I was just thinking this exact thought! People have no clue how much time and effort something like this video takes with the animation and flow of it all. There is no template for this. Well done!
Dude I'm like 10 minutes into this video and I love your work man no homo. This is an excellent way to narrate and example things. The animations and transitions quality is unmatched. I hope your channel gets the growth it deserves. Well done
@@THEDPJOURNEY I hope you get to see this. So I am interested in adopting PRORES RAW and I am a FCPX user.. My questions are (1) On the Atomos website Fujifilm XH2S output is labelled as 10BIT. There is no written indication of 12BIT PRORES RAW but the 8K Fujifilm XH2 has PRORES RAW 12BIT written in the Product Specification. I am a litttle confused if the XH2S is outputting true 12bit Raw Signal. Or if its a mistake in writing by Atomos
This is so spot on and crunched down to the basic informations - just brilliant. Usually its not enough for technicians to understand their stuff if they're going to publish on YT. They need to have additional profund understanding on how to transport that knowledge to their audience. Thats where didactics comes into play. And thats where you shine and not only through technical skills, but especially through teaching/lecturing skills. Again, my compliments, excellent content 👍 Thanks for sharing. Can't wait to watch episode 3.
THABK YOU so much for this awesome comment and kind support. Really happy you found this easy to assimilate. It is indeed hard to simplify technicalities and explain them in a simple way
This is the best explanation that I've seen. I'm a beginner and I have fallen into the trap of getting stuff that was way over my head; other times I waste money on cheaper stuff that becomes useless as I learn more. This really give me an idea of where ProRes and ProRes Raw fall on the spectrum.
Really happy to be able to help. Yeah we all fell in this mistake. But every tool helps after all. It’s about how you use it. But at the same time you don’t need every tool out there to shoot film ;)
Bro, I once stumpled across your videos and was blown away by the quality of information and also the quality of animations etc. is absolutely INSANE!!!! As a BRAW user this video is soooooo enjoyable! Thanks so much! Double subbed!!!
Great overview! I would love to see more of the exposure and white balance adjustment tests you did; especially compared to similar corrections in BRAW and ProRes HQ.
As always I appreciate the effort you put into these videos. The numbers don't lie, making it worth the effort. I now have a better understanding of RAW and ProRes Raw 👌👌
Thank you so much for such an authoritative and clear explanation of ProRes Raw workflows. I somehow missed these videos when you released them but things have changed even since then. I am a Nikon Z6 user but I got an awful lot from these videos. I will make sure I don't miss any more. ProRes Raw is still very new and changing fast so it is hard to know what to trust. You are spot on. Thank you again.
My absolute pleasure Michael, glad you liked it. There’s a lot to unpack about the prores. I still have another couple of updates coming soon. So stay tuned
@@THEDPJOURNEY that’s awesome please do a new version for 2021 !! Being Komodo on a affordable price range to a larger crowd , I assume including myself people are now in need of this updated information 👍
You deserve so many more subscribers on your channel - amazing sense of detail, edit in your videos and deep knowledge - your at a level where your content is better than content you’d normally pay for🙏🏼
Great video. Having worked with Braw in Resolve, I totally agree ProRes Raw is still lacking. Hoping Fcpx 10.5 addresses these issues (along with tons of other ones).
Holy moly, man! You're videos are fantastic! You actually go into true technical detail, with great comparisons and visualizations, no blabbering, just QUALITY content! Thank you!
Awesome reviews!! Specially this one (2). Hoping fot that part 3. And I think it would be interesting to focus on comparing deeply ProResRAW with BRAW, since both are in the same market price. Arri and Red are more known and in another league in terms of price and RAW advance behavior as real boosting the ISO without clipping the whites so fast as cheaper RAWs new formats Thank you for your generous sharing!
You put an incredible amount of effort into these videos and thank you so much! As an S1H/Ninja V owner I really hope that ProRes RAW includes the ability to change WB/ISO in the future. If it's all in the metadeta then it should be possible. Until then I will just think of it as shooting ProRes4444 with some extra work!
Actually I don't have anymore popcorn because I binge the episodes. Please keep them as long. Very good quality stuff
4 года назад
The DP Journey that’s definitely not too long imho with so much informations packed into it. May be a tiny bit too fast, but we can slow down the video so... no issues here ! Amazing work, animations must have taken a lot of time to achieve !
Two videos I was waiting for. It was more than worth the wait. Many thanks for these two valuable videos. You saved me from some disappointment and cleared up my expectations.
@@THEDPJOURNEY Oh, no. I didn't mean to criticize your production speed. Good videos take time, and yours deserve to be waited for, given how quickly I consumed those two. For me, part two brought the most clarification on the ProRes Raw. I already decided that I will go for the S1H, rather than the BM. Regarding Raw, I didn't know that ISO and white balance corrections won't be possible for now. This helps a lot to decide whether I need the Ninja V from the beginning on or not.
Great explanation of the subject matter, Sherif, both visually and verbally! I’m eyeing the “RAW over HDMI” story since Atomos’ support announcement for Z6. “RAW” is not a standard, but a mere adjective everyone is entitled to interpret a way they choose. Video industry marketing departments don’t mind boosting sales figures with a help of a vague and desirable file type or codec with raw properties. Many coming into cinema from a stills digital photography world recognize RAW format first and foremost as an undebayered image file. Anyway, in short, no company involved into “RAW over HDMI” used “undebayered” term to describe their raw signal. I asked Nikon customer service to clarify the raw signal output and got a reply stating that Z6 outputs a 12-bit YCbCr stream, without any processing or compression to Ninja V. It’s great there is an option to output a 12-bit video that is encoded by Ninja V into ProRes RAW container, no doubt. I sincerely wish to all involved into making these products successful sales figures and customer satisfaction. And customers may wish to stay vigilant and try to understand their needs, requirements and terminology to make sound choices in the sea of complicated gadgets. Sherif, I’d like to see your take on file malleability in FCP comparing 5.9K ProRes RAW vs 5.9K ProRes 422 HQ vs internal 5.9K HEVC. They should have identical DR. I’m curious if there is indeed more color information in RAW to play with. BTW, ruclips.net/video/LlkiPWCUhik/видео.html : There is no need for a beefy MacPro to handle ARRIRAW. A PC based on an i7-3770 CPU and RTX 2060 or Vega 64 GPU can handle ARRIRAW real-time playback on a UHD timeline with several color correcting nodes applied in DaVinci Resolve 16.
