I was just thinking this exact thought! People have no clue how much time and effort something like this video takes with the animation and flow of it all. There is no template for this. Well done!
Dude I'm like 10 minutes into this video and I love your work man no homo. This is an excellent way to narrate and example things. The animations and transitions quality is unmatched. I hope your channel gets the growth it deserves. Well done
@@THEDPJOURNEY I hope you get to see this. So I am interested in adopting PRORES RAW and I am a FCPX user.. My questions are (1) On the Atomos website Fujifilm XH2S output is labelled as 10BIT. There is no written indication of 12BIT PRORES RAW but the 8K Fujifilm XH2 has PRORES RAW 12BIT written in the Product Specification. I am a litttle confused if the XH2S is outputting true 12bit Raw Signal. Or if its a mistake in writing by Atomos
Bro, I once stumpled across your videos and was blown away by the quality of information and also the quality of animations etc. is absolutely INSANE!!!! As a BRAW user this video is soooooo enjoyable! Thanks so much! Double subbed!!!
I exclusively use DaVinci Resolve on a PC. Speaking codecs only. Would you say that, aside from the rigging needs nightmare, it makes more sense to go with the BMPCC6K since the 12bit BRAW experience is more of a true RAW video editing experience/workflow? At half the cost I can easily see what makes Black Magic Design so compelling. Plus giving away Resolve (I have the paid version already) it just seems to make the BMPCC6K an almost no brainier. An SSD is a lot cheaper than a NINJA V. I want the S1H, but now that Pro Res Raw is so limited and not supported in DaVinci Resolve... Thinking that the Pocket 6k may be it for me
@@THEDPJOURNEY For me, the S1H vs BMPCC6K comes down to full-frame vs BRAW. I think as more DPs move towards larger sensors, the super 35 sensors will look more and more low-budget compared to full-frame with its shallower depth of field. To me, a larger sensor is more noticeable as "cinematic" than better RAW. I have two Ursa mini pros and an a7iii rented from my school right now, and I find that the only thing making me use the Ursas more often is the speed of BRAW in editing. Otherwise, I like the look of full-frame hlg3, but banding is a big issue for it. I'm saving up for my own S1H right now, and while the BMPCC6K is compelling, especially at half the price, a full-frame sensor is more noticeable by clients and viewers as "cinematic".
@@nathangoswick8175 Shallow DOF isn't necessarily a "cinematic" thing. DOF is a creative choice that you have to make in order to tell a story. It is good to have the FF look in your arsenal, but that doesn't mean you should blur everything out all the time. In my opinion a video looks cinematic by use of proper lighting, good framing, and proper post processing and grading, something that helps tell the story and complement the mood of the scene. But if your clients want the FF look, there's really nothing you can do but accept it. Same thing is true with aspect ratio. People think a having a 2.39 aspect is cinematic, but aspect ratio is another tool that helps you tell the story, and 2.39 isn't always the best choice.
@@rishiraz1993 I definitely agree, the least important equipment you have on a shoot is the camera you're using. Lenses, audio, lighting, and story are all above that, but if we're talking solely about the camera, a few things help get that look more easily. High dynamic range, at least 10-bit, Shallow DOF (especially when using ND filters outside) are all in-camera specs that lend themselves to the look. Another thing is that getting shallow DOF with FF is cheaper and easier. I'm borrowing a Canon CN-E lens set as well, so on super-35 they are so shallow it doesn't make much of a difference, but if I want to buy a more reasonable 85 f-1.8 dslr lens for FF instead of an expensive cine 85 T-1.3 to put on s-35, it would cost at least 1/2 the price. Another thing is that I recently did a photo shoot for a friend who wanted to mimic the look of Once Upon a Time in Hollywood and Mad Men, so I shot with the 85 T-1.3 on FF and did some panoramas (plus using lights, picking locations, and outfits). That is what made me realize that mimicking larger sensors with panoramas gives a much "larger" and more professional look than just a single FF or S-35 photo. Translating that to film, since I am a filmmaker first, I realized using a larger sensor is more visually striking than codecs. That's why my dream with the S1H is to figure out how to shoot open gate anamorphic to get the biggest feeling possible, with or without RAW.
@@nathangoswick8175 The camera can help in making your acquisition a lot easier. The more advance it is the less work you have to do to compensate for its limitations.
