Yes, the interest is continuing to swell over the Magic Lantern RAW video feature and we're still finding amazing videos to share – so here's episode 4!
The past 3+ weeks have been pretty amazing! Just look at this coverage we've had!
- Largest collection of Magic Lantern RAW HDSLR video on the planet
- Largest collection of Magic Lantern RAW HDSLR video on the planet part II
- Largest collection of Magic Lantern RAW HDSLR video on the planet part III
- Magic Lantern 3x zoom – triple every lens in your bag! New Demo Shows How
- Canon EOS 5D Mark II Magic Lantern VS Blackmagic Cinema Camera Raw Video – A OR B?
- Magic Lantern code – how has it changed over time? Well, in short, a LOT!
- Saving one step in the Magic Lantern RAW video process with Lightroom & LR Timelapse
- Magic Lantern RAW video kills H.264 for high ISO video! Are multiples of ISO 160 still right?
- Is it possible to record RAW video straight to SSD with Magic Lantern? CF to SSD?
- Luke Neumann on Magic Lantern Canon 5D Mark III RAW video
- More Magic Lantern magic – the video “zoom” feature
- Magic Lantern Canon EOS 5D Mark III RAW video vs Blackmagic Cinema Camera!
- First Magic Lantern RAW video short shot on Canon EOS 5D Mark III released
- Updates on the RAW video progress from Magic Lantern for the Canon EOS 5D Mark III
- RAW 24fps DNG video hits the Canon EOS 5D Mark III via Magic Lantern!
- Magic Lantern RAW video for the Canon EOS 5D Mark III comes to the mac & OSX
- Magic Lantern Raw Video Test – H.264 vs. Hacked GH2 vs. 5D3 Raw Video
To start things off, we found this funny video about Magic Lantern proposed as a “brand ID” promo.
Magic Lantern – Brand ID – “Stick a fork in it”
Magic Lantern brand ident.
Director / Editor:
Bonnie Forman – “I only have eyes for you”
For memorial day and my birthday we headed down the coast to Big Sur for a weekend of camping. It also provided some great backdrops for some testing of the new Magic Lantern RAW release for the Canon 5dmkIII.
Shot with the May 22nd nightly build on a KomputerBay 128gb that didn't give us a high enough Write rate for 1080p so we shot mostly at 1920×880 with some 960 scattered in. We also tested some Macro shots with the punch in.
The grade was to try and achieve a filmic look in Lightroom using the VSCO film looks. I know it's not the best to see the quality out of the RAW but I wanted to process it the same way I do stills. Ran into a few color issues where CA and banding got nasty but overall it graded well. The grain looks very film-like to my eyes but the cast is a tad too magenta.
Shooting by Plaid Zebra (Joel) and Derek Dockendorf (Me)
Post production workflow headache by Left Coast Digital (Me)
Music by Postiljonen – On the Run
Download the full ProRes HQ file to see less compression and follow us & Plaid Zebra to show some love.
Without You – Aware of Nature
Canon EF 300mm f/4 IS, Canon EF 100mm f/2.8 Macro IS, Komputerbay 64GB 1000x CF card to record 1920×1088* @ 24p (~84 MBytes/sec.) – * due to performance reasons Magic Lantern uses resolutions which are divisible by 16 (Mod16).
Workflow: Raw -> Raw2Dng -> ACR 7.4 -> TIFF 8bit -> Premiere Pro CS6 -> H.264 12MBit
Music by Y'Akoto – Without You – on iTunes: itunes.apple.com/gb/album/without-you-ep/id539605729
Me on Twitter: twitter.com/peterhainzl/blockquote>
The short test film above was shot on a Canon 5D3 running the Magic Lantern prerelease firmware.
Graded in Adobe After Effects as DNG sequence and exported as Canopus HQX for edit in Adobe Premiere
Shot on a 5Dmk3 with the Canon 70-200mm L IS II / Canon 50mm L /Sigma 12-24mm II
One Friday Afternoon
Filmed in Downtown San Diego on Friday, May 24, 2013 using a Canon 5D Mark III with the Magic Lantern raw video firmware hack, a Canon 24-70mm f/2.8L lens and a Komputerbay 64GB 1000X Compact Flash card.