Hey buddy, thanks for the comment, yeah I agree that RAW is after all a marketing term that attracts a lot of people. It's the new "Trend" or "Catch word". About the comparison, DR as mentioned is fixed and identical in all internal, ProRes 422 HQ and ProRes RAW. There's not ProRes 422 5.9 by the way. Only 4K. And about color, also as I mentioned here: ruclips.net/video/LlkiPWCUhik/видео.html you just have more color nuances, more accurate color capture... but not more "colors". Arri Raw, was giving me issues rendering honestly, but yeah maybe the computer was not properly configured. Thanks again buddy
Hmmm interesting, thank you for providing honest expectations for this setup. The “Raw” in the name without wb or iso control is very weird and something I did not know. I’m glad they chose you to test the this combo because I knew you were coming with the cold hard facts after the experience without any fluff.
Fantastic video. Great use of graphics. Thanks for providing a comparison to the big boy cameras. I thought I might have been missing something in my video settings because video RAW (compared to log) is not as dramatic an improvement as stills RAW was (compared to jpg). It does seem to be the 12-bit depth of RAW that provides a noticeable improvement over log. Also thanks for clarifying that ProRes RAW is an acquisition format.
Awesome and detailed series! Thumbs up. One question since you seem a seasoned guy: any recommendations regarding a video management software. So not editing but something like Lightroom but for videos. Seems there is nothing???
Brilliant work again! I feared the true RAW flexibility would be missing, I do hope they pass that data through to NLE's so we can change white balance & ISO in post. Quite literally my favourite feature when shooting RED...Besides the incredible dynamic range. Looking forward to seeing more!
@@THEDPJOURNEY I posted your video on the Sony FX-9 Facebook Group. A couple of the guys disagree with you regarding not being able to adjust WB and ISO with ProRes RAW...
According to Apple's Prores RAW white paper, the reason Prores RAW comes in at smaller bitrates than standard Prores is that Prores encodes RGB pixels whereas Prores RAW simply deals with photosites, therefore removing 2/3 of the data right out of the box relative to 444.
This is so in-depth and answered so many questions that actually saved me a lot of money. Thanks so much for all your work and details you put into this. Thanks so much.
Kudos on such a great experience for the rest of us. You outline all salient points and discuss them with authority. Your manner of delivery and knowledge of the subject is unquestionably why so many others have praised you. I too will be subscribing to your RUclips page and follow with great interest your other evaluations. Cheers my friend … Mark.
Thank you so much Mark for the most eloquent and flattering words that humbled me and most of all made me want to produce a lot more of such episodes. Glad to have you onboard and would surely love to see you in my upcoming episodes
I did not know ProRes Raw does not allow white balance adjustment, or ISO. Hopefully Apple will change that in a future update. I’ve been more cameras would adopt BlackMagic Raw; it just works like butter. Thanks so much for your research and testing and this incredible video; it truly is “Mega!”
Thank yo so much for the support. yeah the hype has created all those misleading narratives that gave us the impression that you have that WB control... that's why i wanted to clarify things honestly.
The DP Journey Thank you for clarifying this. My ultimate fantasy is to have BlackMagic Raw on every camera! The Fuji XT4 or ZCam S6, with those MK zooms! Or ZCam F6! If you have to pay fees to use ProRes, but no fees to use BRaw, it seems like a no-brainer. Thank you again!
Yeah i know... but being "real" raw or not doesnt reeally matter if the result surpasses that theoratical limitation.As a DP, I honestly judge by the result. The only drawback I can see from the partial debyaer in BM is the incamera denoise. Which is something I'm willing to accept honestly in return of all other benefits. Till the day comes and full RAW control comes to ProRes RAW at least
@@THEDPJOURNEY Yeah I totally understand, don’t forget that the Raw principle is to record without modifying image sensors data for the future-proofing files. Regarding ISO on post-prod, this is a miss conception, it doesn’t really exist. Because this is simply middle grey color shifting with White Balancing, based on theoretical DR of the Codec, not of the sensor metadata. It's like have a color wheel gain with different lvl of white balance, but this is not the real gain of the sensor output. Apple prores RAW has all of this but FCPX uses an obsolete way to use it. In this regard, you're right Apple needs to put in FCPX, the modern ways to plays with all this metadata
This Panasonic S1H is a beast no question. I use G9 that is also great but this is different, and how wise that they put active cooling into it..now we see what happens if a company does not take heat seriously...
EXCELLENT video and breakdown sir and very unbiased opinion (especially for someone who Panasonic reached out to which is awesome). What do you think the odds are the Panasonic + Atomos would work with Blackmagic to get BRAW? I work exclusively in Davinci Resolve on Windows so this option would be out for me anyway
Thanks Rob for the kind words... I think the odds of having BRAW on S1H are pretty slim anytime int he near future. if you're exclusive to Davinci, then BM would be the best format. but not necessarily the best camera. So it all depends on your type of work after all
@@THEDPJOURNEY Thank you sir! Good to know. I'm considering the BM6k but am waiting to hear the specs on what the GH6 will be (since I currently use the GH5). Crossing my fingers for some good stuff! May not get some type of RAW but I've heard some good rumors anyway ;)
There's a new feature on RUclips. Add your timestamps to your video description. Be sure to use "0:00" timestamp. If you did that, there would be sections in your video with corresponding text. A very nice feature :)
@@THEDPJOURNEY You are missing "0:00" timestamp. You can write something like "0:00 Introduction" in your description. Not sure if this feature is available on your channel, but I think it should be :) You will see what I mean when you do it.
