Hi there. Great video. I wanted to come in and explain why your able to see more information with Highlight recovery. Is it having more dynamic range? Short answer…. Yes… But not really. So when it comes to clipping points certain colors of the RGB pixels will be gone but others will remain. For example, the color red tends to clip the fastest because it’s the brightest of the three, but the other colors might still be there. With “highlight recovery” davinci is taking the remaining colors in the pixels that are not clipped and basically “making a guess” of what the clipped information looks like. Downside is that doesn’t change the fact that the clipped colors on a pixel are still clipped. So it will never have the “full colors” to make an accurate looking image. Hope that helps.
Well it’s all interpreted but digital information, so in other words it’s translating from the real world to a digital one. Long GOP does the same thing, but most can’t see the difference unless water is moving real fast for something like that. It’s kinda hard to say it’s not more dynamic range when we can add color saturation to a 10 bit video file to get closer to a 12 or 14 bit video file. People are so quick to say what something isn’t instead of appreciating the art of tools. I’ve recovered plenty of highlights and it’s hard for me to say Resolve is faking it. In a world of CGI what’s real anyway. Highlight recovery is tool like anything else, no need to knock it.
@@jayclas4023 I don’t think anyone is knocking it. It’s a great tool, but like James said, it’s using color data. There isn’t more dynamic range (contrast, luminance) in the literal sense of the words. Dynamic range is defined by the sensor. It’s never going to be more than that. But there appears to be more because of the recovered color information of the 12bit (bit depth defines color information, not dynamic range) braw footage. So, no faking at all. It’s just how it works.
Also perhaps James' explanation accounts for the chromatic fringing in the clouds on BRAW as the colour information being recovered in the highlights is distributed unevenly across the spectrum. It remains quite a useful tool. Thanks for doing this test.
Black magic earning its name with this wizardry! Even though this image has some issues it still shows the potential in perceived highlight recovery. Well done sir! Gonna be sharing this.
Thanks for doing this. I randomly decided to view this as Im interested in the gh6. These are some splendid points. I never stopped to consider that there were stupid nuances such as the SSD power requirements.
I really appreciate this, and all your videos. As a gh6 shooter I have been on the edge of raw for a couple months. I use final cut and Davinci. I like the 5.7k hq internal pro res though...so all seem to be great options. Light and shadows contrasting is something I have played with for quite some time and braw seems to handle mixed lighting much better. There is nothing like sample video to demonstrate that, and you making this effort is great for all of us.
You’re very welcome! It’s great to have all the options. I’m hoping to do some more braw testing and show some more footage. So far, I think you’re correct if you say braw handles mixed lighting well. Thanks for watching!
Being a GH5, S1 and Pocket 4k owner I can tell you that highlight recovery changing ISO in post is a big part of the Pocket 4k BRAW experience. Also the slightly softer image and highlight rolloff of the Pocket adds to my productivity. I’m not ever going to shoot anything filmic on the S1 without a Black Pro Mist filter, it’s just too sharp for me.
Yea, I have sharpness setting dialed all the way down. It does also heavily depend on the lenses used. My DZO and Zhongyi lenses produce a softer image already. BRAW definitely looks very pleasing to me. Gonnna do more testing. Thanks for watching!
Thanks for the comparison, I'm looking forward to doing more tests myself. Loved your video about the DZO lenses as well. The "Apply LUT" is most likely applying the LUT you used in the recorder while filming. I think this may be a reason why there is such a big difference between the RAW and Prores images initially as the REC 709 transforms are different. It would be interesting to compare them both using the same CST transform you used for the Prores file. Also, applying the LUT in the RAW tab means you no longer have all the Log data when using your nodes in Resolve. Probably best to apply the LUT in the node tree or use CST for colour management. Anyway, thanks!
@@RedFrameTech I finally got around to doing my own tests and you're right, Prores definitely has more contrast and saturation. Weirdly H264 internally does not have this and looks more like the BRAW clips. Very strange. I'll be posting my tests soon.
@@jonpaultucker Great to hear you did your own testing. I love it when people do that and get back to me with the results.Interesting what you found with H264 internally. Haven't tested that myself. Looking forward to your video (just subbed).
With Braw recorded externally instead of using ISO one uses the Exposure slider. 1 stop of +/- exposure should be the equivalent of 1 stop of similar ISO adjustment.
The atomos ninja V+ does support 4k 120? And great video btw. My father has the GH6 but I’m still happy with my GH5 and a Atomos Ninja V. Prores422 just works amazingly. And never having to deal with small SD cards again is great.
