All 3 parts of the series are now up! Part 1: What is ProRes RAW - ruclips.net/video/eXPApYc6Id4/видео.html Part 2: How to Film ProRes RAW - ruclips.net/video/qDwilffCJgw/видео.html Part 3: Editing and Grading ProRes RAW - ruclips.net/video/Pc6Nt2UlTQw/видео.html If you enjoyed this series please subscribe! And/or check out my camera guides here: academy.dslrvideoshooter.com
Quick question when talking about older hardware. Is there a way of creating 1080p Proxies for your 4k footage? I think that will resolve problems with other hardware.
DSLR video shooter has grown my craft so much over the years. Caleb, thank you for the guidance your work is under appreciated for the value you provide your subs. I have purchased two of your guides and they are way underpriced for the time you put into them. I just can’t say enough positive things about your work. Thank you.
Just found out about GH6 getting raw with Ninja V+. So I needed and education and watched a few videos and came across you 3 part series. Although it's old, it answered all my questions and now I'm in the know. Loved it and love your channel just like everybody does. One of the very best channels. Thank You.
I think the series format works well for your content style. The bite-sized bits of info left me waiting for the next one, without getting too long or technical. I did pay more attention to my alerts looking for part two and three. So thumbs up for what it's worth.
This series is fantastic, Caleb! Thank you for taking the time to put it all together. I would love to see further updates from you as more manufacturers allow ProRes RAW and more details emerge. Keep it up!
Hahaha, "I'm Hardcore, so I'm just gonna turn all that off." Legend. Loved the series and I'm pretty curious about the future updates also. Great work, Caleb.
I like how you had your intro at the end this time with the closing cards. Jumping right into the content without it in the beginning was really smooth! Also: looking forward to getting my hands on prores raw in the future. Very exciting stuff!
This series was awesome! Thanks for all the work you put into it. Definitely not for everyone in terms of the camera equipment needed, the storage, software and workflow. However, this is why I watch I your channel - to see what could be in my near future =)
thank you Caleb for this 3 episodes! this gave me huge information about Prores for i have no idea of these kinds of specs and features and information. looking forward to learn more from you
Thank you for producing this series on ProRes Raw, very informative and definitely à cost effective way to do post! Please continue this series on ProRes Raw for a better workflow Awesome! 😎 👍
thank you so much for this series I just started shooting in prores 4K (not RAW) and this series has helped me so much in figuring out how that footage works.
Thank you for the great video. I just got my FS5MKII and tested the Prores RAW. The examples you have there are a bit misleading, as the material isn't actually captured that over-exposured, it just looks like that straight out of the camera (even though while filming the levels are ok). So don't expect the Prores RAW to save you if you blow out your footage. There is some extra dynamic range compared to normal Prores, but for example the material shown at 4:30 isn't over exposured - it's just the way the raw footage looks like before the slog (or whichever you use) conversion.
Nice series. I'd like to know more about the workflow: backup original, working with a copy and most of all the rendering process in FCP when using ProRes RAW. I have a Ninja V and it's amazing to work with...
As expected another top-notch set of videos, thanks. I’ve gotten bored with shooting 1080p footage and safe picture profiles on my Sony FS5 using FCPX. I am planning to get the RAW upgrade for my camera and start with a Atmos Ninja Inferno and shoot more S-log footage knowing Ninja Inferno can only shoot ProRes 4K 10 bit, not RAW. Later down the line if I have a need for ProRes RAW I’ll invest in the Shogun Inferno and some SDI cabling. Again awesome video series!
i heard sony hlg are doing quite the same thing (although not quite raw) it records video on rec.2020 hlg color space. so it's supposed to be wide enough than basic log in rec.709 color space with a 4:2:0 compression.
2 years later i am on this video again cus i am about tu record raw on the new a7siii, men what camera u was recording this video its incredible how sharp nice and clean it looks. and i love your content btw
Thanks for this. Exiting times for indie filmmakers like myself. I value your thoughts, not just hype and superficial noise. Nikon's jumping on board with Atomos with full frame 12 bit ProRes RAW looks really exiting! Hope you do a review of the Z6's ProRes RAW image when that drops, hopefully with improved autofocus firmware, looks frikken amazing...