that's really awesome to hear Florian, really appreciate your support and glad it clarified things for you. Join us to the webinar if you have more questions: www.bhphotovideo.com/find/eventDetails.jsp/id/3487
One question I have in mind when watching your videos is: Are you editing all the motion graphics and post production stuff by yourself and do you use Final Cut for it also or AE? Because it´s sooo much stuff going on in a 20 Minute tutorial and my After Effects timeline would grow to like 300 layers at least which is pretty overwhelming haha
Yeah I get asked that a lot hahaha , I use Keynote to do those animations. And yes it takes a long time to actually put this all together. Really Happy you appreciate the amount of effort that goes into these videos. I try to fill in the gap with educational content that is easy to assimilate by using those animations. Thanks again for your comments
Wow you've clearly put so much work in these videos! Thanks for all the clear info, such a shame they haven't added the possibility to adjust ISO and WB. :(
Amazing! I am a photographer and for me, "RAW" means a raw-data from a camera without "a start point" in white balance, at least! And Nikon and Sony cameras provide us a feature - increase ISO in post (LR or Capture One). ProRes Raw might be called anything but not "RAW" definitely! It is really misleading people. Thanks for the video. It is very useful to know this before buying a camera with ProRes RAW!
Thanks buddy for the compliments. yeah i felt the hype out there was a bit misleading. I understand that WB and ISO could appear in future updates, but they kept on hammering flexibility knowing that those features are the main flexibility points that RAW offers us. let's see, hopefully things will change soon enough
See therein lies the catch. Its not technically misleading since there's no standardization for RAW. However, there are specific expectations and ISO and White balance adjustments are at the top.
Exceptional effort , and presentation. THANK YOU for doing your thing !!! My only complain is the the luck of EMPHASIS in the inability of ProresRAW to let you control the Metadata. This is what is RAW all about. (same thing as in photos .... absolute control of the metadata) I truely feel like ProresRAW is an advanced TIFF format of codec (with exceptional compression) , in the photographic terminology. I see that you are trying to scratch the surface after 14.00 ..... but there is a lot more , missing .... from both your video as well as this codec. (particularly the codec) Especially the "ISO adjustement" is a feature of humongous importance , for LIVE event shooters. It is a total dealbreaker , for me , using Prores RAW ...... and it shouldn't even be compared to BRAW , or RED Raw ... or even ARRI Raw. Last but not least there is the feature of recovering Highlights & Shadows. I wanted to hear more .... about this issue. I think ProRes RAW does not keep the information , the way the other codecs do ...... Not to mention that it forbids you to control this information as well (unless you do it the old fashion way , which i feel is NOT the proper way to do it , missing all the critical information , like the sweet highlights' rolloff etc) IMHO , Apple is taking advantage of the unprocessed NOISE thingy in order to baptize the whole codec as "RAW" and use it (deliberately) to draw "false" attention (attention with zero TRUE significance) to the global market of Cinematography.
I like the Analogy of ProRes RAW being like the TIF format of video. It pretty much is that for now. Again it’s a nice step from “JPG”... but as it is now, even when they say it’s “RAW”, it doesn’t act like one... and it doesn’t have the Flexibility we expect from RAW. So till they open metadata based controls for us, this format is as I mentioned is just another prores 444 (without alpha channel) and with no camera corrections.
I exclusively use DaVinci Resolve on a PC. Speaking codecs only. Would you say that, aside from the rigging needs nightmare, it makes more sense to go with the BMPCC6K since the 12bit BRAW experience is more of a true RAW video editing experience/workflow? At half the cost I can easily see what makes Black Magic Design so compelling. Plus giving away Resolve (I have the paid version already) it just seems to make the BMPCC6K an almost no brainier. An SSD is a lot cheaper than a NINJA V. I want the S1H, but now that Pro Res Raw is so limited and not supported in DaVinci Resolve... Thinking that the Pocket 6k may be it for me
@@THEDPJOURNEY For me, the S1H vs BMPCC6K comes down to full-frame vs BRAW. I think as more DPs move towards larger sensors, the super 35 sensors will look more and more low-budget compared to full-frame with its shallower depth of field. To me, a larger sensor is more noticeable as "cinematic" than better RAW. I have two Ursa mini pros and an a7iii rented from my school right now, and I find that the only thing making me use the Ursas more often is the speed of BRAW in editing. Otherwise, I like the look of full-frame hlg3, but banding is a big issue for it. I'm saving up for my own S1H right now, and while the BMPCC6K is compelling, especially at half the price, a full-frame sensor is more noticeable by clients and viewers as "cinematic".
@@nathangoswick8175 Shallow DOF isn't necessarily a "cinematic" thing. DOF is a creative choice that you have to make in order to tell a story. It is good to have the FF look in your arsenal, but that doesn't mean you should blur everything out all the time. In my opinion a video looks cinematic by use of proper lighting, good framing, and proper post processing and grading, something that helps tell the story and complement the mood of the scene. But if your clients want the FF look, there's really nothing you can do but accept it. Same thing is true with aspect ratio. People think a having a 2.39 aspect is cinematic, but aspect ratio is another tool that helps you tell the story, and 2.39 isn't always the best choice.
@@rishiraz1993 I definitely agree, the least important equipment you have on a shoot is the camera you're using. Lenses, audio, lighting, and story are all above that, but if we're talking solely about the camera, a few things help get that look more easily. High dynamic range, at least 10-bit, Shallow DOF (especially when using ND filters outside) are all in-camera specs that lend themselves to the look. Another thing is that getting shallow DOF with FF is cheaper and easier. I'm borrowing a Canon CN-E lens set as well, so on super-35 they are so shallow it doesn't make much of a difference, but if I want to buy a more reasonable 85 f-1.8 dslr lens for FF instead of an expensive cine 85 T-1.3 to put on s-35, it would cost at least 1/2 the price. Another thing is that I recently did a photo shoot for a friend who wanted to mimic the look of Once Upon a Time in Hollywood and Mad Men, so I shot with the 85 T-1.3 on FF and did some panoramas (plus using lights, picking locations, and outfits). That is what made me realize that mimicking larger sensors with panoramas gives a much "larger" and more professional look than just a single FF or S-35 photo. Translating that to film, since I am a filmmaker first, I realized using a larger sensor is more visually striking than codecs. That's why my dream with the S1H is to figure out how to shoot open gate anamorphic to get the biggest feeling possible, with or without RAW.
