my best 1000x Compact Flash card I’ve had success with the following settings -
•
•
2560 x 854 (3:1 aspect ratio) at 24 frames (88MB/s)
2240 x 954 (2.35:1 aspect ratio) at 24 frames (86MB/s)
Resolutions higher than those will generally not record continuously, though I have had
long run-times with resolutions up to around 102MB/s on my 1000x KomputerBay 64GB
card.
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The highest resolution of 3584 x 1320 will only record for 1-2 seconds as the card cannot
handle it and the small buffer memory quickly fills. This video requires a sustained card
write speed of 190MB/s. Current small low voltage Compact Flash memory cannot run at
this rate although SSD-type memory could make for faster Compact Flash cards in the
future.
Resolutions that push closer to the limits of the card such as 3584 x 716 (5:1) at 102MB/s
and 2560 x 960 (2.67:1) at 98MB/s record for longer even though the card cannot quite
keep up the sustained data rate. The buffer fills up more slowly since it is being emptied
faster.
Frame rates in crop mode
The sensor mode with this setting is 30p. Therefore it helps to use the frame rate (FPS)
override to 24p to reduce the card write speed required to handle so much data at the
higher resolutions offered in crop mode.
1920 x 1080 will work in crop mode only if the FPS override setting is set to 24p or 25p.
However since the sensor itself is capturing at 30fps, the motion cadence won’t be as clean
as in full frame mode.
Recording in this mode at 1920 x 1080 is useful as it gives you the same resolution as full
frame sensor recording mode, but a narrower field of view, without the need to change the
focal length of the lens.
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Anamorphic aspect ratios
I am a regular anamorphic shooter as I simply love the look of the lenses. The 5D Mark III
raw recording is a boon to anamorphic shooters since it allows more aspect ratios than
16:9 and higher vertical resolutions than 1080p.
With a 2x anamorphic you should take advantage of the squarer 3:2 and 4:3 recording
formats offered by Magic Lantern raw recording.
These allow you to increase vertical resolution to over 1200 lines and make for a less
extremely wide aspect ratio once the anamorphic correction has been applied in post.
You can also horizontally upscale the image to get the desired anamorphic aspect ratio in
post, resulting in a very high resolution image ready for the big screen.
Where possible use 1280 vertical lines of resolution. The best 1000x compact flash cards
should be able to handle this at 24fps in 3:2 (1920x1280) and 4:3 (1728 x 1288).
Applying the correct aspect ratio in post with 4:3 and 3:2 is not something anamorphic
shooters on digital are used to doing, so here’s a cheat-sheet From 4:3 recording area
2x anamorphic =! !
2.39:1!
1.5x anamorphic =! 2:1! !
1.33x anamorphic = ! 16:9 !
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(in post stretch to 3060 horizontal from 1280p source)
(in post stretch to 2560 horizontal from 1280p source)
(in post stretch to 2276 horizontal from 1280p source)
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Raw 4:3 recording resolutions on the 5D Mark III
•
•
•
•
•
1728 x 1280 (1288 to be exact) - 89MB/s at 24p
1600 x 1200
1472 x 1104
1280 x 960
640 x 480
From 3:2 recording area
2x anamorphic =! !
3:1 !!
(in post stretch to 3840 horizontal from 1280p source)
1.5x anamorphic = ! 2.25:1 ! (in post stretch to 2880 horizontal from 1280p source)
1.33x anamorphic = ! 2:1 !!
(in post stretch to 2560 horizontal from 1280p source)
Raw 3:2 recording resolutions on the 5D Mark III
•
•
•
•
•
1920 x 1280 - 98.3MB/s at 24p
1856 x 1238
1728 x 1152
1600 x 1066
960 x 640
For a concise and detailed guide to all anamorphic subjects and an anamorphic lens
buyer’s guide see the EOSHD Anamorphic Shooter’s Guide.
http://www.eoshd.com/anamorphic-guide
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Movie tweaks menu
Further options related to movie recording with Magic Lantern can be changed in the
“Movie tweaks” menu.
The ones I recommend using are Movie Logging and Force LiveView - Always.
The Movie Logging feature stores the shot settings in a text file alongside the raw clip
itself, which is useful for knowing what aperture (on Canon lenses only), shutter speed and
ISO were used for the shot.
Force LiveView: Always will make the camera ready for movie shooting immediately after
boot, even if a non-Canon lens is attached. This saves you having to manually activate liveview by pressing the start / stop button every time you turn on the camera.
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Chapter 5 - Recommended software
editing codecs
•
•
•
•
•
•
Summary of software requirements
List of recommended software
Standard DNG uncompressed raw
Cinema DNG uncompressed raw
CineForm compressed raw
Compatibility with editing software
This chapter lays out the best software, formats and workflows for editing 5D Mark III raw
video.
I recommend converting the 5D Mark III’s raw files to an editable format like Cinema DNG,
CineForm or ProRes. This conversion process is known as transcoding (see glossary for
definition).
There’s also a plugin called Ginger for Adobe Premiere and After Effects which allows you
to edit the raw master files directly, but as support for the 5D Mark III raw clips is at an early
stage this workflow isn’t bug free and the user interface for grading isn’t as intuitive as a
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dedicated grading app like Resolve. It is certainly worth keeping an eye on this plugin as it
develops though, so I cover Ginger in Chapter 8.
Common editable formats for 5D Mark III raw video include:
•
•
•
Adobe Cinema DNG
GoPro CineForm RAW
Apple ProRes
All options are on the table including editing uncompressed raw for best image quality but
for brevity I’m focussing on just a few recommended software packages and video formats
in this book, which I myself have used with the 5D Mark III.
Summary of software requirements
In this guide I cover two distinct types of software.
•
•
Converting tools
Editing software
Canon raw requires at the very least a converter to transcode the master files to a common
format which can be opened by editing packages (NLEs) and grading software.
Editing and grading software is used to adjust the image creatively and to put sequences
together.
Converting tools such as Raw2DNG, Raw2GPCF and RawMagic can be used to process
the Canon raw video files into an editable format. You can read the full monty on these
programs a few pages on.
Most converters have a simple drag & drop user interface but sometimes it is useful to have
a separate program alongside the converter which provides its own GUI (graphical user
interface) such as Rawanizer. This provides a friendly user interface for processing a batch
of multiple files.
Adobe After Effects (stills DNG and Cinema DNG) and DaVinci Resolve (for Cinema DNG
only) are excellent tools for working with raw in the Adobe DNG format. Final Cut Pro and
Adobe Premiere are not compatible, so to edit raw directly in these programs you need to
convert it to CineForm raw.
CineForm requires the necessary converter tool plus an installation of GoPro CineForm
Studio Free or Premium, along with the latest version of Quicktime Player for your system.
I cover both Adobe DNG and GoPro CineForm workflows in detail throughout the next few
chapters of the book.
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List of recommended software
Adobe Premiere (Win, Mac)
Useful for
Editing raw in compressed CineForm format, or non-raw ProRes files.
About
A high performance editing package for digital video in formats such as ProRes and
CineForm, but does not support Cinema DNG or standard DNG sequences.
Download
http://www.adobe.com/uk/downloads/
Adobe After Effects (Win, Mac)
Useful for
Converting Stills DNG and Cinema DNG to a high quality non-raw codec such as ProRes
422 HQ.
About
After Effects is a full on VFX / post production graphics and animation tool but it can also
behave a simple video converter, taking uncompressed raw DNG sequences and turning
them into a non-raw format such as ProRes or H.264.
Download
http://www.adobe.com/uk/downloads/
Blackmagic Design DaVinci Resolve 9 (Win, Mac)
Useful for
Editing raw in uncompressed Cinema DNG format
About - Resolve is a film industry standard color grading package which also has core
editing tools for putting long together sequences. Fully compatible with Cinema DNG
uncompressed raw. Full version is bundled with the Blackmagic Cinema Camera and
requires a genuine license dongle to run. Lite version (maximum resolution 1080p) is free
and very feature packed, so highly recommended as a tool to get started with 5D Mark III
raw.
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Download
Lite version (free)
http://www.blackmagicdesign.com/support/
Full version
http://www.blackmagicdesign.com/products/davinciresolve/howtobuy
Magic Lantern Raw2DNG (Win, Mac)
Useful for
Converting Canon raw files to the stills standard variant of Adobe DNG.