Time to update these videos for the current A7SIII and FCPX. The clips you show only look blown out because of using a Rec709 Library/Project? Seems like you should be using a PQ Project?
Great series and a great channel! When you're testing, please try working with underexposed shots as well, one of my main issues with Slog is that it performes rather miserably in low light. Intersting to see what can we do with Prores RAW in this situation.
Great video. Know a lot more now, thanks. Does FCPx 10.4.3 have grading facilities under the Color tab when (and if) I import ProRes Raw from my Atomos V (on order) OR do I have to purchase a colour grading software plug in? like Colorgradingcentral. In other words when ProRes clips are imported the Colour Wheels appear to use?
I'd love to know what your FS5 waveform looked like for these shots, and what the waveform on the Shogun looked like too please. I'm having trouble with exposure with my FS5/Shogun 7 shooting ProRes RAW. Some settings info for the FS5 would be Reeeeaaally handy!. Thanks for this series Caleb, TOP WORK!
With FS5, assign raw output, shoot pp7 (slog2 S gamma curve and your choice of 5500k or 3200k). Over expose by 2 stops. Instal slog2+2-rec709 Lut of your choice for your monitor to dial in a perfect exposure. Your waveform should show a translation of 2 stops over... still try not to clip your whites. Record to your shogun (and internal FS5 same time if you want backup .h264 compressed- doesn’t hurt). Wallah. Done ✅
Super Helpful. I recently purchased a Fs5 MK2 + Shogun Inferno. One question that I have not be able to find out answer to: What is the SDI output quality when shooting 1080p 24fps? I know the 4k RAW and 2k RAW output is 12 bit, but in order to shoot 24fps in 1080p, you have to switch the SDI output from RAW to X-AVC. Is the 1080p SDI feed now mirroring the internal Fs5 quality of 10bit 422 or is it still a RAW feed which will record in 12bit ProRes RAW on the Inferno? Hope that all made sense. Thanks!
Isn't it best to shoot as best as you can in camera before editing? I know these overexposed shots serve as an example of what's possible but wouldn't it be better to get accurate exposure beforehand?
of courses, it is a bit tricking that´s what EtceteraPeople said or you could also do the proper exposure (without blowing highlights) then go to RAW edition and blow it in the software save the file as RAW and for marketing purpose just take the file you just blowed to edit it again in the RAW editor or final cut (in this photo there are not difficult DR envolved by the way the second as part of the highlights which cant be recovered), whatever you use to recover the highlights (it will appear complettly blowed) highlights which of courses are present from the initial exposuret, if not (lets said you have exposure error by a bad reading or decition) that can allow a stop or maybe 1.5 of recovery sometimes at least on a 16 bits file but 12 bits is a lot less info for that purpose so don´t sure how much it is posible to recover, be sure nothing which is not already there can be recovered, when i wrote stops i reffer to the Ansel Adams grey scale, not the usual marketing new language which are third of a stop in the Ansel Adams grey scale. Keep in mind light meters are calibrated to a 7 stops symplified Ansel adams scale allowing from the middle grey two stop over and two stop lower, in exposure compensation. which make sense cause a cmos sensor alllow a DR of 5 stops, maybe new ones 5.3 or 5.6, not sure at school we learn 5 stops.
Yes, it is best to get proper exposure, but this is not always possible. I don't shoot with a camera with high dynamic range and in run and gun situations where I don't have the time to light the scene I have to make a choice between the preserving the highlights or the shadows. Raw video has always been exclusive of high-end videos and even then it comes with a huge penalty on storage and processing power. Something like a f700 or an fs5 with the atomos becomes a reasonably priced option for someone like me.
Red The Man why don't you use the c200? After the additional cost the get the raw putput, the proce is pretty much the same and ahoots internally. Also the data rate of canon raw lite in the c200 is of the same rate as an fs5 with prores raw.