Just to be clear, B"RAW" is most certainly _not_ open source. I wish people would stop buying into BMD's PR spin. And any camera that is already licensed to record any other flavor of ProRes can add ProRes RAW support with zero additional licensing. So to suggest anything "proprietary" is a tad disingenuous. OEMs already shooting ProRes simply need to go through rigorous QC from Apple before full implementation of any other flavor. That's Apple's way to insure airtight quality assurance. Something you definitely won't be getting with Blackmagic's "open source" RAW, as shown with the various issues that have popped up with plugins so far.
Yes after further research I understood it’s not exactly as I described. Thanks for that note. But I would appreciate to have a less aggressive conversation. Thank you
This is so spot on and crunched down to the basic informations - just brilliant. Usually its not enough for technicians to understand their stuff if they're going to publish on YT. They need to have additional profund understanding on how to transport that knowledge to their audience. Thats where didactics comes into play. And thats where you shine and not only through technical skills, but especially through teaching/lecturing skills. Again, my compliments, excellent content 👍 Thanks for sharing. Can't wait to watch episode 3.
THABK YOU so much for this awesome comment and kind support. Really happy you found this easy to assimilate. It is indeed hard to simplify technicalities and explain them in a simple way
You put an incredible amount of effort into these videos and thank you so much! As an S1H/Ninja V owner I really hope that ProRes RAW includes the ability to change WB/ISO in the future. If it's all in the metadeta then it should be possible. Until then I will just think of it as shooting ProRes4444 with some extra work!
This is so in-depth and answered so many questions that actually saved me a lot of money. Thanks so much for all your work and details you put into this. Thanks so much.
Wait,...if the S1H is sending "true" Bayer pattern raw sensor data over HDMI, that means all three (RGB) channels are saved "separately" by the Ninja V to file. In other words,....raw sensor data has no actual "color" in it. It's really three separate color filtered GREY-SCALE layers. (yes folks, raw sensor data has no actual color as we know it) Raw should never have any white balance because there are no "colors" to actually white balance in-camera. We know BlackMagic DeBAYERS it's raw sensor data, effectively FLATTENING the RGB layers into a full color video image, an THEN saving it to file. (Than RED's raw internal patent for that) BlackMagic is not a true "raw" file at all. That in-camera deBayer is a destructive process too. Is the S1H and/or Ninja V flattening it's raw BEFORE saving it to a ProResRAW file? If so, that would explain the white balance issue that you are seeing! FASCINATING!
Well the encoding to RAW happen inside the Ninja. But I havent gotten a solid confirmation from Pana that they burn the ISO and WB into the output stream. But it's almost certain since all their other cameras up to Varicam do that. And yes the debayering is happening on the NLE side. BM not being a true RAW or partially debayered is not gonna make any difference to us honestly, since despite that, the result is stunning I must say, compared to R3D for example... The important thing is always the final result. And that's what i'm judging things with so far. So as far as it goes, ProRes RAW is RAW indeed, but was stripped from it's mojo basically. Hopefully they'll bring it back soon with future updates on FCPX
@@THEDPJOURNEY I spoke with Atomos today and they said it's not baking anything in. I.E. You can shoot at any ISO value and it just records the data straight from the sensor at whichever of the two native ISOs is set. I still don't get why FCP doesn't allow what you want though, from past posts I've seen it's been asked about for years and they've just done nothing about it. Strange.
@@THEDPJOURNEY The S1H uses analogue gain, so it's pretty likely ISO cannot be set in post. BM uses digital gain between their two native ISO circuits which allows setting the ''ISO'' (digital gain) in post.
Nice videos about this subject 👍🏻 Today DJI launched there Ronin 4D camera/gimbal that records in ProRes RAW & looks pretty awesome for solo operators, however the camera I had in mind is the Ursa 12K which offers BRAW internally but without all the stabilization/Focus features. Since you have time to play with both formats & there have been some updates since you made these videos, which way would you go? I am worried about the post workflow hence the reason BRAW seems to be more attractive then ProRes RAW. Has the post workflow been worked out?
Great video. Having worked with Braw in Resolve, I totally agree ProRes Raw is still lacking. Hoping Fcpx 10.5 addresses these issues (along with tons of other ones).