@@nathangoswick8175 The camera can help in making your acquisition a lot easier. The more advance it is the less work you have to do to compensate for its limitations.
Man this is the very best educational video I might ever seen on YT... amazing work you put into this I know it is hard work and it shows. And as a photographer part time videographer how shoots photos exclusively in RAW format but never video I thought that video RAW is the same as in photography and now I know it is just NOT. Very sad. I would go as far as that it makes not much sense at all a normal compressed workflow with LUT might just makes more sense. very interested about BRAW and how different is that!!!
Great stuff. My one push back though is that B-Raw isn't a true raw. There's a fair amount of processing happening in camera which is how they got around some patents and also explains why, despite BMD's claim that its open source, we haven't and likely won't see the codec adopted by another manufacturer.
Really enjoyed the video and help me realise that raw is not for me and getting the GH5S to use with my Atomos Ninja V with ProRes HQ is all I need. Thanks again .
I just wanted to say this is insane quality! Loved all of the animations. You are a wizard sir.
Thanks for the awesome words! Glad you liked it
I was just thinking this exact thought! People have no clue how much time and effort something like this video takes with the animation and flow of it all. There is no template for this. Well done!
Thanks Jason your support. It makes it all worth it when I see other peers appreciate the effort that goes into it. Thanks again
I tried very hard to find the right words to describe how good, educative and informative your presentation is but couldn't, so I give up!
Makes 2 of us... couldnt find the words to express how grateful and humbled I am to such awesome comment!!! Thanks Kayode
Dude I'm like 10 minutes into this video and I love your work man no homo. This is an excellent way to narrate and example things. The animations and transitions quality is unmatched. I hope your channel gets the growth it deserves. Well done
Thanks again buddy!! Really great to hear this and I'm sure with awesome people like you , the channel will grow bigger. Thanks again
Lol why you said no homo, what did you say that was HOMO ?
@@THEDPJOURNEY I hope you get to see this. So I am interested in adopting PRORES RAW and I am a FCPX user.. My questions are (1) On the Atomos website Fujifilm XH2S output is labelled as 10BIT. There is no written indication of 12BIT PRORES RAW but the 8K Fujifilm XH2 has PRORES RAW 12BIT written in the Product Specification. I am a litttle confused if the XH2S is outputting true 12bit Raw Signal. Or if its a mistake in writing by Atomos
I loved the content and professionalism! You are now my goto guy. Thanks
Awesome to hear Stacy! Glad to have you onboard
V.nic..hope to see more..👍🏼
Now this is a content I wish I'd seen more on youtube! Brilliant work!
Thanks a lot buddy!
Again Sherif, really exceptional presentation here on all things ‘RAW’. You’re killing it with this channel.
Really appreciate it buddy again. Always happy to hear from you
This is so spot on and crunched down to the basic informations - just brilliant.
Usually its not enough for technicians to understand their stuff if they're going to publish on YT. They need to have additional profund understanding on how to transport that knowledge to their audience. Thats where didactics comes into play. And thats where you shine and not only through technical skills, but especially through teaching/lecturing skills. Again, my compliments, excellent content 👍
Thanks for sharing. Can't wait to watch episode 3.
THABK YOU so much for this awesome comment and kind support. Really happy you found this easy to assimilate. It is indeed hard to simplify technicalities and explain them in a simple way
This is the best explanation that I've seen. I'm a beginner and I have fallen into the trap of getting stuff that was way over my head; other times I waste money on cheaper stuff that becomes useless as I learn more. This really give me an idea of where ProRes and ProRes Raw fall on the spectrum.
Really happy to be able to help. Yeah we all fell in this mistake. But every tool helps after all. It’s about how you use it. But at the same time you don’t need every tool out there to shoot film ;)
Bro, I once stumpled across your videos and was blown away by the quality of information and also the quality of animations etc. is absolutely INSANE!!!!
As a BRAW user this video is soooooo enjoyable!
Thanks so much! Double subbed!!!
Thanks LArs for the great compliments. Happy you enjoyed it, BM is a great camera as well. Cheers
It's just Apple ProRes PRO
man said it
well done
this is more informative than a month of online lectures!
Thanks buddy! Glad you found it informative
Danm This guy is a Pro... and this video so damn PRO.... OMG... thats the quality of video i wanna see everyday
Thank you so much for this AWESOME comment. With such words, now I wish I can publish a video everyday
Dude this is some QUALITY content. This kind of work is worthy of many more subscribers. I'm rooting for you.
Thank you so much for the compliments and for the awesome support.
Brilliant, impeccable content. BEST subscription decision i have ever made!
Super happy to have you onboard! See you in the next episode
SO HELPFUL! praying for sucess on this channel!
Mate. YOU ARE A LEGEND! Top Draw Video. Pro Res RAW turned my Solid State into a Floppy though
Thank you so much for the support!
Great overview! I would love to see more of the exposure and white balance adjustment tests you did; especially compared to similar corrections in BRAW and ProRes HQ.
I actually wnated to include those in the episode, but it'd inflate it beyond 30 min... but maybe I'll do something soon
you are a life saver DP, the questions you are asking and answering are the questions very difficult to find the answers of in youtube. Thank you
It's my absolute pleasure! Welcome aboard
Another awesome one. I wish there were more people who pay attention to details and quality of presentations like you!
I appreciate that!
Wow, the effort to make this video is truly appreciated. Thanks for your hard work.