So were you over exposing those images for the sake of showing off dynamic range? Keen to know the best way to shoot with this. Would it work as well with under exposure? Great series man.
Hi! How much i will have of Raw information records? 10bit - 12bit -14bit? And how much dynamic range matrix in "stop"? What you think what is will be better - this setup (sony FS700 + external recorder) or Black Magic Pocker Camera 4K?
Very interesting that you are using the "Wide Color Gamut" setting. I've found that using this setting has been awesome for grading S-Log2 footage directly in FCPX (I finally got my reds back!). Typically, you would have to convert the S-Gamut color space to Rec709 using a LUT, but with the addition of a "Wide Color Gamut" setting it's not necessary. This is because Rec2020 and S-Gamut have a very very similar color space. On top of that, it seems that FCPX acts like a LUT in that it remaps the Rec2020 color space when you export. I've found in my testing that a Rec709 export from a project that's set to "Wide Color Gamut" still keeps the reds that I was losing when grading in the "Standard" color space setting. Do you have any thoughts on this? Great video by the way!
the color space you get is what your sensor allows, maximum today is 4:4:4, the processing is limited to the hardware resolution, in your case if it works for you in your monitor and then you test in a TV andit still working as well, it´s OK edited cause at first i had don´t understand your post at all :-)
I don’t think you’re actually pulling back all that blown out information; the information was always there it just looks super blown out because of whatever LUT or processing FCPX does to the shot when you import it. Even still photos shot in raw can’t recover that much blown highlight detail, so there’s no way raw video can. I’m sure you already knew this but you might want to make a note of it, I think some people will believe prores raw will allow them to recover 5 stops of highlight detail lol
Amazing series on prores raw I was wondering if you have played with picture profile and colour space ie. shooting Slog- s-gamut vs Cine 4 if that affects the colours at all? thank you for all the videos have learned a lot here.
I have the exact same setup but still your footage seem to be very clean out of the recorder (if no denoising has been applied ) . Mine is veeery grainy . I am aware the are no camera denoising filters being applied to the raw footage but I am seeing excessive grain in any setting (did alot of tests ) . I am surely missing something here .
Hello! First of all, thank you! This was the most thorough and educative videos about ProRes Raw. I am wondering, since the release of this video, have you found a good workflow when dealing with Denoising? It’s mentioned briefly in the end but I would love to learn of a good workflow for that. I am using Neat Videos’ Denoiser, but it has a tendency to be extremely taxing on my machine, even tho it looks almost flawless. Thank you again!
Totally great info, keep the series going. What's happened since May 2018 with ProRes Raw? So glad I bought a FS700R camera, way back when; best video camera for the buck all time. Keeps on re-emerging as a phenomenal camera, and now with ProRes Raw. Sony took them off the market so people could spend thousands more on the FS7 I suspect. I imagine on eBay they are selling like hotcakes now. So what is happening with Convergent Design's Q7+? It's gone silent on updates and no announcement on ProRes Raw?
thanks for this! I've a question - Since its RAW video, can I just shoot in standard picture profile instead of a flat one? Will I have enough leeway to grade? With photos, I know I can shoot RAW with standard picture profile and thats what I have been doing and it works well but I know if thats the case with video too
Hey, great video series! Just wondering, what we’re your import settings set to when you brought the raw files into fcpX? Also, what kind of hard drive speed / raid config would you recommend if editing 4K 60fps, 16 bit pro res raw ( Sony a7s iii to ninja v) on an 2017 iMac?
Hi Caleb! I love the amount of bokeh you have going on and how sharp you look even do you move slightly back and forward. I would love to know: 1. In what aperture did you film this video? 2. What is the distance between you and the background? Thank you so much for your videos. I'm always waiting for your reviews because not everyone is as detailed as you!!! Freaking awesome job.