Great explanation of the subject matter, Sherif, both visually and verbally! I’m eyeing the “RAW over HDMI” story since Atomos’ support announcement for Z6. “RAW” is not a standard, but a mere adjective everyone is entitled to interpret a way they choose. Video industry marketing departments don’t mind boosting sales figures with a help of a vague and desirable file type or codec with raw properties. Many coming into cinema from a stills digital photography world recognize RAW format first and foremost as an undebayered image file. Anyway, in short, no company involved into “RAW over HDMI” used “undebayered” term to describe their raw signal. I asked Nikon customer service to clarify the raw signal output and got a reply stating that Z6 outputs a 12-bit YCbCr stream, without any processing or compression to Ninja V. It’s great there is an option to output a 12-bit video that is encoded by Ninja V into ProRes RAW container, no doubt. I sincerely wish to all involved into making these products successful sales figures and customer satisfaction. And customers may wish to stay vigilant and try to understand their needs, requirements and terminology to make sound choices in the sea of complicated gadgets. Sherif, I’d like to see your take on file malleability in FCP comparing 5.9K ProRes RAW vs 5.9K ProRes 422 HQ vs internal 5.9K HEVC. They should have identical DR. I’m curious if there is indeed more color information in RAW to play with. BTW, ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-LlkiPWCUhik.html : There is no need for a beefy MacPro to handle ARRIRAW. A PC based on an i7-3770 CPU and RTX 2060 or Vega 64 GPU can handle ARRIRAW real-time playback on a UHD timeline with several color correcting nodes applied in DaVinci Resolve 16.
Hey buddy, thanks for the comment, yeah I agree that RAW is after all a marketing term that attracts a lot of people. It's the new "Trend" or "Catch word". About the comparison, DR as mentioned is fixed and identical in all internal, ProRes 422 HQ and ProRes RAW. There's not ProRes 422 5.9 by the way. Only 4K. And about color, also as I mentioned here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-LlkiPWCUhik.html you just have more color nuances, more accurate color capture... but not more "colors". Arri Raw, was giving me issues rendering honestly, but yeah maybe the computer was not properly configured. Thanks again buddy
Have you ever seen actually video latency/lag with setup? and not the audio calibrate frame thing, actually lag with the video in PRR. Ive tried everything, even contacted atomos they didn't know. I am running A7S3 + NJV + ATOMOS HDMI cable + everything else is right lol. You can assume I've set up and troubleshot everything as I watch and LOVE your videos on ProRes RAW. Im only asking you bc its a subject I've seen no one talking about and hoping you might know something. Cheers!
There's a new feature on RU-vid. Add your timestamps to your video description. Be sure to use "0:00" timestamp. If you did that, there would be sections in your video with corresponding text. A very nice feature :)
@@THEDPJOURNEY You are missing "0:00" timestamp. You can write something like "0:00 Introduction" in your description. Not sure if this feature is available on your channel, but I think it should be :) You will see what I mean when you do it.
Wait.....No ISO/Gain control? Does the S1H "bake-in" gain that is chosen in camera by the shooter? What?... True "raw" in this camera should only have TWO possible gain/ISO values. It's either the "low" 0db or the "high" 0db that comes directly off the image sensor A/D converters. That's it. Nothing else. Any other values that are seen in-camera should NOT be there on file. In other words, if you are using the "high" 0db (aka 4000 ISO)...if you add your own +6db in camera, the raw files should NEVER reflect that gain as they are saved (should be) LONG BEFORE "user gain" ever touches it. What the heck?
Exactly what I thought! Let's hope this will be enabled soon. I didnt get an official confirmation from Pana that they're baking it from the camera end, but it's a high probability that this is the case. Nevertheless, other cameras recording ProRes RAW also have this WB and ISO limitation. So it's a codec/NLE limitation... at least for now
@@THEDPJOURNEY I don't understand what you mean by ISO limitations. It's just recording the sensor data directly so to (for example) double ISO just double the brightness; it's the same thing surely? There's no way they would bake in ISO, it wouldn't even be a RAW signal anymore.
Great overview! I would love to see more of the exposure and white balance adjustment tests you did; especially compared to similar corrections in BRAW and ProRes HQ.
Awesome and detailed series! Thumbs up. One question since you seem a seasoned guy: any recommendations regarding a video management software. So not editing but something like Lightroom but for videos. Seems there is nothing???
Man this is the very best educational video I might ever seen on YT... amazing work you put into this I know it is hard work and it shows. And as a photographer part time videographer how shoots photos exclusively in RAW format but never video I thought that video RAW is the same as in photography and now I know it is just NOT. Very sad. I would go as far as that it makes not much sense at all a normal compressed workflow with LUT might just makes more sense. very interested about BRAW and how different is that!!!
Actually I don't have anymore popcorn because I binge the episodes. Please keep them as long. Very good quality stuff
4 года назад
The DP Journey that’s definitely not too long imho with so much informations packed into it. May be a tiny bit too fast, but we can slow down the video so... no issues here ! Amazing work, animations must have taken a lot of time to achieve !