About
This tool produces frames you can open frames in Photoshop and sequences you can
open in After Effects.
Download
Mac
http://www.magiclantern.fm/forum/index.php?topic=5508.0
Windows and command-line executable
http://www.magiclantern.fm/forum/index.php?topic=5404.0
Rarevision RAWMagic Beta (Mac)
Useful for
Converting to Cinema DNG on a Mac.
About
From the makers of 5DToRGB, RawMagic has a simple drag and drop interface and
support for batch conversions of multiple Canon raw clips to Cinema DNG format. Highly
recommended for Resolve users on a Mac platform, the beta version is free.
Download
Please note - go to the page of the thread with the most recent beta version, i.e.
(RAWMagic-beta7.dmg hosted on Mediafire)
http://www.magiclantern.fm/forum/index.php?topic=6218.0
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GoPro CineForm Studio / Raw2GPCF (Windows)
Useful for
Converting to compressed CineForm raw format (benefits of raw but far less storage space
required compared to uncompressed DNG format).
About
David Newman of GoPro (founder of the CineForm codec which GoPro later acquired) has
developed a converter for Canon raw which transcodes to the popular CineForm
compressed raw format. This converter requires an installation of GoPro CineForm Studio,
Quicktime Player and CineForm decoders to work correctly. CineForm 422 conversions will
work with the free version of GoPro CineForm Studio but CineForm 444 and RAW variants
require the $299 Premium version.
Download
Raw2GPCF converter tool (Windows only)
http://www.magiclantern.fm/forum/index.php?topic=5479.msg50372#msg50372
GoPro CineForm Studio Free
http://gopro.com/software-app/cineform-studio/
GoPro CineForm Studio Premium
http://cineform.com/downloads/
GoPro CineForm Decoder
http://cineform.com/gopro-cineform-decoder
Rawanizer
Useful for
Windows graphical user interface for batch converting Canon raw files to DNG or
CineForm.
About
This app provides a convenient interface for Raw2GPCF, the command-line converter for
GoPro CineForm by David Newman, as well as support for batch processing of multiple
clips in a queue. It also supports Magic Lantern’s Raw2DNG converter for batch DNG
conversions.
Download
http://www.magiclantern.fm/forum/index.php?topic=5557.0
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Standard DNG uncompressed raw
The first editable format to be supported by Magic Lantern was the stills photography
variant of Adobe DNG. DNG is an open standard for storing raw still frames and can be
treated as a sequence of frames making the format suitable for video. Though Adobe After
Effects can successfully work with standard DNG sequences many other software
packages popular with filmmakers (such as DaVinci Resolve) are not currently compatible.
TIP: I recommend using Cinema DNG instead
Cinema DNG uncompressed raw
Uncompressed Cinema DNG offers the highest image quality for editing 5D Mark III raw
video, but with very large file sizes. Based on the stills DNG standard, the codec is also
used by Blackmagic and KineRaw cameras.
Frames are stored as individual DNG raw files, numbered in a sequence and located in a
folder. Each clip has its own folder containing the relevant frames.
Cinema DNG sequences have headers and metadata with tags for frame rate, ISO, white
balance, tint, black levels and much more. Metadata describes the image data. It can be
adjusted in order to change how the frames are processed and displayed by your editing or
grading app.
Therefore with Cinema DNG you have full control over the uncompressed raw data from
the 5D Mark III’s sensor.
Cinema DNG frames can be opened individually in Photoshop like 5D Mark III raw stills and
adjusted in the same way.
Blackmagic DaVinci Resolve is the best tool to grade Cinema DNG with. You must grade
and convert Cinema DNG sequences in Resolve or Adobe After Effects before editing
sequences in Premiere or Final Cut Pro - these applications cannot correctly open the
Cinema DNG file format.
Cinema DNG requires a powerful graphics card and fast RAID array to edit. In Resolve you
need a NVidia CUDA enabled graphics card of appropriate specification (GTX 560 Ti
minimum, GTX 580 or 680 or later recommended). I recommend a large RAID 0 array of at
least three hard disk drives to edit Cinema DNG from. Because the data is uncompressed it
requires the fast read speed and large capacities such arrays offer. You can benchmark the
performance of your editing drive by using the free Blackmagic Disk Speed Test application
at
https://www.macupdate.com/app/mac/38019/blackmagic-disk-speed-test
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CineForm compressed raw
See Chapter 6
CineForm is a technology owned by GoPro, which is editable in all the major NLE
packages and has significant space saving advantages over Cinema DNG. Image quality is
similar and you don’t need as powerful hardware to edit with.
The CineForm codec still contains raw sensor data from the 5D Mark III, but it uses clever
compression to reconstruct the data it throws away to achieve the space saving of 10:1.
GoPro CineForm Studio (similar to RedCine X) can be used to adjust metadata such as
white balance, etc. - but in Resolve and Premiere you must use the standard grading tools
rather than changing the metadata like with Cinema DNG.
Compatibility with common editing software
Of all the codecs covered above, ProRes is the most widely compatible format for editing
digital video. All major NLEs support the codec.
Of the raw codecs, I have tested CineForm raw successfully with Adobe Premiere, Final
Cut Pro and Blackmagic DaVinci Resolve.
Uncompressed Cinema DNG works in DaVinci Resolve and Adobe After Effects but not in
Adobe Premiere and Final Cut Pro, whilst the standard stills variant of DNG only works in
Adobe After Effects where you should grade and convert to ProRes for editing.
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Chapter 6 - CineForm raw workflow
•
•
•
Introduction / advantages
System and software requirements
Converting to CineForm on Windows
Introduction / advantages
Uncompressed DNG sequences are lovely but Adobe's support of their own format in
Premiere CS6 is almost non-existent and unusable for pro work since it degrades the
image so much. After Effects does work well with DNG sequences but adds a complicated
and time-consuming round-trip to your workflow.
Advantages of CineForm:
•
•
•
Save drive space with 10:1 compression (32GB uncompressed = 3.2GB)
Color grade raw images as you edit directly in Premiere and Final Cut Pro
Very fast transcoding times (for CineForm raw)
If you want to edit 5D Mark III raw footage in Adobe Premiere or Apple Final Cut Pro,
CineForm is one of the best choices, although this workflow currently requires a PC or a
copy of Windows 7 running in boot camp or emulation software on a Mac.
CineForm is a professional production codec having been used to great effect by Danny
Boyle on Slumdog Millionaire and in the new Kineraw cameras by Kinefinity. The codec
now has the backing of a major company (GoPro) after it was acquired by Woodman Labs
in 2011.
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The CineForm clips can be dropped directly into Resolve or Premiere for immediate editing
and grading, just like ProRes.
Unlike ProRes, CineForm is a raw codec. It contains a raw stamp of data from the sensor
(albeit compressed) and some metadata which controls exposure, ISO, white balance and
more. That's different to ProRes where the way the image looks is baked into the data. As a
result with CineForm you get more dynamic range and more flexibility to alter the image in
post without it degrading.
The other advantage of CineForm is GoPro CineForm Studio. This is a similar app to
REDCINE X Pro allowing you to grade your source material along with the ability to apply a
LUT or preset looks. CineForm Studio Premium is required for "CineForm RAW" and 444,
this costs $299. The free version however gives you the 10bit 422 version of CineForm and
very good image quality.
To get started with CineForm all you need to do is run one single app to convert the 5D
Mark III raw files on the compact flash card to an editable compressed raw format.
There are three main flavors of CineForm -
•
CineForm RAW
- 10:1 compression
- 12bit CFA (Bayer colour filter array)
- Visually lossless
- Quicktime MOV or AVI wrapper *
•
CineForm 444
- More lightly compressed at 3.5:1 (Three point five to one)
- 12bit RGB
- Visually lossless
- Quicktime MOV or AVI wrapper *
•
CineForm 422
- 10:1 compression
- 10bit log (422 YUV)
- Quicktime MOV or AVI wrapper *
* DaVinci Resolve only supports the CineForm Quicktime ".MOV" files
Compression with CineForm RAW is 10:1 so a 1GB chunk of Canon raw data turns into
just 100MB of CineForm RAW - a 90% saving on storage space.