Not sure what I am doing wrong, shot something similar to test out in prores raw. Clipped the highlights of the sky by not much and I can't get detail out of them when I bring down the highlights. Followed all the wide gamut directions =(
Man this was nearly all of the information I ever wanted to know, thank you so much for this awesome video, two requests, could you show us some noise examples we might experience with direct from sensor recording and also how much you can bring back from low light shooting with the fs5? :) thanks again
If DaVinci Resolve doesn't en up supporting ProRes Raw what other powerful color grading software is out there? Would you edit in premiere taking advantage of raw to expose the shot properly and then export the footage in 10bit to Davinci and finish the color grading there?
Great follow up video. I would hope Apple will open up ProRes RAW to other developers. I would not consider buying Final Cut Pro X just to get at ProRes RAW. I don't think that would be a wise business decision on Apple's part. I'll settle for ProRes HQ any day over buying another program.
Thank you for the ProRes Raw series, maybe you could make a tutorial about workflow in Davinci Resolve. For now there is no native support for ProRes Raw in Davinci (maybe it comes but not ye). Currently My workflow on ProRes is as follow and is not "compatible" to ProRes Raw: 1. Import footage from Ninja Blade to FCPX 2. Editing 3. Export EDL XML 4. Import It in Davinci 5. Denoise with Neat Video 6. Color grading 7. Export for FCPX 8. Back in FCPX to make Titles, some final edits.. 9. Final export
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
All 3 parts of the series are now up!
Part 1: What is ProRes RAW - ruclips.net/video/eXPApYc6Id4/видео.html
Part 2: How to Film ProRes RAW - ruclips.net/video/qDwilffCJgw/видео.html
Part 3: Editing and Grading ProRes RAW - ruclips.net/video/Pc6Nt2UlTQw/видео.html
If you enjoyed this series please subscribe! And/or check out my camera guides here: academy.dslrvideoshooter.com
Quick question when talking about older hardware. Is there a way of creating 1080p Proxies for your 4k footage? I think that will resolve problems with other hardware.
Loved the video!!!!
Can we shoot prores 422 with Fujifilm xt3 when connected with atomos ninja V?
DSLR video shooter has grown my craft so much over the years. Caleb, thank you for the guidance your work is under appreciated for the value you provide your subs. I have purchased two of your guides and they are way underpriced for the time you put into them. I just can’t say enough positive things about your work. Thank you.
Great series. It is keeping this 78 year old brain activive.
Just found out about GH6 getting raw with Ninja V+. So I needed and education and watched a few videos and came across you 3 part series. Although it's old, it answered all my questions and now I'm in the know. Loved it and love your channel just like everybody does. One of the very best channels. Thank You.
I think the series format works well for your content style. The bite-sized bits of info left me waiting for the next one, without getting too long or technical. I did pay more attention to my alerts looking for part two and three. So thumbs up for what it's worth.
Thanks Brian! Glad you enjoyed it! Might play with this style more in the future.
This series is fantastic, Caleb! Thank you for taking the time to put it all together. I would love to see further updates from you as more manufacturers allow ProRes RAW and more details emerge. Keep it up!
Great job on this series, my dude.
Hahaha, "I'm Hardcore, so I'm just gonna turn all that off." Legend. Loved the series and I'm pretty curious about the future updates also. Great work, Caleb.
I appreciate your work. I got a better understanding of prores. Thank you 👍
I like how you had your intro at the end this time with the closing cards. Jumping right into the content without it in the beginning was really smooth!
Also: looking forward to getting my hands on prores raw in the future. Very exciting stuff!
Man, Part 3 really helped me out. Was reviewing my first attempt at shooting PRR and thinking "WTH have I done wrong here?" Thanks a ton.
4:14
"I'm hardcore, so i'm just gonna turn all of that off" lmao
I'm fully on board. With ProResRAW coming for the Nikon Z6, I'm looking at buying into the Nikon Z line.
GH 6, Nikon is out of touch !
Did you end up buying it? I have z6 but have not tried prores raw yet. Also i have windows so i don't think i'll be able to edit either.
