[Gary Huff]

ETTR is never a good idea. The idea behind it is to reduce the appearance of noise by bringing down the contrast (thus crushing the blacks, and hiding the “detail” that is covered in noise), but that means that other elements of your image might be overexposed. Expose properly for log, use lights when necessary, and denoise in post to taste.

[Gary Huff]

[Carlo Ferraro] “Is this right or I have done something wrong on the settings?”

It was pretty well covered that the 5D Mark IV was not full frame in 4K.

[Gary Huff]

[Rich Brown] “In the end, I was able to uninstall Premiere Pro 1.5 and reinstall it (with no help from Adobe)”

I am glad you got it working again, but seriously, the sense of entitlement is astounding for software you bought in 2004. No one else does this either. You think Apple is going to give you any help at all for Final Cut Pro 4.5? Or Sony for Vegas 4.0? Even Microsoft discontinued support for Windows XP. You should seriously tone-down that attitude.

[Gary Huff]

If I remember correctly, the T3i does not output a proper 1080p or 1080i with P/F signal in the first place. Even without the on-screen displays, if you’re trying to shoot progressive and still get interlaced artifacting, your recording isn’t going to be good. I don’t know if Magical Lantern fixes that to output a proper 1080p or P/F output.

[Gary Huff]

[Tim Kusel] “Hope this makes sense to whoever watches it.”

Whatever your issue was, it won’t sure up in search engine results when someone with a similar issue is trying to find a solution. Won’t you think of the children?

[Gary Huff]

[Ron Yeadon] “And that involves working on the the video from by frame in lightroom for example if I’m correct….? Or is that just for very controlled colour correcting…?”

No, that’s someone trying to be overly clever. You get a .mlv file off the media which has to be converted into something you can use (i.e. cDNG). Use Resolve to color.

[Gary Huff]

[Mark Bowes] “until recently we shot on the Mk3 1080/25fps and it ran perfect, “

Well, of course. It’s 1080, not 4K. That’s not at all an apt comparison.

[Mark Bowes] “4k, 25fps i think its the Dual AMD FirePro D300 “

Decoding 4K will take a lot of power, and you opted for the lowest end GPU.

[Mark Bowes] “if not Proress, what would be a good codec to transcode to ? any advice more than welcome 🙂
“

You should make proxies and edit with an offline/online workflow.

[Gary Huff]

[Ron Yeadon] “So I’m wanting to know if I record from the 5D with Atmos Ninja Star to ProRes will my footage look more like the EOS Utility shot?”

It will not. The problem isn’t the encoding, it’s the nature of how the camera processes the image from the sensor. The only way to get sharpness that will rival your C100 is to use the Magic Lantern Raw hack.

[Gary Huff]

[Warren Eig] “It’s designed for APC-C, correct? If so than you’ll most likely get vignetting.”

Why would you get vignetting in DCI 4K which has a 1.7x crop over full frame?

[Gary Huff]

[Brandon Davids] “I received the following error when opening a project I have been working on:

“premiere this project contained a sequence that could not be opened no sequence preview preset file or codec could be associated with this sequence type.”
“

You don’t need to transcode, this means your copy of Premiere is in Trial Mode, which removes project presets. You need to troubleshoot that.