It's worth mentioning that Prores RAW is still pretty young compared to these other ones. As far as the others go, I haven't worked with Canon RAW, but have much experience with both R3D and Braw. REDs implementation clearly has the most latitude and it's incredible how far R3D images can be pushed. IMO that's why Komodo is such an exciting product...not because of it's size, or global shutter, or app, or lens mount. Yes, those things are nice, but pale in comparison to the significance of a $6K camera shooting 6K, 16bit R3D in the IPP2 workflow. I always chuckle at the "RED is overpriced crap" comments that find their way into every RED discussion because those guys clearly have no idea what they're talking about. If what you're used to working with is 10 bit log footage, R3D wakes you up in a hurry.
Yeah Blackmagic's highlight recovery is really impressive and I wish Arri cameras had it. My guess is that because Arri has a dual gain sensor, it's already doing a version of highlight recovery on capture, while Blackmagic does its recovery in post.
The ProRes Raw "issues" you saw aren't ProRes RAW issues but Sony being lazy implementing proper metadeta support. Panasonic and Z-Cam e.g. have full metadata support for wb/tint/iso/exposure etc. Also keep in mind that the A7sIII deals with quite low usable latitude because of its elevated noise floor.
This is really informative. I truly appreciate the work you put in Carlos. I shoot BM but Canon is where I started and this really makes me want to get the C500 mk2. Good stuff sir. As always be safe and stay healthy.
R3Dcode has the most controls in post for RAW. You are just using resolve. Try premiere and see how much you have to work with. Way beyond. BRAW is compressed and what you shown there is all you have compared to Red and Arri. RAW performance is dictated by the sensor. 4k pocket has even gone to s16 from MFT. 6k is s35 but Braw is still the case. However, you should try premiere. Especially with true cinema cameras such as Red and Arri. Not knocking Blackmagic but Red and Arri (any model) beat any cinema camera. Pretty sure they always will.
Thanks Carlos for your informative videos on this. I am curious though why does Canon's raw look so "Canon-like" and Red's looks so much more flexibility. Is it because of the 12 bit vs 16 bit? The canon to me feels flat no matter how you adjust it, but Red has a deeper contrast and feels like a true raw-like look.... I compare it to jpeg on a Sony photo camera vs a 14 bit raw photo on a Sony camera. Not sure if I am making sense or not but would love your take.
Hey Carlo, just wondering if I could ask you some questions about your work with the Canon C70 ? Do i email you ? I am picking up mine on this coming monday...thx for any advice
All the controls Canon Raw offers are identical to the ones outside of the RAW tab. Check the highlight slider in the RAW tab vs. Color tab, it behaves identical (before Rec709 conversion). Same applies to Braw. Also Canon Raw comes with Sharpening and Noise reduction by default, Sharpening can be turned off easily, for NR to be gone you have to switch to Full Res - Resolve. RED only provides the RAW settings you actually need.
I haven’t found that to be true. Changing the highlights and shadows in the raw tab using old blackmagic cdng vs trying to do the same with braw is near impossible
I don't try to be a personality, this is who I am and if you were in the same room and this is what we were covering, this is what you get...wish there was a 1.25 speed think in real life, but honestly, I am totally ok with who and how I am.
@@carlosq00 Carlos - I think it is generational. In a recent video that I posted the first comment was that I talked too much. I guess people want silent videos? In the Navy we had a saying "A bitching sailor is a happy sailor." I think the same applies to RU-vid viewers.
in terms of quality of colors, what is better a 400 Mbps prores (no raw) o a 120 mbps blackmagic raw, do you think that Bm Raw need a no compressed option to record?
Great info, thanks! How is prores raw in Final Cut? I hear you can do exposure, iso, white bal, but at the moment some cameras support it, some don't. I also understand that you can't work on prores raw in resolve, It first has to be transcoded.
At least for Canon Raw, premiere is far more limited. You are limited to Gamma, Color Science , temperature/tint, sharpness and exposure. You don’t have any of the ISO, highlight, shadow and saturation controls in premiere.
I feel like braw is terrible compared to cdng on the pocket 4k. Way less control over the image. Why does r3d raw not give you more raw sliders? Seems like the more expensive camera should give you more controls. Also I can never tell a difference in my image using the “highlight recovery” it looks exactly the same
Hey Carlos, between Canon Raw Lite and BRAW, which format’s RAW file sizes would you say are smaller and take up less computer processing power? I have the Pocket4k and am selling for a C70 (mainly bc of practicalities like autofocus, built in nd’s and good audio, etc), especially now that Raw is coming to C70. Curious to hear your thoughts about the differences between the two in terms of editing and workflow. Thanks!
if you are using Resolve, BRAW will outperform Canon RAW Light. Generally speaking on a very good or high end computer Canon RAW Light will render at about 6-12fps (I have a 16 Core Mac Pro with the Vega II and 512GB of Ram) Where BRaw renders at 120+fps. To balance this out REDCODE RAW (R3D) footage captured at 24p renders at 49fps. In just about every way the C70 is a better camera than the Blackmagic Pocket IMO.
Awesome video. Question if I may. Many C200 users transcode to ProRes. So what you showed today tells me that doing that transcode (C200 Raw to ProRes) actually eliminates control options. Correct, or am I misinterpreting?
Carlos great content really enjoying the series but the monotone-ness is killing me. Put some excitement into that voice! Id be super excited if I had your grading skills, gear and knowledge! haha