@@MohitKhatri you can edit prores raw in new premiere pro
This series was awesome! Thanks for all the work you put into it. Definitely not for everyone in terms of the camera equipment needed, the storage, software and workflow. However, this is why I watch I your channel - to see what could be in my near future =)
thank you Caleb for this 3 episodes! this gave me huge information about Prores for i have no idea of these kinds of specs and features and information. looking forward to learn more from you
Your talking shots just look so amazing! Almost unreal, reminds me kind of next gen video games with hyper realistic graphics. Keep up the good work!
Thank you for producing this series on ProRes Raw, very informative and definitely à cost effective way to do post! Please continue this series on ProRes Raw for a better workflow Awesome! 😎 👍
Reaaly interesting Caleb! I'd love to see more content on ProRes RAW in the future!
thank you so much for this series I just started shooting in prores 4K (not RAW) and this series has helped me so much in figuring out how that footage works.
Can’t wait for the different camera manufacturers starting to implement this into the hardware. Looks lovely. Blackmagic first, I guess..
At this time 1.5 years later in December 2019, has APPLE updated ProRes Raw to include camera acquisition meta data? Do they have future plans?
wayne Last watching this space for the answer too
@@cinema-q same
Thank you for the great video. I just got my FS5MKII and tested the Prores RAW. The examples you have there are a bit misleading, as the material isn't actually captured that over-exposured, it just looks like that straight out of the camera (even though while filming the levels are ok). So don't expect the Prores RAW to save you if you blow out your footage. There is some extra dynamic range compared to normal Prores, but for example the material shown at 4:30 isn't over exposured - it's just the way the raw footage looks like before the slog (or whichever you use) conversion.
Nice series. I'd like to know more about the workflow: backup original, working with a copy and most of all the rendering process in FCP when using ProRes RAW. I have a Ninja V and it's amazing to work with...
Would love to see you work with the Nikon Z6 ProRes RAW output.
As expected another top-notch set of videos, thanks. I’ve gotten bored with shooting 1080p footage and safe picture profiles on my Sony FS5 using FCPX. I am planning to get the RAW upgrade for my camera and start with a Atmos Ninja Inferno and shoot more S-log footage knowing Ninja Inferno can only shoot ProRes 4K 10 bit, not RAW. Later down the line if I have a need for ProRes RAW I’ll invest in the Shogun Inferno and some SDI cabling. Again awesome video series!
Howdy! What are you using for screen capture? I have both Mac and PC and was just curious if you had any professional recommendations!
thanks for the detailed series
Thanks for the series..Does this benefit ONLY high contrast scenes or good even for low light ones??
Great job on the explanation! I'm really intrigued by the new software and can't wait until it becomes mainstream to appear on mirrorless cameras
Would you be able to do an update on the current state of Pro Res Raw? or have you already done that?
Ready for the next part! Hapily recording pro res raw with my z6 and Ninja V. 3 gigs a minute!
i heard sony hlg are doing quite the same thing (although not quite raw) it records video on rec.2020 hlg color space. so it's supposed to be wide enough than basic log in rec.709 color space with a 4:2:0 compression.
Hi Caleb, What did you shoot this video with? Looks super sharp... lights and cam?
yeah, how does he do it?
I want to know too!
Me too, I was thinking to myself "this looks ridiculously good". Great colours, sharpness and lighting. well done.
2 years later i am on this video again cus i am about tu record raw on the new a7siii,
men what camera u was recording this video its incredible how sharp nice and clean it looks.
and i love your content btw
Thanks for this. Exiting times for indie filmmakers like myself. I value your thoughts, not just hype and superficial noise. Nikon's jumping on board with Atomos with full frame 12 bit ProRes RAW looks really exiting! Hope you do a review of the Z6's ProRes RAW image when that drops, hopefully with improved autofocus firmware, looks frikken amazing...
Time to update these videos for the current A7SIII and FCPX. The clips you show only look blown out because of using a Rec709 Library/Project? Seems like you should be using a PQ Project?
Thanks. This was an excellent series.
Great series and a great channel!
When you're testing, please try working with underexposed shots as well, one of my main issues with Slog is that it performes rather miserably in low light. Intersting to see what can we do with Prores RAW in this situation.