The Ninja V+ does indeed support 120p, but as a RAW signal. Not a video signal, which is what the update added to the GH6. GH5 is still a great camera for sure!
Thanks Luke! And yes, I did apply my G9 to GH6 LUT. In fact, I apply that LUT to almost any footage shot with the G9. It's not perfect, but gets it quite close. How do you like it so far?
Let’s throw a wrench into this. Have you tested the 1080p (assuming it does) as a point of comparison vs 4k and is there an improvement in terms of rolling shutter?
Interesting episode. I'm confused why there would be a LUT box when converting BRAW. Did it make any difference to grading? I was under the illusion that BRAW and ProRes HQ would be virtually indistinguishable from each other when put into Resolve for grading. But for me this is all hypothetical as I can't play with RAW. Well I can but I'd have to ditch Resolve and that ain't happening. I have another suggestion that may or may not give different results, going off what I've learned from Darren Mostyn's tutorials. Maybe you could use two Colour Space Transform nodes at each end of your Node Tree. The first node before Noise Reduction would be a CST into Davinci Wide Gamut and the second node, near the end but not quite would be a CST going from Davinci Wide Gamut inot Rec 709. Something else Darren does is put a Dehancer node after the second CST so that it is working in a Rec 709 colour space. From what I've learned from your very informative episode and from looking at Gerald Undone, I think for me and the quality of my work ProRes HQ is more than enough and quite possibly over-kill. However if I had a Big-Boy camera like your Ursa, then I'd be an idiot NOT to use a RAW codec. But for a hobbyist with a prosumer camera, ProRes HQ is a fantastic codec. I'd dare say that in a Blind Test, you'd be hard pressed to spot an Ursa camera against our GH6 or even your S5ii. Great episode. I did giggle when you said "Bummer"🤣🤣
Hi Frank. Thanks! Yeah, I'm not the expert when it comes to RAW and will do some more testing and trying. Your suggestion is something I'll try. I would put Dehancer after the second CST, but the node tree you see in this video is my default node tree that I use when in Davinci Resolve Color Managed. I'll have to make a new node tree for using CSTs. Btw, I don't own the Ursa Mini. It's my cousin's. I work with him on jobs and that's how I get to use that camera and footage. But he mostly shoots in ProRes, although that might change now that I can also shoot BRAW with the GH6. Should be easier to match the two. Honestly, I normally don't even shoot in ProResHQ. I usually stick with ProResLT, which has great quality and manageable file sizes. As for the word 'bummer': that's what happen when you don't script a video and English is not your native language 🤣
@@RedFrameTech Maybe if you swap the S5 with the Ursa, your cousin might not notice? As for ProRes, you don’t see any difference between HQ and LT when filming and editing? If that’s the case then I can save a shed load of storage by recording in ProRes LT. Cheers 😀
@@frankinblackpool He probably wouldn't, haha. I can see a difference between HQ and LT. But for me LT is more then enough most of the time and saves me a lot of storage. For editing it doesn't make any difference. Both playback smoothly (at least on my system).
@@RedFrameTech Braw alows for a non destructive LUT to be kept with the BRAW files, and it is linked(referenced) in the sidecar. I've not personally done this my self, but one is supposed to keep the LUT with the footage, select it from the Braw LUT choice selector, and I believe on the tripple dot pull down menu for the raw tab there is an option to write the information to the sidecar. From that point forward whenever the footage loads the LUT will automatically apply as part of the footage workflow.
Im way to invested in atomos prores raw w fcp.great 🎉and great to know. I like to try out cards too😮Im afraid to update my s5iix as iam using a v60 1 Tb sabrent dual card memory and working just fine w all supported codecs even upto 600 bit on s5iix. Intresting enough Last year i was using angelbird 4tb Cf Express in my gh6 until i updated wich would cause capacity error and make my card useless 800us dollar mistake.Angelbird was a lot of help but panisonic not so much being listed capacity in the manual. Verry impressive processing on 16 ram on mac. much to talk about..Thank You
Yeah, if you work with FCP I can totally understand your invested into ProRes RAW! Strange thing you had the CFExpress card.. Have you told Panasonic about this issue?
@@RedFrameTech yes they are aware and informed me about their capacity specs then ghosted. Angelbird had no problem making it right even though there was no prob w the card.it was the 2.0 update. Thanks for inquirin
I shot everything in 25p. Also in 5.8K to the sd card. I have yet to test higher frame rates. I will probably do a follow up video with some more tests. Thanks for watching!
@@RedFrameTech That makes sense. 3:1 is probably in the 500 MB/s range. I wish BM would add a cfast card to the recorder or an integrated ssd drive like Atomos.