CineForm RAW is extremely fast to transcode, 100fps+ on a modest PC. 422 and 444 are
slower as the image must be debayered (demosaiced) - that’s why no debayering of the
raw footage is done in the 5D Mark III with Magic Lantern's raw recording feature, it
requires a lot of processing to do it to a high standard. With CineForm RAW the image is
debayered in post - i.e. your computer does it.
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Currently the CineForm converter for 5D Mark III raw footage only works in Windows. A
Mac version is under development. As soon as this changes you will be the first to know on
EOSHD.com (see current posts tagged CineForm).
Mac users should keep a copy of Windows 7 handy as it allows you access to the best of
both worlds and to converters for 5D Mark III raw that aren’t available on both platforms.
System and software requirements
•
•
•
•
•
•
•
•
•
•
Windows 7
Go Pro CineForm Studio for Windows
Free version for CineForm 4:2:2
Premium version for CineForm RAW or 444 ($299)
Professional version adds 3D support
GoPro CineForm Decoders
GoPro Raw2GPCF converter tool by David Newman
Rawanizer
Quicktime 7 for Windows
Mac Users need a copy of Windows 7 and VMWare Fusion 5 to run the
operating system on top of OSX Mountain Lion available here -
https://my.vmware.com/web/vmware/evalcenter?p=vmware-fusion5
Download links
TIP: Be sure to download the Windows version of GoPro CineForm Studio
GoPro CineForm Studio Free
GoPro CineForm Studio (Free)
http://gopro.com/software-app/cineform-studio
GoPro CineForm Studio Premium (Trial or $299)
http://cineform.com/products/gopro-cineform-studio-premium
GoPro CineForm Decoders
http://cineform.com/gopro-cineform-decoder
GoPro Raw2GPCF converter tool
http://miscdata.com/ML/RAW2GPCFv104.zip
Rawanizer
http://www.magiclantern.fm/forum/index.php?topic=5557.0
Quicktime Player 7 for Windows
http://www.filehorse.com/download-quicktime-player/
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Converting to CineForm
With GoPro CineForm Studio installed along with Quicktime Player for Windows and the
GoPro CineForm decoders, proceed to the Program Files directory and copy
Raw2GPCF.exe to the Tools directory in the GoPro Studio folder.
Run Rawanizer and click the “Cineform” tab which should look similar to the screen grab
below. Under the “GoPro Cineform tools path” browse to the correct directory where you
placed Raw2GPCF.exe a few seconds ago.
Next note the “Cineform parameters” text box. If you intend to use your CineForm clips with
DaVinci Resolve you need to change the .avi file extension to .mov
This will cause the CineForm converter wrap the file in Quicktime format which is
compatible with Resolve.
If you are using the “Free” version of GoPro CineForm Studio rather than “Premium” you
must add the text -422 on the end of the parameter like so -
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Otherwise no file will be output when you start the conversion.
To start converting 5D Mark III raw files to CineForm clips, simply click the “Select Folder”
button (top left) to load all the raw files in the folder into Rawanizer. Next simply click
“Start” (bottom right) to begin the conversion process.
Once the CineForm clips are created, they should be playable in Quicktime Player. You can
also drag and drop the clips into Adobe Premiere and DaVinci Resolve 9 for editing and
grading.
TIP: Be sure to keep your copy of Rawanizer and Raw2GPCF up to date. Both are still in
the early stages of development, this process will become more straightforward with later
versions of the software and the user interface may alter to become more user friendly.
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Chapter 7 - Uncompressed Cinema DNG
workflow
•
•
•
•
•
Introduction / advantages
System and software requirements
Converting to Cinema DNG on a Mac
Converting to Cinema DNG on a PC
Getting started with Cinema DNG in DaVinci Resolve
Introduction / advantages
Uncompressed Cinema DNG offers the highest
quality image from the original 5D Mark III raw
files, comparable to raw photos in Adobe
Photoshop.
With Cinema DNG sequences you have full
control over all aspects of the raw image in
Adobe Camera Raw and DaVinci Resolve.
The debayering of Cinema DNG is done by the
software application you use. Adobe After
Effects demosaics using Adobe Camera Raw
and Resolve uses it’s own debayering system.
System and software requirements
Editing, grading and playing uncompressed Cinema DNG sequences requires fast desktop
PC or Mac hardware, with an NVidia graphics card (as of Resolve version 10, AMD
graphics will also be supported for realtime raw video playback).
Due to the high data rates of uncompressed Cinema DNG it is also a taxing format for your
hard drive to handle, so you must edit the files of a fast RAID 0 array of hard drives or an
SSD.
Currently only DaVinci Resolve 9 offers fluid realtime playback of Cinema DNG files, and to
do that it requires an NVidia graphics card featuring CUDA and a minimum video memory
of 1GB. The minimum card for fluid performance is the NVidia GTX 560 Ti 1.25GB. The
CPU is not as important but I recommend an Intel i5 or i7 clocked at 2Ghz or above.
I only really recommend Cinema DNG if you’re going to use DaVinci Resolve. Final Cut Pro
and Adobe Premiere do not support it fully. You can however open sequences in After
Effects, convert to ProRes and open individual frames in Adobe Photoshop like raw stills.
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Converting to Cinema DNG on a Mac
Mac users can use RAWMagic to convert Canon raw video files to Cinema DNG. The
software is currently a beta version, and free to download.
http://www.magiclantern.fm/forum/index.php?topic=6218.msg47324#msg47324
RAWMagic is very easy to use. Simply drag and drop the raw files into the application and
click Convert.
This will create folders containing multiple frames of video, which make up a clip. Resolve
will treat this folder of numbered Cinema DNG images like a single video file.
Be sure to store these files on your fastest drive (RAID or SSD).
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Converting to Cinema DNG on a PC
On the PC, a freeware beta app called Raw2CDNG has been created for the Magic
Lantern community by Chmee.
http://www.phreekz.de/wordpress/2013/06/magiclantern-raw2cdng-cinema-dng
Be sure to download the most recent version at the website linked to above, since the app
is further developing on a weekly basis.
This app is also very easy to use - you simply drag and drop the raw files from your 5D
Mark III to the open application window.
Be sure the bit depth is selected as 16bit linear, since Resolve does not yet support the
native 14bit linear raw files of the 5D Mark III.
If you have issues with pink / magenta highlights check the “lower white level by 15%” box.
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Getting started with Cinema DNG in DaVinci Resolve
Resolve has 5 distinct tabs along the bottom of the workspace.
•
•
•
•
•
Media
Conform
Color
Gallery
Deliver
In the Media section browse to the location of your Cinema DNG files in the Library file
manager.
Resolve should display the folders containing Cinema DNG sequences as thumbnails.
Drag the clips into the Media Pool.
Next click Conform and you will notice a locked Master Timeline containing your 5D Mark III
clips. Ignore this and right click the Timelines box, choosing Create New Timeline. Click the
checkbox for an empty Timeline. Now you are free to drag and drop a sequence of clips
from the Media Pool to the Timeline.
Creative colorist controls are in the Color section. Color, Gallery (of styles) and Deliver are
self explanatory but to explain them in detail would be worthy of a whole separate 200 page
book on Resolve so somewhat outside the scope of this guide. Likely if you are using
Resolve to grade your 5D Mark III clips you will know the ropes but if not don’t panic - 5D
Mark III Cinema DNG clips are a great place to start learning and experimenting in
Resolve. It is quite an intuitive piece of software.
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Chapter 8 - ProRes / Ginger / After Effects
•
•
Convert to ProRes in After Effects
Ginger for native raw clip editing in Premiere and After Effects
The easiest way to edit 5D Mark III raw footage, is either to use After Effects and convert
the raw to ProRes or to use the Ginger HDR plugin for native raw file support in Adobe
Premiere.
Please note: 5D Mark III raw file support is currently at a very early stage in Ginger HDR
but it is worth keeping a close eye on how the plugin develops.
Convert to ProRes in After Effects
ProRes is a Apple editing codec, known as an ‘intermediate’. It is designed for high quality
editing rather than final delivery or viewing. ProRes comes in three main varieties - ProRes
422, ProRes 422 HQ and ProRes 444. The 422 versions use 10bit color sampling and 422
subsampling whilst the 444 subsampling version is 12bit.