Great series! Looking forward to future installments!
Oh I love that MAC PLUS in the background! I had one of those!
what light do you use for your talking setup....so well lit and crisp!
*Is prores raw lossless in every compression ratio option?*
Exciting stuff Im hoping to eventually give it a go on my Z6. Is it feedable to work from the recorders disk as my MacBook Pro has no space on it.
Please keep adding to the series! although I dont have the equipment for ProRes RAW the videos are still very interesting!
Great series, very informative with lots of great examples. So excited to get testing.
Awesome PRR series of clips bro. Gold star!! Eheheh"...just wingin' it with these wheels" Hilarious :)
Presumably Sony's Catalyst Browse would be a good way to check all your camera settings in the clips?
Great video. Know a lot more now, thanks. Does FCPx 10.4.3 have grading facilities under the Color tab when (and if) I import ProRes Raw from my Atomos V (on order) OR do I have to purchase a colour grading software plug in? like Colorgradingcentral. In other words when ProRes clips are imported the Colour Wheels appear to use?
Very good series. Much appreciated 💪
This is going to be sooooo good. Thanks Caleb. Ry from Dubai
Do you need a camera that shoots a wide gamut color space in order to edit in a wide gamut space, or just so long as the camera shoots in RAW?
I'd love to know what your FS5 waveform looked like for these shots, and what the waveform on the Shogun looked like too please.
I'm having trouble with exposure with my FS5/Shogun 7 shooting ProRes RAW. Some settings info for the FS5 would be Reeeeaaally handy!. Thanks for this series Caleb, TOP WORK!
With FS5, assign raw output, shoot pp7 (slog2 S gamma curve and your choice of 5500k or 3200k). Over expose by 2 stops. Instal slog2+2-rec709 Lut of your choice for your monitor to dial in a perfect exposure. Your waveform should show a translation of 2 stops over... still try not to clip your whites. Record to your shogun (and internal FS5 same time if you want backup .h264 compressed- doesn’t hurt). Wallah. Done ✅
Also try and keep it at ISO 2000 (native)
Super Helpful. I recently purchased a Fs5 MK2 + Shogun Inferno. One question that I have not be able to find out answer to: What is the SDI output quality when shooting 1080p 24fps? I know the 4k RAW and 2k RAW output is 12 bit, but in order to shoot 24fps in 1080p, you have to switch the SDI output from RAW to X-AVC. Is the 1080p SDI feed now mirroring the internal Fs5 quality of 10bit 422 or is it still a RAW feed which will record in 12bit ProRes RAW on the Inferno? Hope that all made sense. Thanks!
Isn't it best to shoot as best as you can in camera before editing? I know these overexposed shots serve as an example of what's possible but wouldn't it be better to get accurate exposure beforehand?
of courses, it is a bit tricking that´s what EtceteraPeople said or you could also do the proper exposure (without blowing highlights) then go to RAW edition and blow it in the software save the file as RAW and for marketing purpose just take the file you just blowed to edit it again in the RAW editor or final cut (in this photo there are not difficult DR envolved by the way the second as part of the highlights which cant be recovered), whatever you use to recover the highlights (it will appear complettly blowed) highlights which of courses are present from the initial exposuret, if not (lets said you have exposure error by a bad reading or decition) that can allow a stop or maybe 1.5 of recovery sometimes at least on a 16 bits file but 12 bits is a lot less info for that purpose so don´t sure how much it is posible to recover, be sure nothing which is not already there can be recovered, when i wrote stops i reffer to the Ansel Adams grey scale, not the usual marketing new language which are third of a stop in the Ansel Adams grey scale. Keep in mind light meters are calibrated to a 7 stops symplified Ansel adams scale allowing from the middle grey two stop over and two stop lower, in exposure compensation. which make sense cause a cmos sensor alllow a DR of 5 stops, maybe new ones 5.3 or 5.6, not sure at school we learn 5 stops.