Commenting for engagement on awesome channel. For plebs prores seems to be sufficient and it works well with Apple computers. The colors on the BRaw videos though....
Hello. Forgive me if my English is not correct because of the translation software. I am using the BMPCC4K and 6K, and I also use the GH6 when needed. However, color matching is always a challenge, so I'm very excited about this new update that allows shooting in BRAW. However, I'm a bit concerned about whether the BRAW footage from the BMPCC4K and 6K will have similar colors, and this has left me uncertain about purchasing a video assist.
In my initial tests, it looks like colours are leaning more towards BM colours. But I have to do some further testing when I get my hands on my cousin’s Ursa Mini Pro. The translation is fine, by the way ;)
Hey man, thank you for making this vid Would there be any chance that you'd upload these clips? Would like to possible do some testing before dropping $700 on a monitor lmao
Unfortunately, I usually delete the original footage of my videos after it's posted (because of storage space). But I'll keep it in mind for the future. It's actually a good idea to make my test footage available :)
Hi. I shot with DR boost off, because my ND wasn’t strong enough. But I later tested it with DR boost on and it works the same as in non-raw. So yes, it does make a difference. Thanks for watching 🙂
Sorry, I checked my cable bracket and there is no part number on it. I also checked all of the original packaging from my GH6 and could not find a part number.
Hi, nice comparison! When i shoot with the BMPCC 4K, I don't question myself, I always shoot BRAW. Because it's available internally and so flexible, even the file size is bigger than other codecs, it's my preferred solution. With the GH6, as you said the internal recording is already very nice, for me, I think it will come a decision base on what kit I can shoof with. If I can use the VA recorder, I'll shoot BRAW for sure. About the VA recorder, I'm sure BM will update their recorders to work with the 120P video signal...but we don't when.
I can see why you’d shoot BRAW whenever you can. For me the consideration is whether it’s worth it for me to invest in a black magic video assist. It’s a pricey recorder and I’m not sure how often I’ll shoot BRAW for client work. I’d shoot BRAW for my personal stuff, but then the Video Assist is too much of an investment I think. And like you said, internal recording gives good results already.
I am asking myself if it's not a better deal to invest in a atomos ninja V. It's 2 times cheaper than the BM VA, you can transform the prores raw in cinema dng and still grade your footage in Davinci. @@RedFrameTech
@@RedFrameTech I did not see any difference between H265 and ProRes. No extra latitude in color grading no matter of bitrate, even 1.9 Gbps :/ Tried a lot of tests in pair with my Zcam S6 and Zcam a lot better. Also natural profiles performance (noise levels) are identical to $300 G7. That means that camera has worse performance than GH5s I think they just chosed the wrong sensor for this camera.
I currently shoot prores raw with the atomos ninja V+, but i would much prefer to shoot in braw for many reasons. Do I need to buy the video assist 12G or is there any other way to record BRAW?
As far as I know, the video assist 12G is the only device that can record in BRAW. Hopefully we’ll see more devices in the future but, to be honest, I doubt we will..
I have to disagree. I think the functions are a great addition to an incredibly capable camera. Honestly, I don’t really understand the obsession with the ‘streaking issue’. I’ve only had it appear a handful of times in the many shoots I did. And those shots in which it appeared were underexposed.. So exposure makes a big difference. I wouldn’t use the camera professionally if it was an actual problem. It’s also something inherent to the type of sensor and not the only camera that has it. But if you’re bothered by it, it’s probably not the right camera for you. To each their own.
@@RedFrameTech Well I use the camera professionally too and since I started having Streaking, it's always there regardless of lighting, ISO, frame rate...It's a very serious problem that needs to be fixed and can be easily fixed in a firmware update
Not sure if it can be fixed in firmware. I’m not a camera engineer. Are you? You’re correct when you say it can be there regardless of ISO, frame rates and lights etc. But if you expose a shot properly you won’t encounter streaking very often. I mean, you can raise ISO, add light etc, but if the shot is still underexposed it’s more prone to streaking in my experience. And underexposing is bad practice anyway.. Also, having DR Boost turned on seems to make a positive difference to the streaking. But, you know, I’m not here to defend the GH6 or Panasonic 😅 So if it’s not the right camera for you, sell it and buy something else. Enough very capable cameras on the market
@@RedFrameTech nor am I here to argue anything, merely to speak my mind. I agree that exposing correctly is the biggest concern , but if you film things on the go, and to capture moments, more often than not you are adapting to the situation. In any of them, under, over, just right, i have streaking. It just shouldnt happen for such a good camera. Good video you did but i had to comment with my opinion, from my experience.