Exceptional effort , and presentation. THANK YOU for doing your thing !!! My only complain is the the luck of EMPHASIS in the inability of ProresRAW to let you control the Metadata. This is what is RAW all about. (same thing as in photos .... absolute control of the metadata) I truely feel like ProresRAW is an advanced TIFF format of codec (with exceptional compression) , in the photographic terminology. I see that you are trying to scratch the surface after 14.00 ..... but there is a lot more , missing .... from both your video as well as this codec. (particularly the codec) Especially the "ISO adjustement" is a feature of humongous importance , for LIVE event shooters. It is a total dealbreaker , for me , using Prores RAW ...... and it shouldn't even be compared to BRAW , or RED Raw ... or even ARRI Raw. Last but not least there is the feature of recovering Highlights & Shadows. I wanted to hear more .... about this issue. I think ProRes RAW does not keep the information , the way the other codecs do ...... Not to mention that it forbids you to control this information as well (unless you do it the old fashion way , which i feel is NOT the proper way to do it , missing all the critical information , like the sweet highlights' rolloff etc) IMHO , Apple is taking advantage of the unprocessed NOISE thingy in order to baptize the whole codec as "RAW" and use it (deliberately) to draw "false" attention (attention with zero TRUE significance) to the global market of Cinematography.
I like the Analogy of ProRes RAW being like the TIF format of video. It pretty much is that for now. Again it’s a nice step from “JPG”... but as it is now, even when they say it’s “RAW”, it doesn’t act like one... and it doesn’t have the Flexibility we expect from RAW. So till they open metadata based controls for us, this format is as I mentioned is just another prores 444 (without alpha channel) and with no camera corrections.
EXCELLENT video and breakdown sir and very unbiased opinion (especially for someone who Panasonic reached out to which is awesome). What do you think the odds are the Panasonic + Atomos would work with Blackmagic to get BRAW? I work exclusively in Davinci Resolve on Windows so this option would be out for me anyway
Thanks Rob for the kind words... I think the odds of having BRAW on S1H are pretty slim anytime int he near future. if you're exclusive to Davinci, then BM would be the best format. but not necessarily the best camera. So it all depends on your type of work after all
@@THEDPJOURNEY Thank you sir! Good to know. I'm considering the BM6k but am waiting to hear the specs on what the GH6 will be (since I currently use the GH5). Crossing my fingers for some good stuff! May not get some type of RAW but I've heard some good rumors anyway ;)
I agree with you n most things except highlights recovery. With ProRes raw u can recover highlights even if you overexposed by 3 stops or so. ProRes raw is noisy, I hate that thing about ProRes
Let’s not agree or disagree, I urge you to compare both together yourself and judge. I tested both several times, and both have identical dynamic range. Again the dynamic range has nothing to do with raw or compressed, it’s not like in raw photos. You can overexpose up to six stops in both and still recover highlights. Beyond six stops it’s gone in both. I already demonstrated it in the video to confirm what I’m saying.
The DP Journey I shot in prores raw in fs7. Its nice and plays smoothly in my MacBook Pro. It’s not braw where u can adjust iso still it’s easier and faster to color gradein my opinion.I guess for personal projects it’s pretty good. I’m a risk manager not a video professional so my understanding is minimal. I do shoot in braw using bmpcc 4k, I always felt prores raw is good for people like me who’s not a pro and braw may be for a pro like you
Hi thanks for your content. Thumbs UP ! Thank you for taking the time to respond I would like to know if there is a loss of sharpness on prores raw compared to BRaw? Is it possible to use prores raw with After effect? I was planning to use the bmpcc6k shoot on 4k prores or shoot on 6k and downscale in post Planning to use the 6k for a green screen job thats why all that question :). Thanks again.
Thanks for the comment BRAW and prores raw should have identical sharpnesses. Since they’re both raw (BRAW is 99% raw) gotta confirm it though through testing the same sensor shooting in both formats I don’t use AE, so not sure about compatibility Green screen is surely better when you have higher res and raw
I wish Cineform RAW gets more push which is completely opened and also compressed raw but no camera companies or external recorder manufacturers are interested in.
Amazing! I am a photographer and for me, "RAW" means a raw-data from a camera without "a start point" in white balance, at least! And Nikon and Sony cameras provide us a feature - increase ISO in post (LR or Capture One). ProRes Raw might be called anything but not "RAW" definitely! It is really misleading people. Thanks for the video. It is very useful to know this before buying a camera with ProRes RAW!