Yes, it is best to get proper exposure, but this is not always possible. I don't shoot with a camera with high dynamic range and in run and gun situations where I don't have the time to light the scene I have to make a choice between the preserving the highlights or the shadows. Raw video has always been exclusive of high-end videos and even then it comes with a huge penalty on storage and processing power. Something like a f700 or an fs5 with the atomos becomes a reasonably priced option for someone like me.
Red The Man why don't you use the c200? After the additional cost the get the raw putput, the proce is pretty much the same and ahoots internally. Also the data rate of canon raw lite in the c200 is of the same rate as an fs5 with prores raw.
Billy Casimir - with PRR if dont overexpose (quite a lot) even a sunny daylight scene will come with a lot of noise.
Awesome Series! ProRes RAW is gonna be a huge deal soon, super exited :-)
Caleb what would be the sense of shooting Log in camera while recording prores raw externaly?
That is unbelievable! Prores raw is amazing! Does it work with premiere?
He said it doesn't, as of now. But there appear to be indications that they might/will in the near future.
So were you over exposing those images for the sake of showing off dynamic range?
Keen to know the best way to shoot with this. Would it work as well with under exposure?
Great series man.
Can't wait to see how to bring this to the GH5. Have you ever thought of making a video on proper internal exposure for HLG? That would rock...
great job on all 3 parts
It would be nice to upload one clip in prores raw for us to evaluate quality , i am curious to see how fs5 handles iso using this format
Hi, what´s your hackintosh specs?
I liked the series. Good job sir.
Hi! How much i will have of Raw information records? 10bit - 12bit -14bit? And how much dynamic range matrix in "stop"? What you think what is will be better - this setup (sony FS700 + external recorder) or Black Magic Pocker Camera 4K?
Very interesting that you are using the "Wide Color Gamut" setting. I've found that using this setting has been awesome for grading S-Log2 footage directly in FCPX (I finally got my reds back!). Typically, you would have to convert the S-Gamut color space to Rec709 using a LUT, but with the addition of a "Wide Color Gamut" setting it's not necessary. This is because Rec2020 and S-Gamut have a very very similar color space. On top of that, it seems that FCPX acts like a LUT in that it remaps the Rec2020 color space when you export. I've found in my testing that a Rec709 export from a project that's set to "Wide Color Gamut" still keeps the reds that I was losing when grading in the "Standard" color space setting. Do you have any thoughts on this? Great video by the way!
the color space you get is what your sensor allows, maximum today is 4:4:4, the processing is limited to the hardware resolution, in your case if it works for you in your monitor and then you test in a TV andit still working as well, it´s OK
edited cause at first i had don´t understand your post at all :-)
I don’t think you’re actually pulling back all that blown out information; the information was always there it just looks super blown out because of whatever LUT or processing FCPX does to the shot when you import it. Even still photos shot in raw can’t recover that much blown highlight detail, so there’s no way raw video can. I’m sure you already knew this but you might want to make a note of it, I think some people will believe prores raw will allow them to recover 5 stops of highlight detail lol
Amazing stuff! How was the render and export times? CRM eats my iMac Pro's lunch during those processes.
Amazing series on prores raw I was wondering if you have played with picture profile and colour space ie. shooting Slog- s-gamut vs Cine 4 if that affects the colours at all? thank you for all the videos have learned a lot here.
I have the exact same setup but still your footage seem to be very clean out of the recorder (if no denoising has been applied ) . Mine is veeery grainy . I am aware the are no camera denoising filters being applied to the raw footage but I am seeing excessive grain in any setting (did alot of tests ) . I am surely missing something here .
Great video! I am interested in the worlkflow keep this series going
Hello! First of all, thank you! This was the most thorough and educative videos about ProRes Raw. I am wondering, since the release of this video, have you found a good workflow when dealing with Denoising? It’s mentioned briefly in the end but I would love to learn of a good workflow for that. I am using Neat Videos’ Denoiser, but it has a tendency to be extremely taxing on my machine, even tho it looks almost flawless. Thank you again!