Although ProRes does not offer you the full control of raw over your 14bit images, it
maintains a high level of image quality and is very easy to edit. Unlike Cinema DNG it
doesn’t require a hefty system and can be edited on a laptop.
ProRes is very lightly compressed. The 422 HQ variety has a high bitrate of 220Mbit and
the standard 422 version is 147MBit.
After Effects offers the same control scheme for raw video as it does for raw photos in
Photoshop so many more people will be familiar with it than Resolve. Adobe’s raw debayer
is also one of the best around and makes for excellent image quality.
First the raw footage must be converted to Cinema DNG or DNG format. Follow the steps
in the previous chapter.
Open After Effects, create a new project and drag and drop the DNG sequence folder to the
project window (usually top left). You should be able to do the same with Import > Files but
sometimes this will try and import the DNG sequence as a Folder of individual images
rather than as a single video clip, so I recommend the drag and drop method.
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After Effects will display the first frame of the sequence in Adobe Camera Raw with the
familiar Photoshop grading controls. You can adjust Temperature (white balance), Tint,
Exposure and recover highlights / shadows here. For more control over shadows, midtones
and highlights you can click the Tone Curve tab.
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Once you are satisfied with the way the image looks, you can save your grading as a
preset to apply to the rest of the sequences you want to import. To do this click the Presets
tab.
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Choose the ‘New’ preset icon at the bottom right near the Cancel / OK buttons.
Once you’re finished grading, click OK and the sequence of DNG frames will be imported to
After Effects as a single raw video clip.
To convert to ProRes drag the composition to the Render Queue.
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The clip will show in the Render Queue. Click the downwards facing arrow next to Output
Module and choose Make Template.
We’re going to make a preset for exporting to ProRes so we only need to configure the
codec settings once.
As you can see above I’ve called my preset “5D3 Raw ProRes 422”.
First enter a name for your setting and click the Edit button.
This will bring up the Output Module Settings panel where you can configure the codec
settings for ProRes.
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The bewildering array of settings in the next two panels can mostly be ignored. Home in on
the following Make sure Quicktime is selected in the Format box, ignore the other options and click
Format Options to bring up another panel where you choose the flavor of ProRes you want
to use, be it standard 422 (standard, HQ, LT, Proxy) or 4444.
Here you also have the option to store the footage as space saving H.264 or CineForm if
you have the GoPro CineForm decoders installed. OK both panels and you will return to
the presets panel where you can now select your preset as Movie Default, so that every
other raw sequence you drag to the render queue will automatically be set to render with
your chosen codec settings.
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Next click Output To on the Render Queue for the clip and select the directory to store the
rendered ProRes clip. You can leave this as the default folder (where the DNG sequences
are stored) and every clip you drag to the Render Queue will go to this location.
I recommend a preferences change before you begin the render. Here’s the secret sauce I
use to speed up the rendering process:
Make sure the Render Multiple Frames Simultaneously box is ticked and that After Effects
uses all the cores of your processor. Note a 4 core CPU will show as having 8 cores due to
Intel hyper-threading technology.
Once the render is complete you can edit the ProRes clips in a editing package of your
choice such as Adobe Premiere or Final Cut Pro X.
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Ginger for native raw clip editing in Premiere and After Effects
Please note: support for 5D Mark III raw is at a very early stage with this plugin. Keep an
eye on future releases coming soon.
Currently under development, Ginger HDR features 5D Mark III raw file support. This plugin
means you can drop 5D Mark III raw files directly into Adobe Premiere and edit / grade the
raw data directly on the timeline!
This skips any conversion or transcoding step so makes for a very fast turnaround on an
urgent edit.
Download and install
Ginger is a 30 day trial. The full purchase is $149
http://www.magiclantern.fm/forum/index.php?topic=6324.0
OR
http://19lights.com/wp/downloads/
To install Ginger you must copy the “Ginger-HDR-Adobe-Mac64” (or “Ginger-HDR-AdobeWin64” for Windows users) folder to your plugins directory for Premiere and After Effects.
Be sure to copy the 32bit version of the plugin not the 64bit version if you have an older
32bit machine and operating system.
Close the apps if they’re already open.
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On a Mac the plugins directory for Premiere should look similar to this depending on your
version:
/Applications/Adobe Premiere/Adobe Premiere Pro CS6.app/Contents/Plug-ins/Common/
TIP: Right click (ctrl-click) Premiere in Applications to access the folder.
The After Effects plugins directory should be something like this:
/Applications/Adobe After Effects CS5.5/Plug-ins/Effects/
Windows users need to locate the directory where Premiere / After Effects are installed,
typically:
C:\Program Files\Adobe\Adobe After Effects CS5.5\Support Files\Plug-ins\Effects
C:\Program Files\Adobe\Adobe Premiere Pro CS5.5\Plug-ins\Common
Before running Premiere or After Effects run the LicenseManager app which came with the
Ginger download and enter your serial number or create a trial license. Open Premiere or
After Effects and you can now edit 5D Mark III raw movie files directly!
Performance
For smooth playback I recommend high performance GPU acceleration of Mercury Engine
is enabled in Premiere, this usually requires a NVidia CUDA card for best performance
(GTX 580, 680 or better recommended).
Be sure to edit the raw files off your fastest drive (RAID array or SSD). Do not edit the raw
files directly off the Compact Flash card or via an external drive connected by a slow
interface such as USB 2.0. The interface for external RAID arrays or SSD drives must be
ESATA, Thunderbolt or USB 3.0.
You will likely need to set the playback quality of the timeline and source clip monitors to
1/2 for realtime playback especially with FX or grading applied.
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Ginger also offers it’s own set of grading tools in Video Effects > Ginger HDR (shown
below) but until these are more tuned for the 5D Mark III and more graphical in terms of the
user interface I recommend using Premiere’s color correction effects such as the Fast
Color Corrector.
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Chapter 9 - Kodak, Fuji and Alexa film
looks for Resolve
•
•
•
•
•
•
What is a LUT?
Recommended software and format requirements
Kodak & Fuji film looks by Juan Melara
Rec.709 to Canon LOG
Alexa film look by Hunter Richards
Applying a LUT in Resolve
What is a LUT?
LUT stands for Look Up Table. This is a mathematical term for a set of values that translate
data from one form to another, in this case the raw image data in a movie clip, giving the
Image a different look and feel.
These values are in a text file, usually identifiable by the file extension ‘.cube’ or ‘.lut’. A
LUT can be applied as an input and output, so you can have two LUTs acting on one clip.
For example, the first LUT might translate high contrast Rec.709 to a flat low contrast LOG
curve more suited to grading work, then the second LUT might apply the grade itself.
The film industry typically uses a 3D lattice of color values, though 1D LUTs are also
supported in Resolve. In this guide we’ll be dealing with the more common type of 3D LUT
files.
Blackmagic Cinema Camera owners may have come across LUTs before. The camera can
record a flat LOG image in Film Gamma mode, which can then have a LUT applied to it in
Resolve to transform it into standard Rec.709 or any number of other looks.
With a LUT applied you can still do your own grading and color changes on top of it, and
also adjust the fundamental Cinema DNG data like white balance, tint and exposure.
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Recommended software and format requirements
I recommend using Blackmagic Design’s DaVinci Resolve version 9 or later for grading
and applying LUTs to your 5D Mark III footage.
I recommend using the Cinema DNG uncompressed raw format for your movie files. The
process to convert 5D Mark III raw files to Cinema DNG is covered in Chapter 7.
Kodak & Fuji LUTs by Juan Melara
Professional colorist Juan Melara has developed a collection of LUTs based on classic
Hollywood film stocks. These LUTs simulate how your footage would look if printed to a film
stock (Kodak and Fuji Super 35mm).
His LUTs are particularly useful for raw on the 5D Mark III. The 14bit raw files offer huge
potential for applying almost any specific style in post. Juan’s LUT styles are tastefully and
authentically created and free to download - based on Kodak 2383 and Fuji 3510 film
emulsion.
I’ve tested these LUTs extensively with my work and they offer an authentic film feel to your
images. They can save you tons of time otherwise spent searching for that elusive film
look.
