Sony FX30 With Internal RAW?!...Well... 

Man I just love your compositions and lighting and colour grading

Thanks for clarifying this! This was my suspicion but haven't had time to test.

killing it with that FX30

Great demonstration. I would definitely like to see a more detailed walkthrough of how you take FX30 footage, render it as XAVC-I from Catalyst Browse, and then import it into Resolve and grade it. Thanks for more great content.

I'm here for the mortal explanation of RAW!

Shot at that studio location a couple weeks back, so many sets to choose from!

Here for it

The zooming in is simple. RAW = 1:1 pixel readout. Until the FX30 can do open gate 6K RAW, 4K RAW is ALWAYS ALWAYS a heavy crop (smaller than M43 sensors iirc) RAW doesn't necessarily give you more dynamic range either. It's mostly better colour flexibility and white balance flexibility.

Hey buddy. Hope all so well. I just want to jump in on the white balancing aspect of this video. Using the temperature and tint sliders on resolve is very much NOT the ideal method to attack white balancing mistakes, in fact it’s arguably the worst. The reason being is you are essentially adding “warm colors” or “cool colors” to your image, which only adds to the problem. The solution is you need to TAKE AWAY colors not add more of the opposite colors. So the best method for white balancing, even vs the RAW tab, is using the offset and your color wheels to remove certain colors (or add colors by taking the opposite color away). For example of the shot is over kelvin (I.e 8500k instead of 5600k) you want to remove blue in the offset wheel or add yellow to the image (they mean the same thing). Just wanted to post this here because you used the temperature tint as solutions, and I just can’t recommend that method with color grading.

Man I always enjoy your content. I have a FX30 and love the content

I selected the files then transcoded them to XAVC -I , however I'm not getting that raw tab in Davinci Resolve

Yes I’m a FCPX editor. I’ve been wanting to color grade with DaVinci Resolve for years. Yet for now I entrenched into FCPX. I have a Ninja 5 & would like to see more about Pro Res Raw.

🎯 Key Takeaways for quick navigation: 00:00 🎥 *Introduction to Internal RAW* - Explanation of RAW in cameras: capturing light, data interpretation, and storage. - Differences between log and RAW: flexibility, color depth, and post-processing capabilities. 01:13 📸 *Understanding RAW Footage* - Deeper dive into RAW: flexibility to change settings like ISO and white balance after capture. - Simplified focus on two settings for RAW footage: white balance and exposure/ISO. 02:25 🛠️ *Unlocking RAW Powers in Sony Cameras* - Easy process to unlock RAW footage in Sony FX3, FX30, or FX6 using Catalyst Browse. - Integration with Da Vinci Resolve for editing and adjusting RAW settings. 03:23 💻 *Sponsorship - Lepow Portable Monitor* - Introduction to Lepow portable monitor and its benefits for additional display space. - Use cases for dual monitors in video editing, travel convenience, and ease of use. 04:19 🖥️ *Comparing Internal RAW to ProRes RAW* - White balance comparison between three clips shot at different Kelvin values. - Revealing that internal RAW doesn't behave as expected, leading to differences in post-adjustments. 06:25 📊 *ISO and Dynamic Range Comparison* - ISO comparison between 200 and 800, expecting similar dynamic range adjustments. - Observations on cleaner shadows at lower ISO and the trade-off in highlight details. 08:51 🔄 *RAW Codec Flexibility* - Exploring the flexibility of RAW codecs: differences in adjusting ISO and dynamic range. - Highlighting variations in flexibility between different RAW formats like R3D and ProRes RAW. 09:46 🏠 *Transition to Home Studio* - Shift to home studio due to scheduling conflicts, maintaining continuity in the video. - Mentioning an interesting fact about ProRes RAW causing a zoom effect when HDMI is disconnected. 10:55 🎞️ *Dynamic Range Comparison in Da Vinci Resolve* - Comparison of dynamic range in ProRes RAW and XAVC RAW in Da Vinci Resolve. - Clarification that dynamic range remains the same, while color differences may arise due to color space transforms. 11:51 🌈 *Color Aspects in RAW* - Analysis of color differences between ProRes RAW and XAVC RAW at different white balance values. - Demonstrating adjustments to make the color representations closer in post-processing. 13:17 🤔 *Conclusion and Viewer Engagement* - Summarizing the key points of the video. - Inviting viewer comments for more detailed comparisons and expressing hope for a valuable learning experience. Made with HARPA AI

I mostly shoot street video at night, but there are most often streetlights and such around that i use (i guess that counts as low light?) I want to upgrade from iPhone 14 pro to either fx30 or a7iv. I Don’t take pictures so that is not a factor. Which one to choose? I mostly make moogy ig reels but i am starting to get more and more business offers and i want to be able to shot all kinds of videos, commercial, shott film, documentary style stuff.