Magic Lantern: magiclantern.fm
Music: Thinking Of You by Gillicuddy
Magic Lantern Raw video test – Skin Tones
Random shots of a narcissistic, self obsessed man.
Starring Pete Dryden
Cinematography by Luke and Marika Neumann
Editing/Grading by Luke Neumann
Just shot the first thing that came in my mind. (And that worries me a bit.)
RAW Compile From June 4th, Processed with RAW2DNG on a Mac, AE and Premiere.
Train test of ML 5D Mk III
I'm not a professional at this, so I could probably have done better in the post. Sorry.
My workflow: RAW > raw2dng > AE > Premiere Pro. Lens used: Canon 35/1,4L.
When importing to AE, I used lens correction, hence the difference between the original Canon file and the ML file.
We wanted to shoot a more real-world test of the raw as opposed to just pointing it at some trees so we lit a moody looking cards game and shot. Lit by the tungsten practical, an Arri 300 overhead on a C-stand and a 55W fluorescent /w CTB gel for moonlight outside.
Canon 5D Mark III
Komputerbay 64GB 1000x UDMA 7 CompactFlash card
POST WORK FLOW
RAW files ran through raw2dng.app (OSX).
Imported as CameraRaw image sequence into Adobe After Effects CS6
Exported to ProRes 422 (HQ)
Imported into Adobe Premiere Pro CS6 for cut
Exported finally to Quicktime H.264 10,000kbps
Beauty (5D Mark III RAW Test)
So excited about the Magic Lantern RAW I had to do some test shots.
I used a 32 GB Lexar 800x CF-Card which I could record 150 frames in 1920×720 before any frame skipping.
Color graded in After Effects and edited in Premiere.
You can download the original video for full quality. (Apple ProRes 4444)
Rose Tinted – Holobeams
Canon 5D MK3 – Magic Lantern RAW test
The material has been pushed in post to see if it hold up but not graded in terms of color. The vimeo compression destroys it a lot but it holds amazingly in post. The dog images has been pushed the most, very dark and shot around 1600 ISO. Watch high-res version for the details!
High-res version: bit.ly/10ODlbv
Banding is there in the skies but not at all close to the amount that shows in the compressed version, kind of amazing for a camera that had it written all over before. There's also some strange chromatic aberation in the trees, red/pinkish. Which is more visible uncompressed, very disturbing, could be something in the conversion process.
And then there's post, the workflow was painful… Used RAW2CDNG to convert the RAW files to CinemaDNG. Worked great until I had exported from Resolve, edited in FCPX and then wanted to go back to Resolve to grade. I think the timecode has gone missing so I had to reconnect every clip manually.
MUSIC: “Draw the end until you have crashed” by Ending Satellites (endingsatellites.com)
Magic Lantern RAW Video Test – 5D Mk3 – High ISOs
Comparing Video Modes on Canon EOS 5D Mk. III, 1080p @25 fps:
Canon internal h264 codec, 8 bit
Magic Lantern RAW video recording, 14 bit
ML Version: nightly build from June 3rd, 2013
CF Card: Transcend 32 GB 1000x
Lens: EF 50mm f/1.4 USM
ISO: 6400, 12800, 25600
Shutter: 1/1000s, 1/670, 1/3300
Picture Style: Neutral
Quick – 5D MarkIII Magic Lantern 14 bits Raw video test
Shooted and processed this afternoon in the forest next to my home.
Sorry if it's not super stable, I have a broken wrist.
Shooted in 720p with a Lexar 16GB x400
Approximately 4.1 GB for 2 minutes of raw film
Slow-Motion 50 fps RAW Canon 5D3
MK3 Magic Lantern Divere Garten Szenen / Several Garden Shots from Provence
Diverse Aufnahmen von “etwas anspruchsvollen” Motiven (hohe Kontraste, viele Details, satte Farben).
Several “somehow demanding” Shots (high contrast, fine details, saturated colors).
5d mk3 Raw Video – Lung Kwu Tan (Hong Kong)
Short Video Testing 5D markIII RAW function from Magic Lantern.
Please see it in FULL HD
Birds – Canon 5D Mark III RAW test 2
64Gb Komputer Bay CF card. Shot in 1920×817. No drop frames.