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Juan also has a superb tutorial on everything to do with LUTs at his website which is well
worth a read, along with a short sample video shot on the Red EPIC.
http://juanmelara.com.au/print-film-emulation-luts-for-download/
https://vimeo.com/57785040
Rec.709 to Canon LOG
The Kodak and Fuji film looks require an input LUT to convert the 5D Mark III’s raw footage
to LOG (a logarithmic curve gives maximum dynamic range and minimum contrast) before
the film stock LUT itself is applied as an output LUT.
For details on how to apply Juan’s LUTs see the Applying the LUT in Resolve section later
in the chapter.
The input LUT file is available to download on Juan’s page linked to above, under “Other
cameras”. The file is called Video2Log_HR_150.cube
You can also use this LUT whenever you need to convert 5D Mark III raw footage to
CineStyle or Canon LOG.
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Alexa film look by Hunter Richards
This LUT is developed especially for the 5D Mark III to offer filmmakers an easy out of the
box start point for grading.
Based on Arri Alexa Rec.709 color and contrast, it offers a very smooth roll off to the
highlights and a wide dynamic range without compromising contrast or giving the images a
sickly HDR feel.
Hunter offers a video tutorial for using his LUT in Resolve with 5D Mark III raw footage
here:
https://vimeo.com/67970827
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Applying a LUT in Resolve
You can apply a LUT on a per-clip basis but I recommend applying the same LUT to your
entire project.
First you must copy the LUT files you downloaded earlier into the correct folder on your
machine. Resolve has a LUT folder which is located as follows...
Resolve LUT Folder (Mac)
/Library/Application Support/Blackmagic Design/DaVinci Resolve/LUT
Resolve LUT Folder (Windows)
C:\ Program Files\Blackmagic Design\DaVinci Resolve\Support\LUT
By default a Mac will hide the /Library folder from you in Finder, so you must navigate to the
folder by selecting the “Go” menu in Finder and cutting and pasting the directory address
above.
Copy the LUT files to this directory. Ensure that Hunter’s Alexa look has the
extension .cube and that Juan’s film stock LUTs are accompanied by his LOG conversion
LUT Video2Log_HR_150.cube
If Resolve is already open, close it and re-open so that the LUTs show up in the project
settings.
The project settings in Resolve are located on the gear icon towards the far bottom left of
the screen when you have a project open. Bring up the panel and go to “Look Up Tables”.
Here you will need to select your chosen LUT in the drop down box labeled “3D Output
Lookup Table”. If you’re using Juan’s film stocks, ensure Video2Log_HR_150 is selected
in the “3D Input Lookup Table” box as shown above. You do not need to do this with
Hunter’s Alexa LUT. Leave the rest of the settings (including 1D LUTs and Display LUTs)
alone and make sure the LUT isn’t also applied to an individual clip in the timeline.
Next go to the Camera Raw section of the project settings.
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Here you will need to apply the settings shown above.
1. Change the Camera Raw box at the top right to CinemaDNG.
2. Under “Master Settings” select “Project” in the “Decode Using” drop down box
3. “BMD Film” must be selected under Color Space and Gamma.
Now your clips will all have the LUTs applied. If you want to apply the LUTs on a per-clip
basis on the timeline (for example to make a test video showing the effect of the LUTs) all
the above steps still apply aside from the part where you select the 3D Output LUT. You
can instead right click a clip in the Color section of your Resolve project and choose the
LUT there. You will still need to have the LOG conversion LUT applied for Juan’s film stocks
in the project-wide settings as an input LUT.
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It’s important to note that these LUTs won’t work if you have Rec.709 gamma and color
space selected in your CinemaDNG settings on a per-clip basis or project-wide. Always
make sure BMD Film is selected otherwise you will get crazy color and exposure.
Once the LUT is applied you may notice a lack of color saturation with Juan’s film stocks.
This is normal as these stocks are a basis for tweaking your final grade and not meant to
be a final result.
Says Juan:
First thing you may notice after applying the LUT is that the
footage looks contrasty and may be lacking saturation. This is
normal. The first thing I do is make sure the image is correctly
white balanced. Then with the color wheels in log mode, I usually
balance the image by raising the offset and lowering the highlights
and increasing saturation. This is usually enough to get the image
looking good. Sometimes using the Contrast and Pivot control
plus saturation is all you need to do. From there grade as you
normally would, but now enjoy film like colors!
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Chapter 10 - Suitable Compact Flash
cards
In this chapter:
•
•
Benchmarking your card
Card buyer’s guide
Raw video is demanding on storage - in terms of both speed and capacity. Compact Flash
card media has only recently reached the necessary UDMA 7 speeds required for raw
video recording at 1080p - so expect to pay more than you’re used to for Compact Flash
cards and you won’t be disappointed.
You will need to buy a card with a minimum stated speed of 1000x. Ideally the write speed
should also be stated and will be a minimum of 100MB/s. 1080p raw video on the 5D Mark
III requires 83MB/s sustained write speeds.
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There are two strategies you can use in terms of card capacity. Either buy a lot of cards or
look into offloading the data on-location to a laptop. If you have two 1000x 64GB cards you
can offload one whilst shooting with the other. The rate of transferring 64GB of raw video to
your device will vary greatly depending on your card, drive and card reader. Via USB 2.0 it
will take around 25 minutes to offload a full 64GB card containing 12 minutes of raw
footage and transfer speeds will typically be under 40MB/s. USB 3.0 will offer much better
transfer speeds up to a maximum card read speed of around 150MB/s, but be sure you’re
connecting a USB 3.0 card reader to the USB 3.0 port and not an older USB 2.0 one.
Provided you have a USB 3.0 interface and card reader you can test the speed of your card
on a Mac using Blackmagic Speed Test.
http://download.cnet.com/Blackmagic-Disk-Speed-Test/3000-2086_4-75764971.html
However by far the best and most reliable way to test the speed of your card is in Magic
Lantern itself on the camera.
Benchmarking your card
First make sure you are in movie mode on the live view switch.
It is very important to run the test with live view enabled and in movie mode, since in
playback or photo mode with live view switched off, benchmark results are higher since the
overhead of Canon related tasks aren’t taken into account.
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You will get a more accurate representation in movie mode.
Enter the Magic Lantern menus (trash button) and go to the Debug menu. Here you will find
the benchmarks - select that option and press the Q button to go into the benchmarks submenu. You should typically choose to benchmark a new Compact Flash card by selecting
“Card R/W benchmark (5 min)”
The results are saved at the end of the benchmark to a BMP image file on the card (in the
root directory, not in DCIM). It typically looks like this -
These benchmark results illustrate the best case scenario for a typical 1000x card suitable
for reliable and continuous 1080p raw recording.
The numbers to pay close attention too are the highest write speed figures in megabytes
per second, usually for “buffer=16384k”.
In this example they are 92.6 MB/s. This is not actually the top speed of your card - it is the
speed of your card minus the necessary tasks the 5D Mark III runs in order operate the
movie mode and gives an accurate impression of what kind of data rate will be reliable for
raw recording on the 5D Mark III. The data rate is shown when you select your resolution
and frame rate in the Raw Video menu of Magic Lantern.
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Card buyer’s guide
The current most popular providers of 1000x cards are Lexar, KomputerBay, Toshiba,
Hoodman Steel and Transcend.
KomputerBay
128GB – $204 – Buy It Now
64GB – $119 – Buy It Now
KomputerBay currently offer by far the best value for money, but they use quality control
rejected memory in their cards. It is a lottery as to whether you will get a fast or slow
KomputerBay card and the variation in sustained write speeds can vary hugely between
75MB/s and 105MB/s! KomputerBay supply the cards directly via Amazon and eBay
internationally. Be sure to buy direct if possible and check the return policy. Amazon for
example are very good at honoring returns if the card doesn’t meet your expectations.
I’ve purchased three KomputerBay cards - one 128GB and two 64GB cards. The 64GB
cards are extremely fast and reliable, whilst the 128GB card was sluggish so I returned it.
The general consensus is that the 64GB cards tend to be faster.
For those with more time to leisurely build up a collection of cards, you can save a lot of
money by going to KomputerBay route, though reliability over long term cannot currently be
determined.
