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The Sony FX6 Has INTERNAL RAW Now?!

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Do you guys plan to use the RAW tab with your FX6 now? I think it's a neat feature, but kinda pointless without all the real benefits of actual 12-16bit RAW.
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0:00 Intro
0:29 What is RAW?
1:47 THE TEST and PROOF
6:30 Synopsis

Опубликовано:

14 авг 2024

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Комментарии : 91

@jimhestermanphotography 9 месяцев назад

The ability to change those settings in the raw tab is solely to change the exposure to the exact ISO you rated the shot for using Cine EI. for instance you can shoot at 800 and rate it for 400 and when you bring the clip into Davinci it allows you to change to 400 to match what you saw on the monitor. Not raw. Just pushing and pulling exposure like you would with film.

@cammackey 9 месяцев назад

Yeah it’s a great trick! But using the HDR wheels I feel still gives you greater control

@jimhestermanphotography 9 месяцев назад

Whatever gives you your desired result is the way to go.

@CLIFFLIX 8 месяцев назад

I really wish more channels would talk about "ISO" and "gain" together. It's +6db for every 1 stop of "ISO" that somebody adds. If a camera's base sensitivity is 800 ISO, nobody changes the "sensitivity" of the sensor when they bump the signal to 1600 ISO. All they did was take the base ISO at 800 and ADD +6db of "gain" to that waveform. Raw files only have "0db" A/D conversion. If its a two stage preamp, then there are two base ISO values...a "low" 0db and a "high" 0db. Your raw file is saved at either one of those 0db values. It's impossible to truly understand "ISO" in a digital camera without understanding what "gain" is. (And gain is rarely discussed today)

@Tony__S 5 месяцев назад

I think you're completely right but I don't see what it means practically for shooters. There's a distinction between digital gain and analogue gain as well, where digital gain is technically noisier. Dual ISO cameras are providing analogue gain to get to their second base ISO, and you can see the image has much less noise that way. 0db gain on most sensors will leave the dynamic range off balance, and shooting at +6 or more is often completely acceptable, the 0db setting doesn't mean it's the optimum.

@CLIFFLIX 5 месяцев назад

@@Tony__S - Analog gain happens on the collection stage at the A/D converters. A "dual native ISO" sensor has TWO "0db" values...a "low" 0db and a "high" 0db. The analog gain is what makes them both different. The lowest 0db values will almost always be the highest dynamic range on any camera. The higher 0db can be close but it's almost never as good. Analog amplification and digital amplification (aka "gain") always add noise.

@CartyCantDance 9 месяцев назад

Routing your LOG footage through HDR wheels in resolve gives you RAW-like control over almost any camera. FLOG2 and VLOG especially feel so flexible when routed through HDR for exposure/WB/contrast adjustments

@cammackey 9 месяцев назад

I don’t agree with that. But yes, the HDR wheels are super powerful. But you’re still dealing with baked in colors and exposure.

@CartyCantDance 9 месяцев назад

@@cammackey it’s still fake raw. But it’s much more accurate than any other adjustment I’ve used before for 10 bit. Haven’t worked my way up to 12 or 16 bit yet.

@ErrickJackson 9 месяцев назад

As far as I can tell, this seems to just be a metadata read that the Sony-focused raw tab can adjust off of. Functionally speaking, it's not dissimilar from the HDR Palette's color managed changes; it's just allowing you to use the linearized math on the standard raw settings. You still run up on the limits of lower bit-depth and pre-debayered footage. Kinda cool though I guess.

@pglazzari1 2 месяца назад

Excellent comparison! I always enjoy your videos. Thanks for taking the time to share your expertise.

@rodrigoDOP 3 месяца назад

@cammackey as per my knowledge this is for if you record PRORES RAW from the Sony FX3/FX6/FX9 with Atomos V V+ then this works

@reelweaver 2 месяца назад

best explaination! Also mixed with some nice refreshing information. Thank you so much! I know now, I won't use it. I never use The 12 Bit raw of my atomos due to its long worklfow and even more space with CNG Files in Davinci. Would make more sense if sony releases a raw codec that fits direktly into Davinci. Real RAW 12 Bit. No Questions. Panasonic does it. Many do.

@JSHFilms 9 месяцев назад

Cam! Great video! I enjoyed watching every bit of it to see if I would be needing this in the future and I agree with your outcomes :)

@TJIzzy 9 месяцев назад

Red footage just has that thickness to it, that only the Arri's also have.

@cammackey 9 месяцев назад

And that’s the best way to describe it! R3D be THICCCCC

@TJIzzy 9 месяцев назад

Hahaha@@cammackey

@bearland7541 8 месяцев назад

ISO is not going to affect the exposure if cine ei mood is activated, although the lut can change the monitor’s exposure but the “raw” footage still remains the same

@cammackey 8 месяцев назад

Did you watch the video lol?