Music : The Centurians – Bullwinkle Part II (Pulp Fiction).
Magic Lantern 5d mk3 Raw Video Grading Test
Qualitätsvergleich / Quality Comparison 550D h.264 vs GoPro Black vs 5D MK3 ML RAW
Download ProRes / ProRes Datei herunterladen!
14bit 5D Mark III Raw_Rec Firmware Test 1
(Srry no real editing or creative sequencing)
Process: 000000X.raw – 000000X.DNG – AE Sequence (Basic CC / NeatVideo / 5% Sharpen) – H264 1920×1080 24p 19mbps
KineRaw S35 and 5D Mark III – a raw comparison
My KineRAW S35 review – eoshd.com/content/10525/kinefinity-kineraw-review
You can download some of the original DNG and CineForm files from the blog.
Music by Herdwhite – soundcloud.com/herdwhite
The KineRAW S35 is a $6000 cinema camera with 4K Super 35mm sensor that shoots clean 2K images to compressed or uncompressed raw format on dual SSD drives.
European Kinefinity website – kinefinity.tv
I graded to match in DaVinci Resolve 9 as closely as possible. KineColor LUT used on both cameras. 5D Mark III with Magic Lantern was shooting 1080p uncompressed raw, then transcoded to CineForm RAW. KineRAW S35 was shooting uncompressed Cinema DNG raw at 2K (2048 x 1080p) – it also shoots CineForm RAW internally. Did not have any suitable ND filters for this test so please forgive the high shutter speed. Lenses uses – Zeiss 85mm F1.4 on the 5D Mark III and Nikon 50mm F1.4 on the KineRAW S35, both stopped down to between F5.6 and F11.
Thanks to Ludwig at HDVideoShop in Berlin for the loan of the camera – hdvideoshop.com/en
I was super scared when first trying this out on my camera. As time went by I figured I would give this a try and see if it was workable in my projects.
I used only SanDisk Extreme 60 mb/s to record all my footage. I didn't really have the time to order a faster card which has been suggested. I had to lower my resolution to about 1320 by 720. (Some where along those marks) So Sorry about the super wide screen look! I was only able to pull about 4-6 seconds from those shots.
It definitely made my discipline of shooting even more so. You do not get any playback from what I can tell! I had to wait to process the post production to even see my shot. Reminded me of the horror stories of film! I also didn't really know where my framing marks would be since I had to change my resolution. When I pressed record a composition box would pop up so then I had to be on my toes to adjust quickly.
Post production was pretty intense but gratifying. You have to use a RAW to DNG app that converts all the RAW files record to DNG files. From there you can process them in your favorite RAW application. I choose Adobe Lightroom, I think the process to sync of the files is fairly quick and painless. I absolutely loved the results! The highlight retention was amazing!
Although this is an amazing crack for the 5d 2 & 3, I wouldn't use it unless I had a truly scripted shot list. This isn't something practical to use on every occasion . I really hope that changes. Regardless through trial and error of shooting and editing clips, I found that setting up exposures and shots has changed a little in my mind. Makes me also be even more discipline with my shooting techniques.
Regardless of it all, I loved the experience and look forward to more!
SONG: The Boxer Rebellion – New York (all rights reserved to The Boxer Rebellion)
14 bit Magic Lantern RAW video (and RAW HDR video) on 5D2
Here it is, the first completed project in Magic Lantern RAW on our trusty 5D2. While everyone is saying the alpha of the hack should be used with precaution and not for serious work, it was just too hard to resist.
The workflow is labor intensive but has it's very own charm, as the only CF card capable of at least some RAW recording we currently own is a SanDisk 16GB 60/mbs we basically had to be dumping the footage after every 4.3 minutes we recorded onto a Laptop (+- 15 minutes to download the files, changing film reels must have been faster…). We shot everything in 1880 or 1720 horizontal resolution and the 2.35:1 aspect ratio, graded in ACR, upscaled to 1920 in AE and rendered into cineform with a subtle layer of fine 35mm film grain for a more organic look (gorilla grain if anyone cares), it took forever to get it all down to a managable size in the cineform codec but it made the editing experience so much better then with traditional h.264.