Lexar
128GB – $609 – Buy It Now
64GB – $275 – Buy It Now
Lexar guarantee write speeds good enough for 1080p raw recording with their 1000x cards
and long term reliability. The higher price could be suited to those who want to avoid
jumping through hoops especially if buying a large number of cards for an urgent project.
Prices are steadily declining as manufacturing ramps up.
Transcend
64GB – $250 – Buy It Now
128GB – $450 – Buy It Now
Transcend’s pricing is the most attractive of the cards you can get predictable performance
out of. Unfortunately that performance isn’t quite good enough. Their cards have been
tested to max out around 80MB/s sustained write speed, and 1080p raw video requires
83MB/s.
Toshiba
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64GB – $299 – Buy It Now
Toshiba claims peak 150MB/s read and write speeds and a 1066x speed rating for their
64GB Exceria Pro but don’t get too excited - in reality it performs no better than fast copies
of the cheaper KomputerBay cards. Toshiba don’t currently provide a 128GB version of this
card.
Hoodman Steel
64GB – $350 – Buy It Now
These cards are supplied in more limited quantities and at slightly higher prices but perform
similar to Lexar’s. They’re good quality cards but pricing may be a factor in your decision
between these cards and the similar Lexar ones.
Sandisk
Sandisk currently do not provide a 1000x card and their 100MB/s cards are extremely
expensive yet nothing to write home about in terms of performance. I recommend buying
the more suited KomputerBay 64GB or Lexar, Toshiba and Hoodman Steel cards.
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Chapter 11 - Raw shooting advice by
Andrew Reid
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Be economical with your footage and ‘edit in camera’ like John Ford
Prioritize shadow or highlight areas
Avoid too much highlight recovery in post
Ignore the native ISO
Shoot at these ISOs for best results...
Experiment with crop-mode framing before selecting another lens
Don’t be shy about investing in Compact Flash cards and spare batteries
Stop down the lens when necessary
Try to avoid shooting handheld without a rig, avoid a complex rig
Be economical with your footage and ‘edit in camera’ like John
Ford
Having a clear vision of what you’re making and having a clear aim helps to reduce the
amount of wasted drive space. With 12 minutes of raw to a 64GB card, this approach has
never been more useful.
John Ford used to like complete control over his edit, but the editor and studios didn’t afford
him the opportunity. Therefore he would edit whilst shooting - anything he didn’t want in the
picture, he didn’t shoot. That gave him a final say with the studios on his edit. If the material
didn’t exist to edit, they couldn’t stuff it up!
Doing this requires some certainty whilst directing, including a detailed storyboard and shot
list, and it won’t suit all styles of shooting (such as documentary, or capturing spontaneous
real-life street moments).
TIP: More on John Ford’s refusal to waste film here http://peelslowlynsee.wordpress.com/2010/08/20/when-not-to-edit-pt-7-john-ford-refuses-to-waste-film/
Prioritize shadow or highlight areas
Even with the wide dynamic range offered by 14bit raw, the closer your highlights are to the
limit of the camera the uglier they get, and it’s the same with shadows. The darker they are,
the noisier they are if you try to bring out the detail in post.
Sometimes rather than pushing the dynamic range of the sensor to the very limits with
maximum highlight recovery and shadow recovery, you’re better off prioritizing an area of
the image.
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If an interior is more important than a bright window, let the bright window blow. If the scene
outside is more important, either bring up the interior with more light, or let it remain in the
shadows.
Avoid too much highlight recovery in post
For a smooth roll off to the highlights it is important with 5D Mark III raw not to use full
highlight recovery. This results in a stepped banding effect around bright highlights. For a
nice smooth roll off, try using one of the film-look LUTs in Chapter 9.
Ignore the native ISO
With raw it is tempting to use a native ISO (like 800 on the Blackmagic Cinema Camera)
and do all your ISO setting in post. On the 5D Mark III the ISO setting doesn’t just apply a
gain to the raw feed or the display, it applies a gain to the sensor as well. Don’t be temped
to shoot at ISO 800 in good light - expose for as low an ISO as possible.
Shoot at these ISOs for best results...
The cleanest ISO sensitivities on the 5D Mark III are 100,200,400,800,1250,1600 and
3200. Some others such as 640 and 250 have considerable noise in the blacks.
Experiment with crop-mode framing before selecting another
lens
Image quality in the 5D Mark III’s raw video 1:1 crop mode is superb. It gives you a more
telephoto field of view, depending on resolution it gives an around 2.3x to 3x that of the full
frame field of view. A 50mm lens becomes a 125mm equivalent for example. Crop mode
can be activated instantly with the 5x zoom focus assist button so it’s a useful feature for
filming real life situations. The decisive moment requires decisive action.
Don’t be too shy about investing in Compact Flash cards and
spare batteries
$200 may seem a lot of money for a memory card but it isn’t when you compare the kit
price of the 5D Mark III with a bunch of cards, to that of the cameras it competes against on
raw video specification. It is one of the cheapest raw shooting cameras. The Arri Alexa for
instance is a $70,000 camera which cannot record raw internally - it requires an expensive
external recorder!
Stop down the lens when necessary
Fast apertures and a shallow depth of field is a luxury we didn’t have on digital before large
CMLS sensors came along, and although phrases like “full frame” and “F1.2” look great on
a specs sheet it isn’t always what you want.
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Most feature films are shot with the lens stopped down to at least F5.6 for more
manageable focus. It also helps that if you paid for a location or you’re shooting in front of a
beautiful landmark, not to completely blur it out. Sometimes just a gradual fall off and slight
blur of the backdrop is enough to give depth to the image, with the added bonus of a
sharper subject.
Try to avoid shooting handheld without a rig. Also try to avoid a
complex rig.
The 5D Mark III is a small and light camera by cinema standards. Handheld footage suffers
from jitter unless you use support. I often see elaborate rigs with all manor of bulk, spidery
arms and gadgetry onboard - that isn’t necessary. I recommend keeping it as simple as
possible - a cage and top handle with monitor on an articulated hinge rather than a spidery
arm, rails to hold everything together and a shoulder mount, or stock for that stable contact
point with the body. The 5D Mark III doesn’t really need a large external battery or sound
device.
Above: Lanparte BMCC cage, LanParte Carbon Mattebox and rails. Lanparte Follow Focus
with hard stops, Small HD DP6 monitor.
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Chapter 12 - Cinematography Advice by
Andrew Reid
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Drama in simplicity
Rule of thirds
Composition
Natural light
Tips from the Tree of Life cinematographer Emmanuel Lubezki, ASC, AMC
Dead space
Color
Focus and depth of field
Location - not just a backdrop
Above - frame from Longshan’s People, shot in Taipei, Taiwan. https://vimeo.com/9176830
Drama in simplicity
Framing a shot is as much about removing things as it is about adding. A minimalistic
approach is often more powerful and more direct. The first thing to do is to prioritize the
parts of a scene that you find most interesting.
Then discover the composition and angle that emphasize that. Then kill everything else as
much as possible that doesn’t contribute.
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Like photography it’s a process of removing anything which distracts a viewer’s eye from
that. Look at Henri Cartier Bresson’s photos for examples on this. The simple and direct
nature, the lack of clutter, the careful and instinctual placement of the (real-life) ‘actors’ in
the frame is done by perfect timing.
A moving image is treated slightly differently of course. Usually the timing and pacing of
cinematography is as much done in editing afterwards as it is when shooting, but it is no
less important. Also, camera movements can be timed to seek out what’s interesting and to
defocus on what isn’t. An example would be a woman taking off her shoes in the bedroom.
The camera would pan down to reveal the manner in which she removes her shoes.
Improvise and experiment with different takes and see which you like the best.
Above - interesting subjects are often more visually appealing when placed away from the
centre of the frame using the rule of thirds (see next section).
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Rule of thirds
Generally this rule states that the main features of a scene should be placed along 2
horizontal and 2 vertical lines dividing the frame into 9 blocks. It seems to tap into a
fundamental nature.
Generally speaking the key different parts in a scene are organized along these lines and
segments in more beautiful images, so there is definitely some truth in this rule. However
always use your natural judgement for what works - having conviction in your natural
judgement is more important because it is more flexible and personal than a law.
It does help though to be aware of what these rules do and to subvert the rules or break
them when it benefits the scene.