@timdanyo898 9 месяцев назад

It would be interesting to see a FX6 ProRes RAW external vs Red RAW internal comparison.

@AlexanderHaibel 9 месяцев назад

the problem though is that ProRes RAW isn't usable in DaVinci Resolve without awkward workarounds - wish that wasn't the case, or that Sony would get BRAW compatible

@wildpatagoniafilms16 9 месяцев назад

@@AlexanderHaibel it is not that hard to do the workaround though.. but yeah, I wish it was more practical.

@LOMISFILM 8 месяцев назад

@@AlexanderHaibel the workaround is extremely easy if you've got $75 to toss at the RAW Converter license. Dumb... very. But pretty easy & painless.

@Fprato2011 4 месяца назад

Great Video! this is a great news for the da vinci users! the Sony a7s III has this upgrade too?

@JRidgely 9 месяцев назад

Even if not true raw it still gives creators a lot more control over their footage.

@cammackey 9 месяцев назад

Not really, you can do all the same stuff in davinci without the raw tab. 😅

@JRidgely 9 месяцев назад

@@cammackey Even if true it still gives creators easier control over their footage 😂

@yusei151 9 месяцев назад

Been waiting on your video for this.

@AlecKinnear 9 месяцев назад

Exactly the tests that should be run on this fake "hidden raw". Do the existing tools work as well or better to modify the footage? Yes. Hence mucking about in the RAW tab is just complicating the workflow. It will probably lead to huge compatibility issues in the future, as the functionality is not documented or endorsed by either Sony or Blackmagic. I.e. using the RAW adjustments tab on non-RAW footage is simply making trouble for yourself. Had the RAW tab offered better or more accurate renderings, or lower noise, or allowed bigger white balance shifts, using it would entail the same risks but at least there would be some reward.

@GlobalShutterNY 9 месяцев назад

I agree - this is 'fake' RAW - 10bit and in-camera processing/NR (which Sony does a great job with - honestly I rarely see the need for true RAW - I try not to screw up my exposures and WB that much!)

@Sk8luv33 9 месяцев назад

great breakdown 🔥🔥🔥

@anthonyrock5039 9 месяцев назад

Marketing magic for sure but perhaps it’s a step towards a future actual raw release one day. It will get people practicing and learning a bit more about colour management and working with raw data.

@propellavideo 9 месяцев назад

How is this accessed? I have a FX6 and DR Studio, how are people getting the 'fake raw'?

@dwightrawson6523 9 месяцев назад

THIS CONTENT IS GOLD!

@ekphotography 9 месяцев назад

Hey man, sorry for the off topic question, but just bought monitor + and wondering how I can use it on my iPad and or switch from my iPhone? Does anybody know how I can do that? I downloaded on my iPhone but all the features locked on my iPad? Anyway of switching it over if it is only for one Apple product? Thanks!! ✊🏻😎

@cammackey 9 месяцев назад

Oh not sure about that. I don’t recall having to do anything fancy

@ekphotography 9 месяцев назад

@@cammackey OK, Thanks, but have you used it on both your iPhone and iPad? Or do you just use it on you iPad ? Thanks man..

@elarrioguajardo208 9 месяцев назад

Thanks for the video! What are your thoughts on Blackmagic Raw (BRAW)? It's a 12 Bit video codec if I recall, you've worked with it before so I'm curious what your workflow was like with it. How about Cinema DNG (CDNG)? I believe it was in the original Blackmagic Pocket and some Ursas (ones with older software versions), but the Sigma FP has it and should be 14 Bit footage (From what I remember). I'm just curious cause I own a Blackmagic Pocket 6k Pro and am thinking of getting a Sigma FP.

@cammackey 9 месяцев назад

I love blackmagic cameras and their BRAW. I don’t care for DNG tho. Huge files.

@elarrioguajardo208 9 месяцев назад

@@cammackey fair enough!

@CartyCantDance 9 месяцев назад

You’re using the DJI pocket 3 as a b cam??? It looks incredible, I really need one

@cammackey 9 месяцев назад

Hahaha right?! I was like… I don’t wanna setup a whole other camera….. took me two second to jsut flip it up and on

@randomgeocacher 8 месяцев назад

Hybrid Log curves performs an image compression before the compression stage. Around normal exposure it is kind of linear, around the top ands low it has more coverage and less fidelity. One way of thinking of it is that you have like 6 really good bits and 4 bits which are less good but covers much more distance, compared to linear. So for non-extreme cases, hybrid log should do great, but in edge cases linear with more bits blows it away. RED’s patent belongs in a garbage dumpster, not having invented linear raw but effectively having a patent preventing others from integrating it into a camera. If patents courts were sane, linear log alternatives to hybrid log would be possible to implement on cameras.