The bathroom scene required even more dynamic range then the 14 bit DNG's could provide and gave us the chance to test the Magic Lantern HDR video function in RAW mode, surprisingly the SNS HDR workflow introduced quite a bit of flicker (some of it even completely withstanding the Sapphire flicker remove filter) while it normally renders almost flicker free results of whatever you throw at it (even Day to night timelapses shot in AV mode…)
Big thanks to all ML developers
For more info on the featured property you may visit: villasdiani.com/rent/luxury-beachfront-cottages/
Magic Lantern – 5D mark 2 h264 vs raw
I've shot this with my 5D Mark II in both h264 and Raw (1880×800 on Sandisk 32Gb 60Mb/s).
I imported the DNG files in Photoshop CS5 and exported the frames without doing any tweak (all settings by default, with the default levels and sharpening options).
Then I clicked on the auto-level option and removed the sharpening thing, and exported again.
The 3 clips were imported in Nuke where I made the Raw sequences match the h264 files in terms of size.
The moire/aliasing problem is even more obvious now, in Raw.
My question is:
Do you guys have any tip in order to get rid of the moire (apart from buying the Mosaic Engineering anti-moire filter) ?
Is it related to the resolution ? Would I be better using LightRoom ?
Please let me know your thoughts.
Magic Lantern Raw macro test
Re:5DMK2 / Magic Lantern RAW Video
ML Canon 5Dmk2 RAW Footage
SanDisk Extreme III 30MB/s 16GB
24fps downscaling 1440X810 to 720p
245 frame is a limit to recording time
EF135mmf2.0L & EF24-105mmf4.0LIS
MacOS10.6.8 & FCPX & GarageBand
Adobe AfterEffects CS5 & Raw2dng
Media format Raw>DNG>Proress422
Raw video test 5D MKII
Camera: Canon 5D Mark II
Lens: Canon 24-70 f2.8 L
CF: Komputerbay 1000x 64gb
Shot at: 1880 x 854 (2,20:1) 24p (upscaled to 1920 x 872)
Post-production: Photoshop Camera Raw + Final Cut Pro 7
Location: Selva, Mallorca (Spain)
This is our first Raw video test, using Magic Lantern Raw module for the Canon 5D Mark II. Raw video is a new world for us, so we still not know exactly what to do to get most of it. But the truth is that this is like having a new camera again. Detail and Dynamic Range are here to stay.
We support the Magic Lantern team and encourage others to take advantage of the complete hidden potential of their canon DSLRs.
5D Mark II RAW vs H.264 Comparison Test
Convert RAW into DNG.(raw2dng.exe)
Convert DNG into Cineform.(AfterEffects CS6)
(Adjusting white balance and exposure in Adobe Camera Raw.)
Edit on Premiere Pro CS6.
Setagaya Park, Tokyo, Japan
Life in Raw: 5D mark2 and Magic Lantern Raw Video
So happy and grateful to get Magic lantern working, especially the
Raw video capabilities. I cannot believe its a free download… This is
my first time shooting Raw and coloring in Adobe Camera Raw…
(What you see now over the web is compressed though)
Workflow is tedious, but fun because it reminds me of the film days
when you shot and had to wait till later to see your rushes…Makes you
rely on histograms instead of on the monitor which is never the
best idea. Magic Lantern is a free hack that makes Canon cameras go
crazy and film Raw video which is neck to neck in terms of quality with
Black Magic Cinema Camera, Red Epic and Alexa. Im still getting my
BMCC for reliability but 5D and magic lantern raw is superior in low light.
And you get all this for free? Anyways, I do think you have to be a risk taker to use
Magic Lantern… when I first installed it my 5D just died. I was so
depressed because me and my 5D have been through 2 years of video
projects. But in a couple hours, it resurrected. The point is, the program is
a hack and there are risks, so don't say I didn't warn you. But once you get it
to work, you can take it to the next level on an old camera…which is amazing!
5D MKII Raw Video in Church
Raw video on 5d2 is amazing!!! Shooting raw dramatically improves the detail and dynamic range in each shot. Looking at theDNG files on Photoshop will blow your mind. Being able to color correct these clips with so much freedom is so refreshing. The quality of RAW files compared to the super compressed .H264 files is night and day.
