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Assimilate Play Pro Studio, compatible with both macOS and Windows, is now able to convert ProRes RAW footage from any camera or recorder to CinemaDNG. Not only that, but you can use coupon code PPS50OFF to get 50% until the end of the month. That works out to $150.00 for a permanent license. Meanwhile, RAW... Continue Reading →
The whole S-Gamut3.Cine S-Gamut3 thingy is kind of a mess, at least when it concerns ProRes RAW. If you shoot XAVC internal and import the clips into Resolve, it doesn’t recognize the color space at all, at least not with our a7s III. And when recording ProRes RAW externally with the Ninja V, Final Cut... Continue Reading →
This is our very first video shot on a gimbal with ProRes RAW. To mount the Ninja V on the DJI RS 2, we used a SmallRig monitor mount. With the Sony 50mm f/1.2 GM, it's a fairly hefty combo. Graded in Final Cut Pro. https://youtu.be/AOOrn2IwHWk
https://youtu.be/if7IzD9tl4w Not a few of us have dreamed of being able to work with native ProRes RAW files in DaVinci Resolve, but realistically, it appears as though that’s not on the horizon. We'd been transcoding to ProRes 4444 with variable success for a while when it was announced last year that a Czech filmmaker by... Continue Reading →
The aggressive compression algorithms of streaming platforms destroy grain, which is why we don’t upload videos with grain to YouTube. Instead, we’re offering subscribers the opportunity to download clips, allowing you to view the picture as it was intended. We recommend throwing the movie on the timeline of your favorite NLE, setting the project to... Continue Reading →
We're not gonna lie - it's great to be able to just hook up the SSD from the Ninja V and start grading the RAW files immediately in Final Cut Pro with no transcoding. Apart from using it to white balance our shots, we've ditched the bad old ColorChecker altogether. Color charts are made for... Continue Reading →
We've written extensively about the benefits of shooting RAW but once you've picked up your Ninja V, you might still be wondering which color space to use. For HDR acquisition, we recommend: Format ProRes RAW HQ or ProRes RAW Quantization 16-bit linear OETF S-Log3 Color Space S-Gamut3 or S-Gamut3.cine Dolby writes, "Where content is going... Continue Reading →
Readers are encouraged to check out our greatly expanded blog post outlining the many advantages of shooting RAW.
Both clips were shot at base ISO 640. The internal codec was XAVC S-I S-Log3/S-Gamut3, the external was ProRes RAW HQ via the Atomos Ninja V which was then transcoded to ProRes 4444 in Apple Compressor. Sony a7s III in-camera noise processing is splotchy and enlargement reveals unsightly banding artifacts, whereas the externally recorded footage... Continue Reading →
We added sharpening to the XAVC S-I clip just to make it a little more challenging. Can you tell which is which? https://youtu.be/LvywZXFZkFA Sony a7s III XAVC S-I internal noise processing is splotchy and exhibits banding artifacts. ProRes 4444 noise reduction in post. Settings: Temporal - Faster - Medium -Luma 2 - Chroma 2. Noise... Continue Reading →
ProRes RAW HQ transcoded to ProRes 4444 is brighter, less green, has greater contrast, increased saturation and significantly higher resolution than the internally recorded S-Log3/S-Gamut3 XAVC S-I codec. Below are screenshots of the HDR footage dropped onto a rec. 709 timeline with a custom curve added to preserve highlight detail and a hue adjustment to... Continue Reading →
Get yours here. https://youtu.be/0Zt8LYD7GRs
With the new M1 Macs, transcoding to ProRes 4444 from ProRes RAW is blazing fast in Compressor and it's visually lossless to boot. https://youtu.be/wVZm9fmp4Kw
Download 4.2K 23.976 ProRes RAW HQ. https://youtu.be/kcdZGA7LW44
We’ll let you in on a little secret: being able to record RAW internally is all well and good, aside from the fact that XQD and CFexpress Type B cards cost a king's ransom compared to SSD and the Nikon LCD is all but useless for HDR - making an Atomos recorder a vastly superior... Continue Reading →
ProRes RAW HQ 4.2K 24p HDR footage for download. https://youtu.be/CwajLXYxmGE Ninja V waveform monitor Ninja V false color Downward curve applied to ETTR clips Color correction using X-Rite ColorChecker, Hue vs. Hue and vectorscope Skin tone line on vectorscope
While the future of ProRes RAW looks perfectly secure, regrettably, the same cannot be said for Blackmagic RAW. Concerning which, in his review of the Sigma fp L, Gerald Undone reports that the "4K image recorded over HDMI RAW is a soft, artifacty, aliased mess, and doesn't look anywhere near as good as the CinemaDNG... Continue Reading →
For HDR projects, steer clear of recording XAVC S-I 4:2:2 internal if at all possible. Art Adams explains: "The Y’CbCr encoding model is popular because it conceals subsampling artifacts vastly better than does RGB encoding. Sadly, while Y’CbCr works well in Rec 709, it doesn’t work very well for HDR. Because the Y’CbCr values are created... Continue Reading →
The Daejeon Chronicles 