@Androide323 8 месяцев назад

7:05 do you mean the Sony FX6 Mark 2?

@WillJauregui 9 месяцев назад

unrelated to the point of this video...what do you find is the best way to sync your camera and the screen recording for videos like these?

@cammackey 9 месяцев назад

I just do it by eye in the timeline. But usually I just use QuickTime app and also record audio and sync the audio.

@WillJauregui 9 месяцев назад

ahh ok makes sense@@cammackey

@Rosenbis 9 месяцев назад

FX2 ? Some information I missed here ? :D

@WassimJelassi 9 месяцев назад

Have you tried the NRAW coming from the Nikon Z9 and Z8?

@cammackey 9 месяцев назад

I have not

@plannetangel 8 месяцев назад

Wait how do you connect your iPad to your camera though???? Please put me on

@RawmanFilm 5 месяцев назад

Sony Monitor & Control App (On specific cameras only; Even those have different Capabilities)

@creativfilmmedia4246 8 месяцев назад

But you can record 16 bit extern with the Sony right? So isnt it raw?

@cammackey 8 месяцев назад

Not exactly.

@creativfilmmedia4246 8 месяцев назад

@@cammackey hmm so its not really Rae like you say it in this Video. But whats the solution you think? The Raw Format is patented by Raw what i have heard. Than Arri is also not exporting Raw? A lot of questions coming up srry😅 thx for answering

@blackrachmaninov 8 месяцев назад

From my understanding, 16 bit linear is the same as log 12 bits, am I wrong?

@CritterElectronics 9 месяцев назад

I love your videos 😵‍💫

@CritterElectronics 9 месяцев назад

Gotta get me them lutz

@elarrioguajardo208 9 месяцев назад

How's it going?

@DJBFilmz 9 месяцев назад

Good video, but RED RAW isn't even real RAW. R3D is just a much better codec that XAVC-I (which is why it looks better). You can do the same tests with RED and you'll get better results but not perfect as if you shot them with what exact settings you want. I owned almost all the REDs and did a test with solely WB and you'll lose 1-stop if you have 5600k when it should have been 3200K. It would be interesting to do with test with a codec that can handle 12-bit and see if it matches much closer, like Prores 12-bit out of an ALEXA or something similar.

@cammackey 9 месяцев назад

I’ve done the same tests and haven’t experienced that

@DJBFilmz 9 месяцев назад

Just to be clear, when I say a 1-stop, I'm speaking in terms of dynamic range.

@tobiasfalk9112 9 месяцев назад

Isn't the Sony Raw label just a gateway drug for the real raw of Sony's X-OCN file format? It's been restricted to the high-end cine cameras, but I wouldn't be shocked if we see it soon in an external recorder for the FX cameras.

@jonasfotograf 9 месяцев назад

Is it the same with Canon C70 internal RAW?

@cammackey 9 месяцев назад

Zero clue. I had got rid of my C70 before that update. But I think the C70 is a real form of 12 bit raw, I don’t recall tho so don’t take my work for that.

@JaimeAndresMedia 9 месяцев назад

Does the FX3 get this too?

@cammackey 9 месяцев назад

I dont believe so

@MaxKissler 9 месяцев назад

No camera has 16bit raw, it's just marketing bs. Can you have 16bit containers, sure. Will there be 16bits of data in them? Unlikely. The highest bit depth you might be able to get would be a 14bit uncompressed DNG sequence and even in those files there's some amount of pure noise in some of those bits. What I'm saying: 12bit vs 10bit is noticable. Anything above 12bits and you're thinking too much about bits and not enough about your shot.

@cammackey 9 месяцев назад

All I know is the raw coming off red cameras still looks way better than whatever comes off external pro res raw.

@MaxKissler 9 месяцев назад

@@cammackey Yeah, I feel you. I hate working with PRR. It doesn't 'feel' like true raw for a lack of a better discription and worse: I can't just open it in Davinci Resolve. At least there's the cDNG raw converter workaround for now...

@pascalbraendle 9 месяцев назад

@@cammackeyyeah noticed that as well when i shot external prores raw on the A7Siii. RED's R3D raw just looks better idk why 😅

@Mionwang 9 месяцев назад

Well, redcode (and other flavors or proprietary raw) raw might actually contain 16 bits worth of data. The red gamut is absurdly large and it's even larger than Arri gamut. Moreover, raw footage is just the pure output from the sensor that has gone through the ADC signal processor with some gain (the base iso). Therefore it's stored as linear and 12bits for sure won't be enough to store non de-bayered linear gamma without significant compromises. I'm positive that in order to have some necessary headroom, 16 bit is quite important for scene linear encoding.

@pascalbraendle 9 месяцев назад

@@Mionwang Very insightful and interesting intel man! Thanks for sharing 🙏🏻