Even though the new raw feature in magic lantern is great, there are some things that need to be fixed in order for this feature to be more reliable. Overall it has been an amazing experience shooting RAW and I have faith that Magic Lantern will improve this feature so that it is more usable in real world situations.
This is a step by step list that helped me with my workflow: cinema5d.com/?p=18065
50D- WHY RAW?- In NY Spring
This is the second part of my Magic Lantern Raw test series, but this time based off of the Canon 50D.
Just from initial impressions, the body is more robust than the 60D and the CF card controller allows for much higher data transfers. Anyone familiar w/ the 5D or 7D bodies will be at home here.
While this was an unscientific test, I wanted to go through several real-world conditions. Extreme latitude differences, resolution tests, texture, framerate stability and motion conditions. I was able to maintain 1592×840 16:9 resolution with very little problems.
I can confidently say that I would use this initially for short films and commercials and with the final builds, move on to larger budget features.
As I said in my previous video, raw isn’t for anyone. It isn’t very economical for documentary work (other than interviews) and for fast hand-off footage, it wouldn’t be my first choice. However, for concentrated, planned workflows, raw just can’t be beaten. The resolution, latitude and overall flexibility of the files are second to none.
HUGE THANK YOU to MAGIC LANTERN.
Even in the early code, this is a home run!
Nikkor AI-S 28mm f/2.8
Nikkor AI 35-70mm f/3.5
Moon shot: Magic Lantern 50D RAW 5X Crop Mode 1988×1052
Awesome work by Magic Lantern Community!
May 28th Build by GregoryOfManhattan
12fps for slow 600x card
Old Tarmon t-mount 400mm f6.3 with live view 5x zoom
EOS 50D RAW MOVIE TEST3 with magic lantern
EOS 50D Low light test movie.
Venice Beach – 50D Magic Lantern Raw Test
This is a quick group of test shots I took trying out the new Raw enabled Magic Lantern firmware. Shot on a Canon 50D with Canon 28mm f1.8 and Canon 85mm f1.8 lenses. 1592×724. Raw files converted to DNG with Rawmanizer, imported to AE for conversion and basic color correction, and into Premiere for editing. No additional grading was done apart from very quick color correction.
Music Credit: “Beachfront Celebration” by Kevin Macload incompetech.com
50D RAW TEST SHOT
Canon 50D Magic Lantern RAW May 28th Build
Helios 52mm F1.8 w Bolex Moller Anamorphot 8/19/1.5
Uncorrected (except for white balance) then repeated with sharpened and contrast.
50d Raw Flower test
Canon 50d with magic lantern 28may RAW build. Shot using a Zeiss Flektogon 35mm F/2.4 (wide open)
Edited in adobe AE Added a subtle amount of grain.
(sorry for the shaky panning, but I used a cheap ass camera mount for that :')
*please download the original to see the power of RAW*
Funny Test with 832×480 my top size on Sandisk extreme class10 SDHC 30MB/s (in reality 18-20 write)
Canon 550D, Lens Tamron 17-50 2.8
i tried to upscale in the editing software (premiere CS6) and export in in 1280 in codec for vimeo
Magic Lantern Version v2.3. NEXT. 2013Jun01.550D109
buit by Mathew@MathewPC
See more on magiclantern.fm
Lens: Helios 58mm + Sankor16C
8fps, shutter 1/8, ISO160 and no more frame skipping
music by Philip Glass
you can also download original file
TUDO PASSA (Everything passes)
Time lapse of the sky during the weekend.
Turn on HD, turn up the volume and enjoy!
Time lapse do céu no fim de semana.
Ligue o HD, aumente o volume e aproveite!
Shot on the weekend of May 26-28, 2013 in São Paulo – Brazil.
Canon T3i with Magic Lantern.
Lenses – Canon EF-S 18-55mm f/3.5~5.6 IS, EF 75-300mm f/4~5.6 II
Processed in Adobe After Effects CS6 Camera RAW
Music – Shot In The Back Of The Head, by Moby. Used with permission.
Thanks Moby and mobygratis.com for taking the iniciative! Hope you like it.