Thanks for sharing! I have heard that some copies have worse streaking than others. Not sure if that’s true though, but could explain the difference in our experience with the camera
@@RedFrameTech I am using the s5 and editing on resolve. The price of atomos is half the price of VA12g 5inch, Im not sure if id just transcode the pro res raw to cdng, or ill just suck it up and just get the VA, also both unlocks 6k30p on the s5. Please advice
@@Filmsimulation Honestly, it’s a tough decision. I like both recorders, but for different reasons. If I were in the position again to pick one or the other, I’d rent them both to get a feel of what I value most. I’ve only had the VA12G for about two weeks now and I’m a bit undecided on whether I prefer it over the Ninja V. But the ability do shoot Braw is a huge pro to the VM. I guess what I’m trying to say is; think about what’s most important to you and what you’re doing (and budget) and try both recorders before you buy one. I am planning on doing a comparison video, but I don’t know if you can wait that long 😅 Hope that helps.
@@RedFrameTech theres no much information for the s5, like the highlight recovery in your video, im not sure if its available for us s5 users, what I really need is to be able to shoot high bitrate files instead of h265/h264 max at 200mb. Pro res hq and raw then access to 6k is my goal and edit on resolve. Problem im my country, theres no rents
@@FilmsimulationThen I think a Ninja V would be the way to go for you. And then get RawConverter to convert ProRes raw to Cndg. It’s the most cost effective option to get what you need in my opinion
What do you mean? Between BRAW and ProRes? BRAW for more flexibility and highlight recovery. ProRes for ease of use and file size. I don’t think there’s a better one. It depends on what you need
Seriously. 95% of the people who bought the GH6 wants reliable auto focus. 95% people don't care about braw or prores raw. They are happily with ALL I codec. I don't want a terabytes storage for about 90 minutes video. Unless you love to spend money for all this unnecessary workflow.
Well, to each their own. If you don’t want to deal with braw, don’t use it 🤷 And if you want good (phase detect) autofocus, buy a different camera. It’s apparently not the right camera for you then. And the GH6’s contrast dfd autofocus system is never going to magically turn into PDAF.. Not everyone uses autofocus all the time, so no big deal for them (including myself). Thanks for watching!
Hoi Sebastiaan. Ik heb twee vragen over de gh6 buiten je topic van vandaag. Ik heb een gh5. Anamorphic desqueez op scherm ja, maar in post blijft nodig. Hoe zit dat bij de gh6. Verder, in low light heb ik niet zoveel aan de +/- knop. - lukt, + niet. Hoe zit dat bij de gh6? Dank voor je verdere verhelderende video’s, Frans
Oh, nabrander. Voor focus heb ik geen andere camera nodig. Ik doe AF, MF of MF icm AF zonder echte problemen. Alleen als ik niet goed let op licht en contrast kan het mis gaan. Tja, in dat geval is er knippen in post 😉. Maar goed, ik doe geen trouwpartijen😄. Frans
@@2kime Hoi Frans. Het antwoord op je eerste vraag is kort; anamorphic desqueeze is niet anders bij de GH6. Het is een functie, puur voor het monitoren van je beeld. Over low light; Als ik het zo lees, denk ik dat je filmt in één van de (semi-)automatische modi. Misschien auto-ISO? Klopt dit? Als je in volledig handmatig filmt doet de -/+ knop niets namelijk. Ik vermoed dat je een ISO limiet hebt ingesteld en dat je daarom met de + knop niets kunt in low-light. De ISO heeft dan waarschijnlijk zijn limiet al bereikt. Dit is bij de GH6 niet anders. Je kunt met de GH6 wel veel hogere ISO waarden gebruiken overigens, dus in low-light flink beter dan de GH5. Ik hoop dat dit je vraag beantwoord. Dankjewel voor het kijken! 🙂
@@2kime Ik film 90% in MF, ook op bruiloften. Maar veel van mijn kijkers gebruiken wel veel autofocus, dus besteed ik ook aandacht aan AF. Overigens vind ik het zelf ook erg leuk om dat allemaal te testen. Licht en contrast zijn inderdaad twee hele belangrijke factoren voor het goed werken van de AF 👍
Sure! It’s the Fulaim X5 wireless kit. I did a review on it and it’s my go to kit for my outdoor talking head videos. And it’s so cheap for what you get! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-s81KuCyqYhY.html Thanks for watching!
This is very very interesting, highly appreciate the tests, it would be interesting to try test ProRes Raw agains BRaw and see if the highlight recovery from Davinci makes a bigger difference than working in ProRes Raw, since it also has 12bit color information, wonder if it will show more “Dynamic Range”.