Sometimes your character looks best away from the centre of the frame but not always. For
example a more symmetrical shot with all the lines converging in the middle - think about
the corridor scenes in The Shining - can be just as powerful.
Here the characters are left and right with dead-space in the centre. It is organized and has
order to it.
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General Composition
The first thing I look at is the geometry of the shot - it could be some architecture or the
location in general. What feeling does it give me, from each angle? I’d try different angles
with the camera, but I’d also walk around and get a feel for it with my own eyes and not just
through the restrictions of a frame or boxed out view from the camera lens.
Then it’s about the placement of actors or objects in the scene, how the light is cast and
what kind of lens is best suited to capture what my eyes like best about the scene.
Stanley Kubrick often took so long to shoot because he was experimenting and refining bit
by bit - with take after take. He famously remarked that he did not know what he was
looking for - but he knew it immediately when he saw it.
I treat my shots like a boxed off frame which I have complete control over. It helps to have a
good visual imagination and a voice as an artist which influences where you put the
camera.
Play the actors off against the location. It’s a partnership. The location can add to the
actor’s ability to play a part. It can add a feeling of claustrophobia or freedom, warm or cold.
Not just in explicit ways but in subtle ones that can be exaggerated by composition.
For example to give the sense that the surroundings are much bigger and allencompassing than the character, you’d use a wider lens and really wrap the surroundings
around the character, giving the surroundings more emphasis. To emphasize the stature of
the character more you’d shoot from a lower angle with a tighter lens.
Natural Light
Because DSLRs are so sensitive to light aspiring filmmakers have been freed from the
shackles, expense and complexity of hauling around electric lights. I am not a big fan of
artificially lighting a scene, I prefer reality to do my job for me. Reality comes up with a
palette of situations and it’s my job to choose the most suitable or the most attractive.
Terrence Malick is famed for shooting with natural light. He used the ‘magic hour’ of an
early evening sunset and twilight to give a soft, melancholy and emotionally charged feeling
to his cinematography that is both beautiful and realistic. The location you use to shoot in is
also key to how the light falls. Mainly, the weather, time of day and location play the biggest
part in natural light so pay attention to those when shooting.
Shadows look longer when the sun is lower in the sky in winter or toward the end of the day
and in the very early morning.
Light is most varied at night when the electric lighting of a location takes over. It often looks
very three dimensional and is used to great affect by Michael Mann in Collateral.
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Tips from the Tree of Life cinematographer:
Emmanuel Lubezki, ASC, AMC
Lubezki is the director of photography for legendary filmmaker Terrance Malick. In an
interview with the ASC Magazine (American Society of Cinematographers) Lubezki gives
aspiring cinematographers tips on how to improve their cinematography. Here’s a
paraphrased version...
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Shoot in available natural light
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Do not underexpose the negative
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Keep true blacks
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Seek maximum resolution and fine grain
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Seek depth with deep focus and stop: “Compose in depth”
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Shoot in backlight for continuity and depth
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Shoot in crosslight only after dawn or before dusk; never front light
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Avoid white and primary colors in frame
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Shoot with short-focal-length, hard lenses
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No filters except Polarizer
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Z-axis moves instead of pans or tilts, no zooming
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Do some static tripod shots “in midst of our haste”
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Lubezki uses mainly wide focal lengths. “The lenses most often used were
the 14mm, 18mm, 21mm and 27mm, and that the camera was usually very
close to the actors, often between 1½ and 2 feet.”
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Dead Space
Think about a character’s motivations and feelings, then the framing of a shot. ‘Dead
space’ is critical to giving a sense of feeling through cinematography, it’s part of the
language of cinema. Using the rule of thirds, the character below is positioned with 4 thirds
of dead space in her line of sight giving a sense of loneliness - a blank stare into empty
space is what is implied.
Similarly, you can make characters look smaller or give them a sense of grandeur, just by
how you place them in the frame relative to emptier areas of the image.
Although I am illustrating the theory explicitly here, it is the nevertheless important that you
have a gut feeling for this, based on instinct and not text book examples. It helps to
automatically recognise what feeling the framing of a character is doing for the scene, so
experiment with one subject and one camera, with a fixed focal length lens of 50mm and
explore your talents, learning as you work.
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Color
I love good color but generally I am a strong believer in black and white unless the color in
the scene really adds something, and it is quite often the case that it doesn’t. Don’t be
afraid to remove it!
I generally prefer warmer temperatures of color rather than harsh perfect white balance. I
usually set the GH2 to display a warmer than normal white balance to give a more ‘magic
hour’ feel to my footage. But it really does depend on what you’re shooting. Cooler
temperatures of color - grays and blues - suit a film like Bladerunner or Alien because they
are forbidding and coldly emotional.
Bright light sources are best when under exposed slightly, you have to be carful not to let
them wash out to bright pale colors or bright white. The electric lights above for instance
are overexposed but they cast enough color on the objects around them to make the shot
attractive. Decide which looks best - under exposed, evenly exposed or over exposed.
The GH2 has a slight preference for green over red. Sometimes deep scarlets and yellows
can look rather brown. You can compensate by moving the white balance adjustment
feature (see earlier in the book) toward magenta, but don’t go too far since whites will begin
to have a pink tint to them. You may also use a warming filter on the lens.
Automatic white balance (AWB) on the GH2 is very technically and clinically ‘correct’ in that
it exposes white as white no matter what the temperature of the light. I dislike this and I
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strive for manual white balance to give a more true impression of color temperature, for
example the warm glow of indoor lighting, or the harsh cool glare of an old TV screen.
Focus and depth of field
When using manual focus lenses, it helps to make the movement of actors in front of the
camera more predictable, by having them adhere to a mark on the floor, so the focus puller
knows where to move the focus of the lens to at a given time.
DSLRs have such narrow focus and auto-focus has a poor aesthetic feel to it.
Shallow focus (a shallow depth of field) is especially common with the 5D Mark II DSLR
and when using lenses with fast (bright) apertures like F1.4. Unless you have the add-on of
a follow focus it is hard to change focus during a shot. If you’re shooting a music video on a
budget with minimal equipment, it is best to avoid changing the focus during a shot
altogether (like racking focus between two points of the image), unless you want quite a
raw / documentary feel. It’s also best to have enough light available to shoot at slower
apertures like F4 when there is a lot of movement so things don’t keep bobbing in and out
of focus uncontrollably. At F4 and F5.6 the focus plane will be wider and easier to handle.
Never rack focus on a tripod without a follow focus to keep the camera 100% still, since it is
so apparent that the camera is being nudged by a human hand, it looks ridiculous. With
handheld footage which moves around anyway, you can get away with it a bit more.
The size of the focal plane - the distance in the image which is in focus - is also determined
by the sensor size of your camera, with smaller sensors cropping into the image circle of
the lens and blowing up the size of the focus plane, whilst larger sensors reduce the size of
the focal plane and capture more of the out of focus areas of the image.
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Location - not just a backdrop
One of the main aspects of cinematography which make for a memorable music video is
the backdrop, the setting. Some locations lend themselves better visually to a video than
others. Some have hidden depths in terms of feel and some are just literally just brick walls.
The key to choosing locations is that the ideas in the video are tailored to work with places
that enable you to be visually imaginative in your approach. Some locations encourage this
and some don’t, even if it looks good it may ring hollow as part of a finished concept.
Weave the location into the ideas in the video.
Some locations are not going to allow you to explore very much, and the location should be
part of the visual grammar of the video. When choosing a location think about what the crux
of the idea is and whether the locations extends that and plays off it or whether it works
against it, in terms of feel.
It may seem obvious but different locations have different atmospheres, different natural
ambience and light. The light is critical for both indoor and outdoor locations, especially
since we’re shooting on a budget and might not be able to bring bulky lights onboard.
Most privately owned locations are expensive, so one approach is to get to know some
local business owners first and see if they’re open to a bit of filming on a quiet day. The
smaller the privately owned location is, the easier it is to get an answer one way or another,
because often you’ll likely be speaking directly with the owner / operator rather than
someone without the direct power to push things through to completion.
