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!
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 ;)
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
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
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!!!
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!
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 👍
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
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.
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.
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🙏🏼
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 👌👌
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).
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!
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.
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.
Nice videos about this subject 👍🏻 Today DJI launched there Ronin 4D camera/gimbal that records in ProRes RAW & looks pretty awesome for solo operators, however the camera I had in mind is the Ursa 12K which offers BRAW internally but without all the stabilization/Focus features. Since you have time to play with both formats & there have been some updates since you made these videos, which way would you go? I am worried about the post workflow hence the reason BRAW seems to be more attractive then ProRes RAW. Has the post workflow been worked out?
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!
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.
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!
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!
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.
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.
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
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 !
The explanation so far (11 minutes in at the moment) is absolutely INSANE. I love this so much. As a technical person, I LOVED your explanation which distills it down to even those who get a little overwhelmed by the information. Thank you so much for this. I was curious if the raw sensor data would be in 12 bit via RAW when the camera manufacturers talk about their internal recording limits. (For example, I have an S5 Mark II which limits the 5.9/6K modes to 10 bit 4:2:0) - so if I understand it correctly, as it’s RAW sensor output, my newly purchased Atomos Shogun Ultra should do 12 bit once I unlock the ProRes RAW via HDMI on the camera correct? It makes sense, just want to make sure lol - thanks again for a fantastic video that wasn’t just well put-together, but THOUGHTFULLY put-together 👌🏾💪🏾
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 ;)
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
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. :(
@@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...
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.
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.
While you don't get Red's camera like interface, you have way more control of WB than what you seem to be experiencing. Also, anything that can be achieved by changing 'ISO' on a RedRaw window can be changed with the exposure slider Using ProRes RAW. Have you made sure your Raw to Log conversion is off and you are working with the linear file?
I've thoroughly read Apple ProRes White paper as well as having a hotline between me and Panasonic to discuss all the nitty gritty details of what ProRes Can do, down to the point of reporting all the bugs in the firmware to Japan to get things ironed out before the official release... I literally spent 3 months now with ProRes RAW and I can confidently say know it's full potential and what it can and cannot do. So my verdict is you don't get "way more control of WB" with proRes RAW... whether it's in Linear or Converted to LOG. Which in fact doesn't matter by the way. they both have the same exact chroma information. The release is on the 25th... I urge you to wait and test it yourself as I noticed a lot of comments are purely based on "Expectations" on how the Codec should behave based on the White paper, Vs actually trying it out.
@@THEDPJOURNEY Thank you for replying! I shot ProRes Raw on the Eva1 for about a year and loved it, and I went to the FCPX Creative Summit in 2018 prepared to ask the ProApps team why there was no Red style ISO and WB interface for ProRes Raw if it was indeed 'real raw'. Luckily I caught some keynotes first which stopped me from having to ask, and I learned that while the controls look different, we have the same level of control. I thought that was sort of settled but the S1H raw release seems to be dredging up a lot of mixed messages. It is very easy to see the difference between dragging a WB slider all the one to one side after raw to log conversion and without it...the difference between a destroyed image and a nice, if very oddly white balanced one. Sure the file chroma information hasn't changed, but by applying the log conversion you limit what you can do to it afterwards in FCPX. No, we don't get camera white balance, but we can fix just about anything as with a 'real' raw codec if we work with the linear raw. LOVE what you are doing here, I understand you are going deep and it is hard, fantastic work, but I think there is more to the white-balance story. Atomos is tweeting solid explanations, as well.
Thanks again for the support. I was considering posting a video just about that to show exactly what I mean. My latest test was trying to match 3 different WB (2500-5100-10000k) and believe it or not, internal matches better and RAW had pretty bad results. I wish I can share those clips, but I agreed not to share anything with Panasonic that comes out from the beta FW. Again I don’t trust words... I trust actual tests I conduct myself. So I’ll let you test it yourself on the 25th when it’s out and let’s reconnect. I’ll be looking forward to telling you “I told ya!”
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???
Keep up the good work, its a great video.Thx ..I cant be the only one thinking, What about the chines company's like kinefinity or Zcam. That is from price perspective/raw Video point. And then again BMPCC6K vs Panasonic Vs the Chinese manufactures. What do we get and what we don't get? I will wait (half the job is done, or is it?)
yeah I totally agree... i will try and get my hands on their cameras. They really drew my attention as well. Just finding the time to explore all that it the key now. I'm a full time DP that's why, RUclips is a place to share my findings you know. thanks again for the suggestion.
I wish Cineform RAW gets more push which is completely opened and also compressed raw but no camera companies or external recorder manufacturers are interested in.