A bit off topic but relating to FX3- How are you roundtripping from FCPX to Resolve and back with XAVC files from FX3? So the fcpxml from FCPX opens up in Resolve but the media is offline and it doesn’t relink even after I point it to the bin the rushes are in. Looks like it’s a known problem (according to RU-vid) or is there something I’m missing? Perhaps you can do a video on this..? Regards from Ghana.

Great Reality Check! Just to make sure - you get that Internal Raw in both the FX30 and FX3? Seeing this, I would still want to output to my two Ninjas for ProRes (where needed) but it’s nice to know you could get by recording - internally - should there be some issue with the Ninjas… close enuff to tweak

Hi Kofi, like your videos. In terms of data preserving 16 bit(r3d,arriraw) is way ahead of 12 bit(braw,proresraw) and much further from 8 bit. But it all makes sense only for the people who are ready to spend their time on precise color grading or this is their main field and they know what to do. In most cases casual people will just look at the picture and won't be able to say what is the difference without side to side comparison. And yeah...dominating amount of displays are 8 bit and people will never see this perfectly balansed gradient in particular shot that you worked on around a week. What do you think about it?

Uh oh...Reds lawyers are listening in to this video as soon as the words "internal raw" is mentioned 😂

Thanks for the video Kofi! I am really trying to make my fx3 XAVC HS files work so I can change ISO and temp like you did in this video. I've tried dowloading different resolve studio updates 18, 18.1, 18.6(build9), 18.6.4 from the Blackmagic website all using converted files into XAVC Intra from Catalyst. All these updated versions of resolve won't work for me. The camera raw tab doesn't light up for use in resolve. You think resolve took it away in updated versions online or am I doing something wrong?

You long videos on RU-vid shot on Sony A7IV?

How does the internal Raw deal with Noise reduction?? Prores Raw has no NR which is nice, wondering if the internal Raw turns it off as well ( if it does its a game changer, hate that internal processed over sharpened look)

More please.

@KofiYeboah Thanks for the in-depth on RAW, clarifying and demonstrating the difference between ProRes and XAVC RAW. Desk Kofi????? 🤣🤣😂😂

I happen to prefer shooting in XAVC HS (HEVC H.265 4:2:2) which can be painful when editing with many motion VFX but you can correct the WB fairly good if you don't use your camera blindly.

I use ProRes raw so I can transcode it to Cinema DNG.

therefore I bought the bm, was tired with the digital sony mess

hey bro whats your thoughts on atamos ninja v for fx30?

Did I miss something? The FX3 does NOT record RAW internally you have to output RAW to an external recorder. I didn't see the mention how to actually shoot RAW internally.

wait... does this mean i can transcode my inter files into intra as well????

XAVCS-* is all debayered though, so it really is not raw at all, even if raw controls can be used in davinci with it, its not going to offer the same experience. It is somewhat amusing to me that this can be done and certainly not without value, small corrections using the raw tab are certainly beneficial.

So is this more of a 10 bit “raw” with raw control?

How’d you get ProRes raw in Davinci??

H.265 10-bit 422 isn't raw. It's similar to 12-bit ProRes raw, but it does have JPEG compression, but it also has an anti-noise filter on it so it's going to look cleaner sometimes than RAW, and will be easier to work with, but you can denoise in post and if you're doing some heavy color grading you may not get acceptable results with 10-bit. You should nail your exposure and white balance if you are using 10-bit 422 H.265.

RED HAS ENTERED THE CHAT

Hey man really appreciate you doing this - I think maybe you had some confirmation bias though - from an outside perspective there is a pretty massive difference with the raw. If you look at the roll off areas it is very very apparent. Look at the creases in the cushion or even the portion of the interior wall where the gradient in the white transitions. As you move around the settings... the non-raw roll off flattens out a lot. So you are losing a lot of the 3 dimensional subtle tonality in the image. These are the fundamental subtleties that cause the mind to view something as 2d vs more 3d and pulling the viewed into the scene. I think if you take a few months away from these scenes then watch back this video you will see the drastic difference.

The only raw format that is worth it is red raw. The compressed formats are always a lousy compromise. Red footage always looks better than any others. 10 bit fake raw cant compete with 16 bit real raw. The difference is night and day.

Calvin

Doesn’t work…