Sorry to be a know it all but you must be begin in Davinci with pure RAW data because the camera is using the Canon algorithm to capture the RAW data not Sony SLOG. You’re essentially applying a LUT to the captured RAW data before trying to get your CST node correct. Completely defeats the purpose of precise CST because you’ve transformed it before you start. To get 100% accurate CST you must start with completely pure RAW data then you can do a CST to SLOG if that’s what you want. The problem will only become noticeable when you export your final edit to the different exhibition formats.
Thanks for your comment, I appreciate it. I have never heard about how transcoding the RAW data from the EOS M to SLOG before moving it to Davinci can negatively affect the image. I've seen many other Magic Lantern users use this workflow process, and it has worked well for me. Thanks for the tip! I'm curious now to do some testing and see it can better help my footage. Again, thanks for the comment!
@@reelfilmmaking101 I highly recommend learning from Cullen Kelly regarding this process. He talks extensively about CST nodes and how critical it is to get this process 100% right. He has YT channel
Thanks so much!! I think it's more of a preference decision if you want to convert to SLOG 3 rather than CDNG. For most casual to easy level work, I'll convert it to SLOG 3. But if I'm doing a bigger project that requires the most color information flexibility for color grading/vfx I tend to shoot CDNG. Hope this helps!
In such a case, having a sony cam like ev10 would shoot in slog3 directly. Do u think then, eos m is any better? raw video consumes very large space too..
help. i use to have ML on 70d and Mark III. loved the auto focus of course on the 7d. i have a fuji xt3 right not and im trying to think if i want to go back to ML. maybe get a couple 700d. xt3 has great 4k. 120 slow mo in 1080. dont know if i want to go through workflow. i think the file sie would be smaller on ML system.
@@reelfilmmaking101 Yes, I have the DaVinci from BM 6k Pro, but I haven't been able to learn it and will only when I get a new desktop, so I'm coming back here when I do.
How to get green dot when you film with Magic lantern to get green dot i had to darkness the image very much and at that point not usable and to get orange its bit darker than should be how to fix this thank you very much
Yeah! Out of MLV App I convert my files to the SLOG 3 profile then export them to Pro Res 442 LT. I find it to be a good middle ground in terms of the file sizes on my computer and giving me good results for editing/grading. Hope this helps!
I tried all logs, and lost alot of color! Transfering to dng is basicaly the only safe option.. Also. As you notice, the colors always look weird when you try to edit in standart mode for example. And also when using logs. Its because camera and mlv is in 709.rec ... And basicaly it has to stay that. If you change it around to whatever, you screw everything up basicaly. Kinda ruin the picture... The other safe option to export would be 709.rec, but for whatever reason they removed option to edit the picture in that mode...
This is the video that I am looking for! Thanks for this my good sir! Please do more videos like this in the future!!! 🤩
Thank you! Very useful for me, a beginner with the Eos-M...
Glad it was helpful!!
Thanks Corey, very awesome. Bless you.
Thanks!
Sorry to be a know it all but you must be begin in Davinci with pure RAW data because the camera is using the Canon algorithm to capture the RAW data not Sony SLOG. You’re essentially applying a LUT to the captured RAW data before trying to get your CST node correct. Completely defeats the purpose of precise CST because you’ve transformed it before you start. To get 100% accurate CST you must start with completely pure RAW data then you can do a CST to SLOG if that’s what you want. The problem will only become noticeable when you export your final edit to the different exhibition formats.
Thanks for your comment, I appreciate it. I have never heard about how transcoding the RAW data from the EOS M to SLOG before moving it to Davinci can negatively affect the image. I've seen many other Magic Lantern users use this workflow process, and it has worked well for me. Thanks for the tip! I'm curious now to do some testing and see it can better help my footage. Again, thanks for the comment!
@@reelfilmmaking101 I highly recommend learning from Cullen Kelly regarding this process. He talks extensively about CST nodes and how critical it is to get this process 100% right. He has YT channel
Can you still be able to throw on luts that were meant for slog 3?
Awesome video thanks for the tutorials. Your EOS M footage always looks super clean. In what situation would it be better to use SLOG 3?
Thanks so much!! I think it's more of a preference decision if you want to convert to SLOG 3 rather than CDNG. For most casual to easy level work, I'll convert it to SLOG 3. But if I'm doing a bigger project that requires the most color information flexibility for color grading/vfx I tend to shoot CDNG. Hope this helps!
In such a case, having a sony cam like ev10 would shoot in slog3 directly. Do u think then, eos m is any better? raw video consumes very large space too..
Thank you!
You’re welcome!
help. i use to have ML on 70d and Mark III. loved the auto focus of course on the 7d. i have a fuji xt3 right not and im trying to think if i want to go back to ML. maybe get a couple 700d. xt3 has great 4k. 120 slow mo in 1080. dont know if i want to go through workflow. i think the file sie would be smaller on ML system.
Cool! Thanks
You're welcome! I hope it was helpful!
@@reelfilmmaking101 Yes, I have the DaVinci from BM 6k Pro, but I haven't been able to learn it and will only when I get a new desktop, so I'm coming back here when I do.
Golden😊
2 house for my clip, mlv app should use GPU as well to do the job 😢
Thanks!!!
You're welcome!
How to get green dot when you film with Magic lantern to get green dot i had to darkness the image very much and at that point not usable and to get orange its bit darker than should be how to fix this thank you very much
How did you duplicate that first node into three?
Thank you.
To duplicate a node is Resolve press the option key + s. That will create a new serial node attached to the previous one. Hope this helps!
can you share to us the export settings in davinci for this kind of workflow ?)
Yeah! Out of MLV App I convert my files to the SLOG 3 profile then export them to Pro Res 442 LT. I find it to be a good middle ground in terms of the file sizes on my computer and giving me good results for editing/grading. Hope this helps!
@@reelfilmmaking101 i get it, but i was wondering about export settings after finishing work in davinci resolve, not in MLV App)))
I tried all logs, and lost alot of color! Transfering to dng is basicaly the only safe option..
Also. As you notice, the colors always look weird when you try to edit in standart mode for example. And also when using logs. Its because camera and mlv is in 709.rec ... And basicaly it has to stay that. If you change it around to whatever, you screw everything up basicaly. Kinda ruin the picture...
The other safe option to export would be 709.rec, but for whatever reason they removed option to edit the picture in that mode...
Kind of ridiculous shooting with canon, canon colorsience and exporting in sony s-log...😂😅😮😂 just saying...