Really appreciate your support. Glad you enjoyed it
As always I appreciate the effort you put into these videos. The numbers don't lie, making it worth the effort. I now have a better understanding of RAW and ProRes Raw 👌👌
Thanks buddy!! Hope you're doing well and safe.
Your channel & your work --> top notch. Thanks for this awesome in-depth tutorial. Would be very interesting to see a similar deep dive into BRAW.
Thanks Oren, was in fact planning to work on that soon... stay tuned
This is the best channel there is for Filmmakers! AWESOME!
And this is best comment ever!!
Appreciate the breakdown of the RAW format. Learned so much. Thanks!!
Finally someone talks real deal and not ez-pz "shoot - drop LUT" fashion. Subscribed! Thanks a lot!
Hahaha... thanks Tom, really appreciate it
Great info and incredible animations throughout the video. Very well done. Nice work!
Glad you enjoyed it!
Thank you so much for such an authoritative and clear explanation of ProRes Raw workflows. I somehow missed these videos when you released them but things have changed even since then. I am a Nikon Z6 user but I got an awful lot from these videos. I will make sure I don't miss any more. ProRes Raw is still very new and changing fast so it is hard to know what to trust. You are spot on. Thank you again.
My absolute pleasure Michael, glad you liked it. There’s a lot to unpack about the prores. I still have another couple of updates coming soon. So stay tuned
@@THEDPJOURNEY that’s awesome please do a new version for 2021 !! Being Komodo on a affordable price range to a larger crowd , I assume including myself people are now in need of this updated information 👍
You deserve so many more subscribers on your channel - amazing sense of detail, edit in your videos and deep knowledge - your at a level where your content is better than content you’d normally pay for🙏🏼
THANK YOU so much Morten for these amazing words of support! Really appreciate it and very happy you like my content
Seriously, you are a master at this type of instructional video. The graphics, and accuracy of the content is spectacular!
Top Notch explanation, xtremely accurate info and your graphics man! astonishing classic look, clear, precise. Congrats!
Thanks Arturo! You're awesome
Excellent clean up with some major misunderstandings about ProRes Raw! Many thanks!
Glad it was helpful!
Great video. Having worked with Braw in Resolve, I totally agree ProRes Raw is still lacking. Hoping Fcpx 10.5 addresses these issues (along with tons of other ones).
Crossing our fingers
Holy moly, man! You're videos are fantastic! You actually go into true technical detail, with great comparisons and visualizations, no blabbering, just QUALITY content! Thank you!
Awesome reviews!! Specially this one (2).
Hoping fot that part 3. And I think it would be interesting to focus on comparing deeply ProResRAW with BRAW, since both are in the same market price. Arri and Red are more known and in another league in terms of price and RAW advance behavior as real boosting the ISO without clipping the whites so fast as cheaper RAWs new formats
Thank you for your generous sharing!
Thanks Gabo. Yeah I'm working on the 3rd video. I wanted to compare both in a separate video. Stay tuned
this is good, definitely helping filmmakers all over.
Thanks for this :D
Happy to help!
Great video. Nice to see we can now change ISO and WB in post in FCP 👌
Yeah that was a great addition
Woo well simplified. Years of understanding packed in short video. You are a genius
One of the best RUclips channels for film makers. Thank you, DP Journey!
it's truly my pleasure
UPDATE: White Balance in ProRes RAW is now adjustable in Final Cut Pro 💪
You put an incredible amount of effort into these videos and thank you so much! As an S1H/Ninja V owner I really hope that ProRes RAW includes the ability to change WB/ISO in the future. If it's all in the metadeta then it should be possible. Until then I will just think of it as shooting ProRes4444 with some extra work!
Exactly what I feel! "till then" is what I'm hoping to happen soon
Did it happen? Did they update this?
Any update?
@@UziMovie white balance and iso can both be changed in Final Cut Pro! So it's full on RAW
thank you so much for uploading part2 along the part 1. Classy moove
Hahaha... I know my episodes are SOOO LONG... believe it or not, I have a lot more to say, but I was concerned about the Popcorn! Hahaha
Actually I don't have anymore popcorn because I binge the episodes. Please keep them as long. Very good quality stuff
The DP Journey that’s definitely not too long imho with so much informations packed into it. May be a tiny bit too fast, but we can slow down the video so... no issues here ! Amazing work, animations must have taken a lot of time to achieve !
Fantastic work!
Thank you! Cheers!
Two videos I was waiting for. It was more than worth the wait. Many thanks for these two valuable videos. You saved me from some disappointment and cleared up my expectations.
Hahaha... yeah I’m a bit slow at posting. I wonder which parts clarified things?
@@THEDPJOURNEY Oh, no. I didn't mean to criticize your production speed. Good videos take time, and yours deserve to be waited for, given how quickly I consumed those two.
For me, part two brought the most clarification on the ProRes Raw. I already decided that I will go for the S1H, rather than the BM. Regarding Raw, I didn't know that ISO and white balance corrections won't be possible for now. This helps a lot to decide whether I need the Ninja V from the beginning on or not.
I HAVE NEVER EVER EVER Read so many positive comments on YT on the same video. Thanks for the video, great info and explanations!
Glad it was helpful! Thanks again
Great video! Thank you. I’ll watch your newer version of this next.
Very thorough and informative video and great presentation!! 👌🏼
Great explanation of the subject matter, Sherif, both visually and verbally!
I’m eyeing the “RAW over HDMI” story since Atomos’ support announcement for Z6.
“RAW” is not a standard, but a mere adjective everyone is entitled to interpret a way they choose. Video industry marketing departments don’t mind boosting sales figures with a help of a vague and desirable file type or codec with raw properties. Many coming into cinema from a stills digital photography world recognize RAW format first and foremost as an undebayered image file. Anyway, in short, no company involved into “RAW over HDMI” used “undebayered” term to describe their raw signal.
I asked Nikon customer service to clarify the raw signal output and got a reply stating that Z6 outputs a 12-bit YCbCr stream, without any processing or compression to Ninja V.