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
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.
UPDATE: White Balance in ProRes RAW is now adjustable in Final Cut Pro 💪
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
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 ;)
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
Now this is a content I wish I'd seen more on youtube! Brilliant work!
Thanks a lot buddy!
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..👍🏼
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
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.
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
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
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
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
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!
Finally someone talks real deal and not ez-pz "shoot - drop LUT" fashion. Subscribed! Thanks a lot!
Hahaha... thanks Tom, really appreciate 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 👍
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
This is the best channel there is for Filmmakers! AWESOME!
And this is best comment ever!!
Another awesome one. I wish there were more people who pay attention to details and quality of presentations like you!
I appreciate that!
Seriously, you are a master at this type of instructional video. The graphics, and accuracy of the content is spectacular!
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
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.
Brilliant, impeccable content. BEST subscription decision i have ever made!
Super happy to have you onboard! See you in the next episode
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
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!
Wow, the effort to make this video is truly appreciated. Thanks for your hard work.
Really appreciate your support. Glad you enjoyed it
One of the best RUclips channels for film makers. Thank you, DP Journey!
it's truly my pleasure
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.
Woo well simplified. Years of understanding packed in short video. You are a genius
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
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
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
Top Notch explanation, xtremely accurate info and your graphics man! astonishing classic look, clear, precise. Congrats!
Thanks Arturo! You're awesome
As a young videographer/RUclipsr, this video really educated AND entertained me. Thanks for the detailed explanation of the world of RAW.
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.
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. Nice to see we can now change ISO and WB in post in FCP 👌
Yeah that was a great addition
Nice videos about this subject 👍🏻 Today DJI launched there Ronin 4D camera/gimbal that records in ProRes RAW & looks pretty awesome for solo operators, however the camera I had in mind is the Ursa 12K which offers BRAW internally but without all the stabilization/Focus features. Since you have time to play with both formats & there have been some updates since you made these videos, which way would you go? I am worried about the post workflow hence the reason BRAW seems to be more attractive then ProRes RAW. Has the post workflow been worked out?
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
SO HELPFUL! praying for sucess on this channel!
Great info and incredible animations throughout the video. Very well done. Nice work!
Glad you enjoyed it!
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.
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
Excellent clean up with some major misunderstandings about ProRes Raw! Many thanks!
Glad it was helpful!
Appreciate the breakdown of the RAW format. Learned so much. Thanks!!
this is good, definitely helping filmmakers all over.
Thanks for this :D
Happy to help!
Thanks! Not only are your videos a pleasure to watch, but they're filled with valuable technical information..wow! What a school!
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!
Fantastic work!
Thank you! Cheers!
I hope you can create a video about doing de-vignette and undistort RAW in post.
Thanks for the informative video
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.
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.
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
Stunning review again. You said everything and your analysis is perfect. Thx for this great job
Cheers buddy
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 !
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
The explanation so far (11 minutes in at the moment) is absolutely INSANE. I love this so much. As a technical person, I LOVED your explanation which distills it down to even those who get a little overwhelmed by the information. Thank you so much for this. I was curious if the raw sensor data would be in 12 bit via RAW when the camera manufacturers talk about their internal recording limits. (For example, I have an S5 Mark II which limits the 5.9/6K modes to 10 bit 4:2:0) - so if I understand it correctly, as it’s RAW sensor output, my newly purchased Atomos Shogun Ultra should do 12 bit once I unlock the ProRes RAW via HDMI on the camera correct?
It makes sense, just want to make sure lol - thanks again for a fantastic video that wasn’t just well put-together, but THOUGHTFULLY put-together 👌🏾💪🏾
Fiiiiiinallly!!!!!! Man this video was worth the wait. Thank you
My pleasure!!
Really appreciate your efforts making this. Thank you from Toronto.
Thanks JD. cheers from NY
Great video! Thank you. I’ll watch your newer version of this next.
Very thorough and informative video and great presentation!! 👌🏼
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...
22:53 i like the line "Just managing your expectations not destroying your dreams" :D
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 👍
Man, this was so in depth and with details! Thank you so much for such a hard work!
Glad you enjoyed it!
Just really love the way you explained it and the text animation etc. So very pro! Please do more videos!
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 ;)
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
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!
Thank you for all the detail material you have provided us in both videos. !
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...
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 love your videos and it might be a problem with my headset but is your audio synced in the video
Thanks buddy... yeah it's your headset probably, or your browser. But they're synced yes
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
This video was very helpful for understanding ProRes RAW and its limitations. Thank you for making it. One qYou
Excellent, in depth, understandable presentation. Congrats. Thank you!