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Appendix A - EOSHD articles and videos
Articles
2.5K CinemaScope anamorphic raw on the 5D Mark III
http://www.eoshd.com/content/10450/2-5k-cinemascope-anamorphic-raw-on-the-5d-mark-iii
Kinefinity KineRAW S35 Review
http://www.eoshd.com/content/10525/kinefinity-kineraw-review
Cineform RAW and Cinema DNG converters now available
http://www.eoshd.com/content/10531/cineform-raw-and-cinema-dng-converters-nowavailable-for-5d-mark-iii-raw
It lives! 5 year old $350 Canon 50D becomes raw cinema monster
http://www.eoshd.com/content/10507/it-lives-5-year-old-350-canon-50d-becomes-rawcinema-monster
Canon 1D C vs 5D Mark III Raw (and C300 / GH2 resolution comparison)
http://www.eoshd.com/content/10475/canon-1d-c-vs-5d-mark-iii-raw-and-c300-gh2resolution-comparison
Which Compact Flash cards for 5D Mark III raw?
http://www.eoshd.com/content/10433/which-compact-flash-cards-for-5d-mark-iii-raw-video
A look at raw video on the Canon 600D
http://www.eoshd.com/content/10421/a-look-at-raw-video-on-the-canon-600d
The impact of 5D Mark III raw video and what does Vincent Laforet think?
http://www.eoshd.com/content/10407/the-impact-of-5d-mark-iii-raw-video-and-what-doesvincent-laforet-think-of-it
New 5D raw developments - plus my low light comparison with Blackmagic Cinema
Camera
http://www.eoshd.com/content/10351/new-5d-raw-developments-plus-my-low-lightcomparison-with-blackmagic-cinema-camera
Low light test of 5D Mark III raw vs H.264
http://www.eoshd.com/content/10338/low-light-test-of-5d-mark-iii-raw-vs-h-264
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Footage
EOSHD’s first raw footage with the 5D Mark III
https://vimeo.com/66033769
“Freedom Fought” - 2.5K anamorphic 5D Mark III raw footage
https://vimeo.com/66574661
5D Mark III raw low light test vs the standard video mode
https://vimeo.com/66206596
KineRaw S35 vs 5D Mark III raw
https://vimeo.com/67513738
5D Mark III 2.5K raw footage to download (2560 x 720)
https://vimeo.com/66124969
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Appendix B - Technical glossary
Codec
An encoding / storage format for video - essentially a way to store and retrieve digital data
in video form.
Color space (i.e. 14bit)
This determines how much addressable data space can be used for image data. The color
space limits how many colors and shades can be generated or displayed.
Color sampling (i.e. 4:2:2)
This determines how much information describing color is sampled from the raw sensor.
data. The higher the sampling the smoother the image. 4:4:4 and 4:2:2 are the most
common high quality sampling forms, whilst 4:2:0 is of lower quality and can result in visible
aliasing especially on bright red outlines.
Debayer / demosaic
This process takes the raw RGB patterned image data from the sensor and turns it into a
bitmap image visible to the human eye.
H.264
A common video recording format used to compress footage in order to save space. H.264
is known as a ‘video codec’ and the basis for most standard DSLR video modes. AVCHD,
Quicktime MOV and MP4 file formats are often based around the H.264 codec.
HDMI
A high definition video link for transmitting video from a playback or capture device to a
display or recording device. HDMI is a common consumer standard.
LOG
A logarithmic curve applied to your image to make it as flat as possible like CineStyle with a
very low contrast and maximum dynamic range so you can apply extensive color grading to
the image.
LUT
Stands for “look-up table”, a file of numerical values which act on raw data changing the
look and feel of color, exposure, etc.
Luma
The luminosity of a shade - i.e. how bright it is on a scale from black to white.
NLE
Non-linear-editing software such as Adobe Premiere and Final Cut Pro.
Raw
The image from a camera sensor before it is processed, in the rawest form.
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Transcoding
The conversion of one video file format to another.
Workflow
A process done by the user to edit and grade their footage. For example, a workflow might
consist of a transcoding stage where original master copies are converted to a edit-friendly
format like Apple ProRes, then a stage where the color grading is done followed by a stage
of editing sequences together. A workflow happens on a computer after the camera has
captured the material.
Wrapper / container
A file format used as a container for a video codec like H.264. Examples include AVCHD
and Quicktime .MOV format. Some wrappers contain only one kind of video such as
AVCHD and some are capable of containing a very broad range of codecs. Quicktime for
example can be ProRes, H.264, CineForm, and more.
Uncompressed video
This is different to raw. The only way it differs from standard DSLR video and AVCHD is
that no compression is used on the YUV image data. The image has already been
processed so is no longer raw sensor data.
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Appendix C - Troubleshooting and FAQ
My camera has stopped responding.
Simply turn off of the camera and pull the battery. Wait a few seconds, re-insert the battery
and turn on the camera.
My 1080p raw video recording stops prematurely.
Be sure 1080/30p is not selected in the Canon menus. Raw recording at this resolution
requires a frame rate of 24/25p. At higher frame rates the card will likely not sustain the
recording for very long. Be sure you are using one of the 1000x speed Compact Flash
cards recommended in Chapter 10. Make sure CPU intensive Magic Lantern features such
as anamorphic squeeze are turned off.
Some necessary software only works on Windows. Can I run Windows apps on my
Mac?
The best way to do this is to use VMWare Fusion 5 and a genuine copy of Windows 7 in
the form of an ISO disk image. This runs Windows with minimum performance trade-offs
inside of a window on your Mac. You can swiftly share files between the virtual Windows
computer and your Mac operating system. The virtualized PC has full access to the internet
and your peripherals such as USB card reader, mouse and keyboard.
This will run most converting utilities and apps like Rawanizer, Magic Lantern Raw2DNG
and GoPro CineForm Studio. If you require maximum performance especially for
graphically intensive video editing software (such as Resolve) I recommend running
Windows under Boot Camp. This boots your Mac into a separate, stand-alone Windows
installation as if using a PC in the normal way.
Does the HDMI output still work during raw recording?
Yes it does function as normal for monitoring. However the recently introduced Canon
firmware for uncompressed / clean full 1080p HDMI is not yet compatible with Magic
Lantern, so the HDMI output on the 5D Mark III is only really suitable for monitoring (at
720p) rather than recording proxies to an external recorder.
Does the 4GB file size limit of FAT / Compact Flash apply?
No. Magic Lantern and the 5D Mark III support the new Compact Flash card standard of
ExFAT. Simply format your card using the ExFAT file system. Magic Lantern’s raw recording
feature also supports the spanning of large clips over multiple files for cameras, cards or
computers that don’t support ExFAT.
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Licensed to matt scheller of 425 N Sparks St, Burbank, CA 91506, United States. Email address: [email protected]
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!
(C) Andrew Reid 2013
106
Appendix D - Disclaimers
EOSHD Disclaimer
All the information in this book is correct based on the best of my own knowledge. The
book was written from on my own extensive hands-on research and testing - all efforts
have been made for accuracy. However I offer no warranties and accept no liability for
either inaccurate information or the application / use of information contained in this book.
Magic Lantern Disclaimer
Magic Lantern is not affiliated, associated in any way with Canon. Using Magic Lantern was
never approved nor endorsed by Canon in any way. Magic Lantern does not contain any
Canon code. We, team Magic Lantern do not distribute any copyrighted code or
cryptographic secrets, neither from Canon nor from any other third party. All the knowledge
used for development was obtained by analyzing ARM code, by experimenting, and from
lawfully obtained documentation.
The full disclaimer can be viewed at http://www.magiclantern.fm/disclaimer
Canon Disclaimer
Canon is in no way affiliated with EOSHD or Magic Lantern. Canon does not offer support
for third party software.
Reader Knowledge Disclaimer
Since raw requires the use of software, this book assumes a certain level of computer
literacy - such as the ability to use a Windows or a Mac operating system, manage files and
transferring files to a memory card, installing software and using commonly available
editing tools such as Adobe Premiere. Canon, Magic Lantern and EOSHD cannot be held
responsible for any loss of computer data as a result of following the instructions in this
guide.
The End!
Return to index
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Jump to chapter - 1 2 3 4 5 6 7 8 9 10 11 Appendix!
Licensed to matt scheller of 425 N Sparks St, Burbank, CA 91506, United States. Email address: [email protected]
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!
(C) Andrew Reid 2013
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