Ungraded vignettes of people and skin tones – the only thing Ive touched is the exposure slider here and there :-). This is 14 bit RAW video from the Canon 60D live view. 14bit RAW is working fine – albeit not so many seconds at high resolution.
What you see here is a h264 conversion from the RAW file in AE. The ORIGINAL RAW footage is STUNNING. Still a few teething issues (any frame drops you see here are where there has been a frame of corruption).
Well done to A1ex and the ML team for their hard work.
Download & install ML onto SD card, Download marekk's latest 60D stuff (-with LV_AF_RAW) and overwrite ML stuff where specified. Initialise the RAW record mode after running the module off the M tab in Magic Lantern.
Set RAW-enable to ON and choose framesize (1728 x 992 for 1920 scale).
Record some RAW footage.
Download and install for Win users: BATCHelor_1.2_by_FATPIGtures GUI (fatpigtures.com/software/) or on Mac use the OSX raw2dng GUI app for splitting the RAW file into DNG images.
Take these files and import into Adobe Effects as in my quick and dirty approach:
1. In Adobe After Effects select File/Import/Multiple File' Import in AE which will insert each RAW set of DNGs into your AE Project – don't forget to checkbox Force Alphabetical Order in the import dialog. With this dialog still open select the first DNG in the sequence ((eg 000000.dng) and ‘OK' into Adobe After Effects, the RAW window now appears (here change exposure, colour, highlights, shadows, etc…). Ok the first file and repeat the above sequene for the next clip/folder of DNGs you would like to import.
2/ Select a clip in the AE Projet youve imported and ‘interpret' the footage as whatever frame rate it was recorded as and save setting using ‘remember interpret' so that you can quickly ‘apply interpretation' to all your other clips too.
3/ make a composition file and change the file duration roughly calculated to the total length of all your clips youve imported (you can always extend/reduce by editing the composition later), then select all the clips and drop them into the composition – space them out – and render the composition sequence (eg COMP 1) out to lossless .mov codec or custom Prores (or whatever format you like!)
4/ Bring the rendered output file into an NLE for further editing.
* Dont forget to set Project workspace to 16bit in AE.
Music by The Sinking Ships ‘Cinema Clock' – Dead Good Records (1980)
1. The RAW workflow, for those who are unfamiliar w/ RAW still photography, is a very painstaking process. It is well worth it, but it isn’t as quick and immediate as in recording video. Keep in mind, filming in RAW is NOT video, they are still frames in a sequence (just to clarify that there isn’t such a thing as RAW VIDEO in the most literal sense).
2. These were filmed at 960×408, a 2.35:1 frame crop, which lead to much longer scene filming through the 20MBps data cap limit of the 60D’s SD card buffer.
3. The frame processing was done in Lightroom 4, which consisted of white balance correction (early code has a magenta shift), recovering highlights allowing from 1-2 stops of recovery and pulling up the blacks to flatten back to the Log look setup (shot on Vision Log).
4. Finally, the frames were batch exported w/ a 1920px horizontal upscale in JPEG 100% quality, then imported as a frame sequence in premiere for editing.
5. Color grading was done via a DPX export into AE CS6 and final delivery in h.264 at 28Mbps (Blu Ray quality).
This process reminds me SO much of processing film digitally. Additionally, the 960×408 upscale gives a very similar resolution to Super 16mm film. So as a fan of films such as The Hurt Locker, Hustle And Flow, The Wrestler and Black Swan, I’ve zero problem with the high latitude, but smooth-softened look of super 16 in a digital form
The resolution is MUCH better than the h264 files and the latitude isn't even comparable. Shooting in RAW gives such a large latitude advantage, it becomes a totally different conversation altogether. Much like shooting on film, you realize you can play much more w/ the imagery and don't need to be as protective of the highlights as you do when shooting video. It's a very different mindset and a much needed upgrade.
A GIGANTIC THANK YOU to the Magic Lantern team for putting all of their efforts into this!
1408×640 @24fps up to 1920×873
Recorded at 1472 × 640 (24p). Still looks MUCH sharper than Canon's H.264 at 1920 x 1080.
All grading/color work done in Canon RAW.
Captured with a Lexar Professional 400x 128GB SD (camera buffer filled after 300 frames)
(cover photo credit: snap from a video)
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