It’s great there is an option to output a 12-bit video that is encoded by Ninja V into ProRes RAW container, no doubt. I sincerely wish to all involved into making these products successful sales figures and customer satisfaction. And customers may wish to stay vigilant and try to understand their needs, requirements and terminology to make sound choices in the sea of complicated gadgets.
Sherif, I’d like to see your take on file malleability in FCP comparing 5.9K ProRes RAW vs 5.9K ProRes 422 HQ vs internal 5.9K HEVC. They should have identical DR. I’m curious if there is indeed more color information in RAW to play with.
BTW, ruclips.net/video/LlkiPWCUhik/видео.html : There is no need for a beefy MacPro to handle ARRIRAW. A PC based on an i7-3770 CPU and RTX 2060 or Vega 64 GPU can handle ARRIRAW real-time playback on a UHD timeline with several color correcting nodes applied in DaVinci Resolve 16.
Hey buddy, thanks for the comment, yeah I agree that RAW is after all a marketing term that attracts a lot of people. It's the new "Trend" or "Catch word". About the comparison, DR as mentioned is fixed and identical in all internal, ProRes 422 HQ and ProRes RAW. There's not ProRes 422 5.9 by the way. Only 4K. And about color, also as I mentioned here: ruclips.net/video/LlkiPWCUhik/видео.html
you just have more color nuances, more accurate color capture... but not more "colors".
Arri Raw, was giving me issues rendering honestly, but yeah maybe the computer was not properly configured. Thanks again buddy
Hmmm interesting, thank you for providing honest expectations for this setup. The “Raw” in the name without wb or iso control is very weird and something I did not know. I’m glad they chose you to test the this combo because I knew you were coming with the cold hard facts after the experience without any fluff.
Thanks Henry, really appreciate your support to my honesty
There are posts from years ago asking about this and I'm amazed they haven't implemented it.
Bro! after watching two of your videos and seeing the quality and work you put in them...you got my sub :)
Thank you so much for the compliments. Welcome aboard 👍
Fantastic video. Great use of graphics. Thanks for providing a comparison to the big boy cameras. I thought I might have been missing something in my video settings because video RAW (compared to log) is not as dramatic an improvement as stills RAW was (compared to jpg). It does seem to be the 12-bit depth of RAW that provides a noticeable improvement over log. Also thanks for clarifying that ProRes RAW is an acquisition format.
Really appreciate your efforts making this. Thank you from Toronto.
Thanks JD. cheers from NY
Now for part 2. Popcorn ready 🍿
Hahaha... I hope you like it
Awesome and detailed series! Thumbs up. One question since you seem a seasoned guy: any recommendations regarding a video management software. So not editing but something like Lightroom but for videos. Seems there is nothing???
Thanks for the compliments. About the file management , the only one that's similar to what you said is FCP library manager.
Thanks! Not only are your videos a pleasure to watch, but they're filled with valuable technical information..wow! What a school!
I bursted into laugher at 21:30, hahah! Great and informative video as always! Thank you!
Glad you enjoyed it!
Brilliant work again!
I feared the true RAW flexibility would be missing, I do hope they pass that data through to NLE's so we can change white balance & ISO in post.
Quite literally my favourite feature when shooting RED...Besides the incredible dynamic range.
Looking forward to seeing more!
Cheers buddy. yeah I agree. let's hope they will fix that soon
Please keep up the good videos 🤙. Probably I’ve watched all your videos 3-5 times already 😆. Need more!
Stunning review again. You said everything and your analysis is perfect. Thx for this great job
Cheers buddy
Fantastic explanation for us not so technically gifted. Thanks so much for this!
You're very welcome! Technical only takes time to study and practice. Glad to be of help
@@THEDPJOURNEY I posted your video on the Sony FX-9 Facebook Group. A couple of the guys disagree with you regarding not being able to adjust WB and ISO with ProRes RAW...
Watched the first... Now onto pt2
cheers
According to Apple's Prores RAW white paper, the reason Prores RAW comes in at smaller bitrates than standard Prores is that Prores encodes RGB pixels whereas Prores RAW simply deals with photosites, therefore removing 2/3 of the data right out of the box relative to 444.
Yeah I read that. glad they managed to achieve that
As a young videographer/RUclipsr, this video really educated AND entertained me. Thanks for the detailed explanation of the world of RAW.
This is so in-depth and answered so many questions that actually saved me a lot of money. Thanks so much for all your work and details you put into this. Thanks so much.
epic! nothing but epic review!
finished watching it, learned a lot.
thank you man!
Really happy you enjoyed it! Cheers
Thanks, really valuable info in this video. I subscribed to your channel, wish you all the best!
Thanks for the sub! You're awesome!
This is an awesome video, super informative and well made, great work!
Much appreciated!
Thank you for all the detail material you have provided us in both videos. !
Kudos on such a great experience for the rest of us. You outline all salient points and discuss them with authority. Your manner of delivery and knowledge of the subject is unquestionably why so many others have praised you. I too will be subscribing to your RUclips page and follow with great interest your other evaluations. Cheers my friend … Mark.
Thank you so much Mark for the most eloquent and flattering words that humbled me and most of all made me want to produce a lot more of such episodes. Glad to have you onboard and would surely love to see you in my upcoming episodes
This encourage me to forget the economy crisis and wish to buy a new camera with raw recording. Thanks a lot for the news and the review.
Cheers Luis
I did not know ProRes Raw does not allow white balance adjustment, or ISO. Hopefully Apple will change that in a future update.
I’ve been more cameras would adopt BlackMagic Raw; it just works like butter.
Thanks so much for your research and testing and this incredible video; it truly is “Mega!”
Thank yo so much for the support. yeah the hype has created all those misleading narratives that gave us the impression that you have that WB control... that's why i wanted to clarify things honestly.
The DP Journey Thank you for clarifying this. My ultimate fantasy is to have BlackMagic Raw on every camera! The Fuji XT4 or ZCam S6, with those MK zooms! Or ZCam F6!