Thanks buddy for the compliments. yeah i felt the hype out there was a bit misleading. I understand that WB and ISO could appear in future updates, but they kept on hammering flexibility knowing that those features are the main flexibility points that RAW offers us. let's see, hopefully things will change soon enough
See therein lies the catch. Its not technically misleading since there's no standardization for RAW. However, there are specific expectations and ISO and White balance adjustments are at the top.
According to Apple's Prores RAW white paper, the reason Prores RAW comes in at smaller bitrates than standard Prores is that Prores encodes RGB pixels whereas Prores RAW simply deals with photosites, therefore removing 2/3 of the data right out of the box relative to 444.
I don't think so... RED is the biggest Pain in the B*** because of that. but i guess the only wau to go is the Blackmagic way with partial debayer. Which I find pretty good.
New sub here. Fantastic slideshow. Please share how you created it. I get the audio part, just the layout and animations is what I'm asking. Is it all done in After Effects? Thanks for your work and can't wait to see what's next.
You explained some complex concepts in a concise and logical manner supported by really great great graphics. Cleared up some misconceptions along the way. Thank you! Do you have any experience/thoughts on ZRAW?
Not sure if adobes workflow will be similar to fcx. I wanted to test the beta version but you need nvidia gfx card to do so. If anyone is interested here is the forum where you can see the progress and even test beta ProRes Raw if you request it (I think it’s still beta). Of course you need to have adobe license. community.adobe.com/t5/premiere-pro-beta/discuss-prores-raw-support/m-p/11107173?page=4#M373
Therefore as a Windows user who wants to learn advanced colour grading on Resolve, BRAW wins in every possible way. Waiting for other manufacturers to adopt BRAW, but I think the question here is not when, but if.
Sadly true yes. But the good news is that Davinci is WAY MORE ADVANCED THAN FCPX. If you use Davinci, then FCPX is a HUGE step backwards when it comes to grading
Really enjoyed the video and help me realise that raw is not for me and getting the GH5S to use with my Atomos Ninja V with ProRes HQ is all I need. Thanks again .
Awesome reviews!! Specially this one (2). Hoping fot that part 3. And I think it would be interesting to focus on comparing deeply ProResRAW with BRAW, since both are in the same market price. Arri and Red are more known and in another league in terms of price and RAW advance behavior as real boosting the ISO without clipping the whites so fast as cheaper RAWs new formats Thank you for your generous sharing!
Keep up the good work, its a great video.Thx ..I cant be the only one thinking, What about the chines company's like kinefinity or Zcam. That is from price perspective/raw Video point. And then again BMPCC6K vs Panasonic Vs the Chinese manufactures. What do we get and what we don't get? I will wait (half the job is done, or is it?)
yeah I totally agree... i will try and get my hands on their cameras. They really drew my attention as well. Just finding the time to explore all that it the key now. I'm a full time DP that's why, RU-vid is a place to share my findings you know. thanks again for the suggestion.
As always I appreciate the effort you put into these videos. The numbers don't lie, making it worth the effort. I now have a better understanding of RAW and ProRes Raw 👌👌
Great content thank you. Are you saying the if we record straight to the Ninja V, we will have the same cons? Seems like an amazing lake of vision to have these two major errors on the WB and ISO in post. What have Apple said? If anything?
I spoke to Atomos today and they said that WB/ISO etc. is NOT baked in so it's purely a limitation of the NLE software (don't quote me on that though!). What about PP? Does that offer any more adjustments with the latest ProRes beta? Don't get the comment about ISO though as surely it's no different to just increasing/decreasing brightness. That's all the camera does with the data from the sensor.
Hey Kris, I spoke with Atomos as well and they said it's an NLE problem, but PP doesn't have that control either. So whether it bakes it or not doesnt matter anymore, it acts as baked... so i'll consider it baked, at least for now. Panasonic's bakes in WB and ISO in their other higher end cameras. So I wouldn't be surprised that's the case with S1H, doesnt make much sense to shoot themselves in the foot release a mirrorless that has more options than their EVA 1 or Varicam. Bottom line, WB and ISO are baked (somehow) for now
Great stuff. My one push back though is that B-Raw isn't a true raw. There's a fair amount of processing happening in camera which is how they got around some patents and also explains why, despite BMD's claim that its open source, we haven't and likely won't see the codec adopted by another manufacturer.