Glad it was helpful!
Please keep up the good videos 🤙. Probably I’ve watched all your videos 3-5 times already 😆. Need more!
I bursted into laugher at 21:30, hahah! Great and informative video as always! Thank you!
Glad you enjoyed it!
No hype just great info and useful tips. Thank you for putting all this effort into making this video. Cheers
Glad you enjoyed it!
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.
Great review man! Looking forward to part 3.
Coming soon! Thanks for the support
Watched the first... Now onto pt2
cheers
Excellent info and presentation. You simplify this stuff so much, thank you!
My pleasure
While you don't get Red's camera like interface, you have way more control of WB than what you seem to be experiencing. Also, anything that can be achieved by changing 'ISO' on a RedRaw window can be changed with the exposure slider Using ProRes RAW. Have you made sure your Raw to Log conversion is off and you are working with the linear file?
I've thoroughly read Apple ProRes White paper as well as having a hotline between me and Panasonic to discuss all the nitty gritty details of what ProRes Can do, down to the point of reporting all the bugs in the firmware to Japan to get things ironed out before the official release... I literally spent 3 months now with ProRes RAW and I can confidently say know it's full potential and what it can and cannot do. So my verdict is you don't get "way more control of WB" with proRes RAW... whether it's in Linear or Converted to LOG. Which in fact doesn't matter by the way. they both have the same exact chroma information. The release is on the 25th... I urge you to wait and test it yourself as I noticed a lot of comments are purely based on "Expectations" on how the Codec should behave based on the White paper, Vs actually trying it out.
@@THEDPJOURNEY Thank you for replying! I shot ProRes Raw on the Eva1 for about a year and loved it, and I went to the FCPX Creative Summit in 2018 prepared to ask the ProApps team why there was no Red style ISO and WB interface for ProRes Raw if it was indeed 'real raw'. Luckily I caught some keynotes first which stopped me from having to ask, and I learned that while the controls look different, we have the same level of control. I thought that was sort of settled but the S1H raw release seems to be dredging up a lot of mixed messages. It is very easy to see the difference between dragging a WB slider all the one to one side after raw to log conversion and without it...the difference between a destroyed image and a nice, if very oddly white balanced one. Sure the file chroma information hasn't changed, but by applying the log conversion you limit what you can do to it afterwards in FCPX. No, we don't get camera white balance, but we can fix just about anything as with a 'real' raw codec if we work with the linear raw. LOVE what you are doing here, I understand you are going deep and it is hard, fantastic work, but I think there is more to the white-balance story. Atomos is tweeting solid explanations, as well.
Thanks again for the support. I was considering posting a video just about that to show exactly what I mean. My latest test was trying to match 3 different WB (2500-5100-10000k) and believe it or not, internal matches better and RAW had pretty bad results. I wish I can share those clips, but I agreed not to share anything with Panasonic that comes out from the beta FW. Again I don’t trust words... I trust actual tests I conduct myself. So I’ll let you test it yourself on the 25th when it’s out and let’s reconnect. I’ll be looking forward to telling you “I told ya!”
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.
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.
No ISO or WB in post? WTAF!? THAT IS SO LAME! Thanks for the heads up. This video is fire.
Keep up the good work, its a great video.Thx
..I cant be the only one thinking, What about the chines company's like kinefinity or Zcam. That is from price perspective/raw Video point.
And then again BMPCC6K vs Panasonic Vs the Chinese manufactures. What do we get and what we don't get? I will wait (half the job is done, or is it?)
yeah I totally agree... i will try and get my hands on their cameras. They really drew my attention as well. Just finding the time to explore all that it the key now. I'm a full time DP that's why, RUclips is a place to share my findings you know. thanks again for the suggestion.
Now for part 2. Popcorn ready 🍿
Hahaha... I hope you like it
Excellent review man, you are the best.
No you are!!! Thanks Diego
I wish Cineform RAW gets more push which is completely opened and also compressed raw but no camera companies or external recorder manufacturers are interested in.
yeah there has to be a reason for that. I just wish they all sit down and agree on one format and forget about politics. Maybe we need to vote as well
This is an awesome video, super informative and well made, great work!
Much appreciated!
This is amazing quality content. You covored all of my questions, thanks a lot for that!
Glad it was helpful!
epic! nothing but epic review!
finished watching it, learned a lot.
thank you man!
Really happy you enjoyed it! Cheers
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
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.
Sincere thank you... This is an ultimate guide.
Really happy you liked it. Thanks for watching.
It is amazing, like always. A terrific job man!
Thank you for these video's, they are absolutely packed with information and delivered perfectly. Exquisite work.
Many thanks!