If you have to pay fees to use ProRes, but no fees to use BRaw, it seems like a no-brainer. Thank you again!
Something wrong is that Braw isn't a real RAW because of his in-camera partialy debayering. Nice video very pro!
Yeah i know... but being "real" raw or not doesnt reeally matter if the result surpasses that theoratical limitation.As a DP, I honestly judge by the result. The only drawback I can see from the partial debyaer in BM is the incamera denoise. Which is something I'm willing to accept honestly in return of all other benefits. Till the day comes and full RAW control comes to ProRes RAW at least
@@THEDPJOURNEY Yeah I totally understand, don’t forget that the Raw principle is to record without modifying image sensors data for the future-proofing files. Regarding ISO on post-prod, this is a miss conception, it doesn’t really exist. Because this is simply middle grey color shifting with White Balancing, based on theoretical DR of the Codec, not of the sensor metadata. It's like have a color wheel gain with different lvl of white balance, but this is not the real gain of the sensor output. Apple prores RAW has all of this but FCPX uses an obsolete way to use it. In this regard, you're right Apple needs to put in FCPX, the modern ways to plays with all this metadata
Sincere thank you... This is an ultimate guide.
Really happy you liked it. Thanks for watching.
This Panasonic S1H is a beast no question. I use G9 that is also great but this is different, and how wise that they put active cooling into it..now we see what happens if a company does not take heat seriously...
Excellent review man, you are the best.
No you are!!! Thanks Diego
EXCELLENT video and breakdown sir and very unbiased opinion (especially for someone who Panasonic reached out to which is awesome). What do you think the odds are the Panasonic + Atomos would work with Blackmagic to get BRAW? I work exclusively in Davinci Resolve on Windows so this option would be out for me anyway
Thanks Rob for the kind words... I think the odds of having BRAW on S1H are pretty slim anytime int he near future. if you're exclusive to Davinci, then BM would be the best format. but not necessarily the best camera. So it all depends on your type of work after all
@@THEDPJOURNEY Thank you sir! Good to know. I'm considering the BM6k but am waiting to hear the specs on what the GH6 will be (since I currently use the GH5). Crossing my fingers for some good stuff! May not get some type of RAW but I've heard some good rumors anyway ;)
22:53 i like the line "Just managing your expectations not destroying your dreams" :D
There's a new feature on RUclips. Add your timestamps to your video description. Be sure to use "0:00" timestamp. If you did that, there would be sections in your video with corresponding text. A very nice feature :)
I already have time stamps in the description. You mean there’s another way to do it?
@@THEDPJOURNEY You are missing "0:00" timestamp. You can write something like "0:00 Introduction" in your description. Not sure if this feature is available on your channel, but I think it should be :) You will see what I mean when you do it.
@@romasandmo Oh just checked it out, it seems it didn\t roll out on my channel yet
@@THEDPJOURNEY Okay, I see. I like this feature a lot!
Yeah man! I desperately need it for my lonnnng episodes
Dude this video series is all one need to get an understanding. Great job!
that's really awesome to hear Florian, really appreciate your support and glad it clarified things for you. Join us to the webinar if you have more questions: www.bhphotovideo.com/find/eventDetails.jsp/id/3487
One question I have in mind when watching your videos is: Are you editing all the motion graphics and post production stuff by yourself and do you use Final Cut for it also or AE? Because it´s sooo much stuff going on in a 20 Minute tutorial and my After Effects timeline would grow to like 300 layers at least which is pretty overwhelming haha
Yeah I get asked that a lot hahaha , I use Keynote to do those animations. And yes it takes a long time to actually put this all together. Really Happy you appreciate the amount of effort that goes into these videos. I try to fill in the gap with educational content that is easy to assimilate by using those animations. Thanks again for your comments
Wow you've clearly put so much work in these videos! Thanks for all the clear info, such a shame they haven't added the possibility to adjust ISO and WB. :(
Glad you like them!
It is amazing, like always. A terrific job man!
This video was very helpful for understanding ProRes RAW and its limitations. Thank you for making it. One qYou
Man, this was so in depth and with details! Thank you so much for such a hard work!
Glad you enjoyed it!
Amazing! I am a photographer and for me, "RAW" means a raw-data from a camera without "a start point" in white balance, at least! And Nikon and Sony cameras provide us a feature - increase ISO in post (LR or Capture One). ProRes Raw might be called anything but not "RAW" definitely! It is really misleading people.
Thanks for the video. It is very useful to know this before buying a camera with ProRes RAW!
Thanks buddy for the compliments. yeah i felt the hype out there was a bit misleading. I understand that WB and ISO could appear in future updates, but they kept on hammering flexibility knowing that those features are the main flexibility points that RAW offers us. let's see, hopefully things will change soon enough
See therein lies the catch. Its not technically misleading since there's no standardization for RAW. However, there are specific expectations and ISO and White balance adjustments are at the top.
When will the full film be available? I'm absolutely loving the look of the preview you show. Beautiful.
Honestly the lockdown kind of halted production. Will hope to wrap it very soon though
@@THEDPJOURNEY Nice one, hope you're all keeping safe. Loving your work.
Just really love the way you explained it and the text animation etc. So very pro! Please do more videos!
This, is really really good. You have a new subscriber. Keep doing what you're doing because it's going to take you places.
Excellent, in depth, understandable presentation. Congrats. Thank you!
Glad it was helpful!
Wow that’s deep,amazing work!
Subscribed my man, great presentation!
Welcome aboard! Thanks for kind words Niko
Excellent info and presentation. You simplify this stuff so much, thank you!
My pleasure
Exceptional effort , and presentation. THANK YOU for doing your thing !!!
My only complain is the the luck of EMPHASIS in the inability of ProresRAW to let you control the Metadata. This is what is RAW all about.
(same thing as in photos .... absolute control of the metadata)
I truely feel like ProresRAW is an advanced TIFF format of codec (with exceptional compression) , in the photographic terminology.