I did not know ProRes Raw does not allow white balance adjustment, or ISO. Hopefully Apple will change that in a future update. I’ve been more cameras would adopt BlackMagic Raw; it just works like butter. Thanks so much for your research and testing and this incredible video; it truly is “Mega!”
Thank yo so much for the support. yeah the hype has created all those misleading narratives that gave us the impression that you have that WB control... that's why i wanted to clarify things honestly.
The DP Journey Thank you for clarifying this. My ultimate fantasy is to have BlackMagic Raw on every camera! The Fuji XT4 or ZCam S6, with those MK zooms! Or ZCam F6! If you have to pay fees to use ProRes, but no fees to use BRaw, it seems like a no-brainer. Thank you again!
Thank you for 2 great informative videos. As a pro photographer fully invested into Nikon gear, I own Z6 upgraded to prores raw, ninja v. And am a windows user Premiere). I want to learn more video for corporate type shoots. Your review of nikon z6 capabilities was disappointing. Given my gear and investment, what is your recommendation and settings to optimize what I have? Do you have any information on upgrades for prores raw or adobe premiere for the future?
hey Karen, sorry to hear that the ProRes RAW on the Z6 was not a good investment. Honestly i don't consider Nikon as a video camera, they haven't released any camera in the market that's worthy of any videographer's attention (IMO). So that wasnt a surprise. My advise is shooting internally as it's good enough. if you're planning to move to another system then my favorite based on testing, experience and comparison these days is Panasonic and Blackmagic. Panasonic is a swiss army knife of cameras, I prefer the Image from BM6K more, but it's a bit higher maintenance. And yes ProRe RAW is coming to Premiere. Not sure when, but beta release already has it
The DP Journey I haven’t had a chance to test z6 yet I did not mean I don’t like it. I saw your review and it was disappointing. Any advice on how to get the best out of it? You mentioned noise can that be fixed in post?
Yeah i know... but being "real" raw or not doesnt reeally matter if the result surpasses that theoratical limitation.As a DP, I honestly judge by the result. The only drawback I can see from the partial debyaer in BM is the incamera denoise. Which is something I'm willing to accept honestly in return of all other benefits. Till the day comes and full RAW control comes to ProRes RAW at least
@@THEDPJOURNEY Yeah I totally understand, don’t forget that the Raw principle is to record without modifying image sensors data for the future-proofing files. Regarding ISO on post-prod, this is a miss conception, it doesn’t really exist. Because this is simply middle grey color shifting with White Balancing, based on theoretical DR of the Codec, not of the sensor metadata. It's like have a color wheel gain with different lvl of white balance, but this is not the real gain of the sensor output. Apple prores RAW has all of this but FCPX uses an obsolete way to use it. In this regard, you're right Apple needs to put in FCPX, the modern ways to plays with all this metadata
Amazing Job! Thank you so much for giving us such clarity! Now... I have a question for you: Would I have the same limitations in post - NO WB or ISO controls, or even NO Acces. Metadata with BRAW (from Pocket 6k)? *Using Premiere Pro and Davinci
Thanks Doug for the kind words. BRAW has everything enabled on DAVINCI. Keep in mind that ProRes raw now has WB ISO control on FCPX. But on select cameras. Not on all
@@THEDPJOURNEY thanks, man! I actually use Premiere Pro. I am still a Filmmaking student at NYFA and am deciding which camera to buy. Considering my ambitions are to make actual films and documentaries, would you kindly gimme your opinion on which camera you’d choose between BMPCC 6K Sony a7s iii I might do some comercial videos while necessary, but as I said, my use will be more in films and documentaries. Thanks for the help!
Braw is the SHIT!!!! I love it, you can even access the coding because it's open source. I want to create a new camera that uses B raw. the 12:1 is so nice and is only slightly bigger then prores.
@@THEDPJOURNEY I just made the switch to shooting in RAW, it takes a little getting used to but it is AMAZING!!! The BMPCC is a little odd to use for vlogging alone but.... the skin tones. I wan the S1H so badly but I am not ready to jump to FF yet $$$$$$
While I understand it's a "plug in" it is fully developed by bm themselves and Adobe states it's "high performance support". Been using it since release as seamlessly as any h265 file I've ever imported.
Great video once again. What do you suggest is the most effective route to post denoise prores raw within the premiere ecosystem? Also, you mention this in the video, but when do you anticipate release of your correction LUTs for the S1H?
How about ProRes RAW vs BRAW. I know that ProRes RAW is under-developing, but still. I'd love to see the colour grading showdown type of video. And yes, I really learned a lot fro this video. Thanks!