Totally great info, keep the series going. What's happened since May 2018 with ProRes Raw? So glad I bought a FS700R camera, way back when; best video camera for the buck all time. Keeps on re-emerging as a phenomenal camera, and now with ProRes Raw. Sony took them off the market so people could spend thousands more on the FS7 I suspect. I imagine on eBay they are selling like hotcakes now. So what is happening with Convergent Design's Q7+? It's gone silent on updates and no announcement on ProRes Raw?
Love your stuff and thanks for sharing
thanks for this!
I've a question - Since its RAW video, can I just shoot in standard picture profile instead of a flat one? Will I have enough leeway to grade? With photos, I know I can shoot RAW with standard picture profile and thats what I have been doing and it works well but I know if thats the case with video too
cool video man! would love to see a noise/ exposer video. Just got a fs5 and inferno. There's not a lot out there, believe it or not.
super job thks question: do you think FS5 MKII is worth the upgrade from FS700 4K using Proresraw? thks
Great video series! I feel soooo educated now!🤓
Any news on the GH5 raw output possibility? For external atomos recorder? So far I know still not supported via it’s hdmi connection.
Can you make a s-log video and how to edit and grade?
Hey, great video series! Just wondering, what we’re your import settings set to when you brought the raw files into fcpX? Also, what kind of hard drive speed / raid config would you recommend if editing 4K 60fps, 16 bit pro res raw ( Sony a7s iii to ninja v) on an 2017 iMac?
I liked this series.
Hi Caleb! I love the amount of bokeh you have going on and how sharp you look even do you move slightly back and forward. I would love to know:
1. In what aperture did you film this video?
2. What is the distance between you and the background?
Thank you so much for your videos. I'm always waiting for your reviews because not everyone is as detailed as you!!! Freaking awesome job.
Not sure what I am doing wrong, shot something similar to test out in prores raw. Clipped the highlights of the sky by not much and I can't get detail out of them when I bring down the highlights. Followed all the wide gamut directions =(
Thank you so much! This is exactly what I am looking for! Sony F55 ProRes RAW?
Thanks man, ....cutting edge indead! Do you think the upcoming Blackmagic 4k camera will shoot ProRes RAW when they release it later this year?
Very educational. Thanks.
I will be happy if u talk about pro res 4444 -> what is the benefits/ futures (Arri Alexa Mini)
Holy crap that is some incredible stuff!!
Great series! Really helpful. Thank you very much!
Man this was nearly all of the information I ever wanted to know, thank you so much for this awesome video, two requests, could you show us some noise examples we might experience with direct from sensor recording and also how much you can bring back from low light shooting with the fs5? :) thanks again
Did you ever make a video for editing pro res in premiere pro?
My struggle is to deal with the noise in post. Any suggestions for the fs700?
SICK!! Is this a standard option in the FS5II?
Yep!
If DaVinci Resolve doesn't en up supporting ProRes Raw what other powerful color grading software is out there?
Would you edit in premiere taking advantage of raw to expose the shot properly and then export the footage in 10bit to Davinci and finish the color grading there?
Adobe user here but I watched for the good information. Thanks.
Love this! I'm on board!
video still holds super weight almost 3 years from now hhahahah holy hell. just got the a7s iii and ninja and enjoying learning more and more!
Soooo cool! Great video! Thanks
Great follow up video.
I would hope Apple will open up ProRes RAW to other developers. I would not consider buying Final Cut Pro X just to get at ProRes RAW. I don't think that would be a wise business decision on Apple's part. I'll settle for ProRes HQ any day over buying another program.
I think 6 months before it opens up. Atomos have said as much in a few of their own videos.
Thank you for the ProRes Raw series,
maybe you could make a tutorial about workflow in Davinci Resolve.
For now there is no native support for ProRes Raw in Davinci (maybe it comes but not ye).
Currently My workflow on ProRes is as follow and is not "compatible" to ProRes Raw:
1. Import footage from Ninja Blade to FCPX
2. Editing
3. Export EDL XML
4. Import It in Davinci
5. Denoise with Neat Video
6. Color grading
7. Export for FCPX
8. Back in FCPX to make Titles, some final edits..
9. Final export