I see that you are trying to scratch the surface after 14.00 ..... but there is a lot more , missing .... from both your video as well as this codec. (particularly the codec)
Especially the "ISO adjustement" is a feature of humongous importance , for LIVE event shooters.
It is a total dealbreaker , for me , using Prores RAW ...... and it shouldn't even be compared to BRAW , or RED Raw ... or even ARRI Raw.
Last but not least there is the feature of recovering Highlights & Shadows.
I wanted to hear more .... about this issue.
I think ProRes RAW does not keep the information , the way the other codecs do ......
Not to mention that it forbids you to control this information as well (unless you do it the old fashion way , which i feel is NOT the proper way to do it , missing all the critical information , like the sweet highlights' rolloff etc)
IMHO , Apple is taking advantage of the unprocessed NOISE thingy in order to baptize the whole codec as "RAW" and use it (deliberately) to draw "false" attention (attention with zero TRUE significance) to the global market of Cinematography.
I like the Analogy of ProRes RAW being like the TIF format of video. It pretty much is that for now. Again it’s a nice step from “JPG”... but as it is now, even when they say it’s “RAW”, it doesn’t act like one... and it doesn’t have the Flexibility we expect from RAW.
So till they open metadata based controls for us, this format is as I mentioned is just another prores 444 (without alpha channel) and with no camera corrections.
very thorough and professional presentation - thanks!
This is wonderfully edited and very informative! Thanks for the great video! 👍
Thank you very much!
I exclusively use DaVinci Resolve on a PC. Speaking codecs only. Would you say that, aside from the rigging needs nightmare, it makes more sense to go with the BMPCC6K since the 12bit BRAW experience is more of a true RAW video editing experience/workflow? At half the cost I can easily see what makes Black Magic Design so compelling. Plus giving away Resolve (I have the paid version already) it just seems to make the BMPCC6K an almost no brainier. An SSD is a lot cheaper than a NINJA V. I want the S1H, but now that Pro Res Raw is so limited and not supported in DaVinci Resolve... Thinking that the Pocket 6k may be it for me
Yup! BM would make a lot more sense to you. I hope they release a FF camera soon. Would be an interesting battle against the S1H and the Mythical R5
@@THEDPJOURNEY For me, the S1H vs BMPCC6K comes down to full-frame vs BRAW. I think as more DPs move towards larger sensors, the super 35 sensors will look more and more low-budget compared to full-frame with its shallower depth of field. To me, a larger sensor is more noticeable as "cinematic" than better RAW. I have two Ursa mini pros and an a7iii rented from my school right now, and I find that the only thing making me use the Ursas more often is the speed of BRAW in editing. Otherwise, I like the look of full-frame hlg3, but banding is a big issue for it. I'm saving up for my own S1H right now, and while the BMPCC6K is compelling, especially at half the price, a full-frame sensor is more noticeable by clients and viewers as "cinematic".
@@nathangoswick8175 Shallow DOF isn't necessarily a "cinematic" thing. DOF is a creative choice that you have to make in order to tell a story. It is good to have the FF look in your arsenal, but that doesn't mean you should blur everything out all the time. In my opinion a video looks cinematic by use of proper lighting, good framing, and proper post processing and grading, something that helps tell the story and complement the mood of the scene. But if your clients want the FF look, there's really nothing you can do but accept it.
Same thing is true with aspect ratio. People think a having a 2.39 aspect is cinematic, but aspect ratio is another tool that helps you tell the story, and 2.39 isn't always the best choice.
@@rishiraz1993 I definitely agree, the least important equipment you have on a shoot is the camera you're using. Lenses, audio, lighting, and story are all above that, but if we're talking solely about the camera, a few things help get that look more easily. High dynamic range, at least 10-bit, Shallow DOF (especially when using ND filters outside) are all in-camera specs that lend themselves to the look. Another thing is that getting shallow DOF with FF is cheaper and easier. I'm borrowing a Canon CN-E lens set as well, so on super-35 they are so shallow it doesn't make much of a difference, but if I want to buy a more reasonable 85 f-1.8 dslr lens for FF instead of an expensive cine 85 T-1.3 to put on s-35, it would cost at least 1/2 the price. Another thing is that I recently did a photo shoot for a friend who wanted to mimic the look of Once Upon a Time in Hollywood and Mad Men, so I shot with the 85 T-1.3 on FF and did some panoramas (plus using lights, picking locations, and outfits). That is what made me realize that mimicking larger sensors with panoramas gives a much "larger" and more professional look than just a single FF or S-35 photo. Translating that to film, since I am a filmmaker first, I realized using a larger sensor is more visually striking than codecs. That's why my dream with the S1H is to figure out how to shoot open gate anamorphic to get the biggest feeling possible, with or without RAW.
@@nathangoswick8175 The camera can help in making your acquisition a lot easier. The more advance it is the less work you have to do to compensate for its limitations.
This is amazing quality content. You covored all of my questions, thanks a lot for that!
Glad it was helpful!
Very nice videos. I watch these for fun and you made it easy to understand.
great video! I hope we will see part III :)
Very clear and detailed examination! Thank you.
Man this is the very best educational video I might ever seen on YT... amazing work you put into this I know it is hard work and it shows. And as a photographer part time videographer how shoots photos exclusively in RAW format but never video I thought that video RAW is the same as in photography and now I know it is just NOT. Very sad. I would go as far as that it makes not much sense at all a normal compressed workflow with LUT might just makes more sense. very interested about BRAW and how different is that!!!
Great stuff. My one push back though is that B-Raw isn't a true raw. There's a fair amount of processing happening in camera which is how they got around some patents and also explains why, despite BMD's claim that its open source, we haven't and likely won't see the codec adopted by another manufacturer.
Really enjoyed the video and help me realise that raw is not for me and getting the GH5S to use with my Atomos Ninja V with ProRes HQ is all I need. Thanks again .
Really happy to hear that. Thanks for the support