Very nice video again! Concise and to the point. I believe I can answer your question about the Premiere CC option: you can, actually, edit the CinemaDNG footage in Premiere if you compress with this option enabled! Slimraw does some magic under the hood and Premiere can import the compressed raw footage even though it can't import the uncompressed originals! Not that I recommend Premiere for CinemaDNG production, mind you. Resolve is vastly superior for this purpose. A few tips I gathered from my years of using slimraw with various cameras (Bolex, Sony FS and now Sigma): 1) Turn off the Premiere CC compatibility option if you are not using Premiere. This will shave off even more bytes! 2) There is a setting in the options dialog, called "Maximum compression". This also increases compression a tad with no change in quality. 3) I use the Lossless 10-bit log option as a baseline. This is indistinguishable from the Lossless option in quality, but once again produces a bit smaller files. There is a lengthy explanation on the slimraw site about how this works which I recommend reading. 4) The Lossy compression modes actually work very good and I don't hesitate using them if I want to save more space. Very handy especially on jobs with lots of ingest. Keep up the content and I hope this is of some use.
Thanks so much for all the additional info and tips! I can't believe I didn't even think to try to import the compressed files into Premiere. Even though I use Resolve for mostly all of my editing these days, it's nice to know that Premiere can import the compressed cinemaDNG with that option "checked." Also, GREAT to know I can save even more space by unchecking it and messing around with the other options. Will have to try that out.
Thanks for the additional tips! I have a question for you. Why is it not good to edit cinema dng in premiere after the slimraw treatment? Is it because Premiere won't be able to bring back the details in the shadows of cinema dng like how it can do highlight recovery with BRAW?
@@strawhatsam The raw processing options in Resolve are more detailed. The CinemaDNG source effect in Premiere only has color temperature and tint, IIRC.
@@ezsteel78 Thanks for that! What is the difference between the rwaw processing options and the regular color grading tools? In Premiere one would have to use the lumetri effect panel to adjust exposure, contrast, and color hues, but will that not be utilizing the raw data effectively and be missing out on hidden extra dynamic range?
@@strawhatsam My understanding is that the raw processing options affect the image earlier in the pipeline, during debayering and while it is still linear. Lumetri is working on a tone mapped RGB image further down the pipe, after raw development. I believe an exposure adjustment during raw processing can, for example, pull whites back, but exposure adjustments on a tone mapped image can't bring back what's already gone.
It's been a while since I've worked in Resolve so yep, I'm watching this again. I only watch your Sigma FP and Resolve videos as we have a very similar workflow. Thank you again for making this.
Thanks. That was very helpful. I really hope you do that video on how to expose the Sigma FP. That is one of my biggest concerns regarding this camera. I am seriously considering buying one. It really seems like a great camera for some purposes.
Fast pace, dense content and compassionately informative. Thank you for this. Now I can actually use my SIGMA fp in a meaningful way. I really like to know before you enter the " Camera RAW " settings ( 8:35 ) how had you setup your " Color Management " settings ( two rows up from Camera Raw in Project Settings page ). I have seen Cullen Kelly paying special attention to the settings of the " Color Management ". So, please share your settings in that area also.
Hey there! Glad you're enjoying the content. I don't change anything in Color Management. I leave it on the default "DaVinci YRGB" for "Color Science", "Rec.709 Gamma 2.4" for "Timeline color space" and "same as timeline" for "Output color space"
Love your channel for the useful Sigma fp info! Presumably you could export into ProResRaw (which would preserve all the quality of Cinema DNG) and work in Premiere?
Thanks for watching! And yes, I’ve heard people having great success doing a base level of color correction and then exporting into ProRes. I DID confirm from another creator that the CC compatibility toggle in SlimRaw does allow the resulting DNG files to be used in Premiere, but I haven’t tested it myself yet
Hi Dylan! I always thought that the default sharpness should be set to 100... so I noticed that even in 2k there is too much annoying sharpness. Do you think that 10% represents the original sharpness of the file?
Agreed - too much sharpness is not a great look. Not sure if the default setting of 10 refers to percentage or if it means that it's the base setting and no additional sharpness is being added. I've never touched the setting before but now I'm curious if I should be reducing that number "0" at the very beginning during project setup every time 🤔
Thank you for an excellent video. I am curious how to shoot in LOG format so I can color grade after? Should the option in SlimRAW for 10 bit LOG be used when shooting in LOG format?
You're welcome! To answer your question, I'm always shooting with the color profile on the fp turned to "off". I'm not sure if this really qualifies as a LOG profile since it's shooting RAW video. I don't use the "log" settings slimRAW simply cause I'm only looking to convert my RAW cinemaDNG clips, not add a log profile onto them. Plain "lossless" is the way I always go
What's the point of shooting uncompressed cinema dng if then you proceed to compress the files before editing? Also, I highly doubt that "lossless" option is properly lossless.
Thank you Dylan. I came across SlimRAW when I realised that CinemaDNG (conversion from Prores RAW using Play Pro Studio) cannot produce Proxy files in Davinci. Do you use Proxy files in your CDNG projects or maybe you don't need them as you are processing with a 1080 timeline? TIA.
Hey there! I have used proxies in Resolve for CinemaDNG footage in the past, yes. I used them while editing my Thailand video due to the sheer amount of footage in the project, and I didn’t experience any issues in producing half-res ProRes 422 LT proxies from within the software. In other instances, when I’m doing smaller projects, I just turn the timeline proxy resolution down and, as you stated, work in a 1920x1080 timeline until I’m ready to export. Great questions!
Hi, Dylan good job. Because of your video, I got Sigma fp a week ago, which I have been happy with so far, Please make a video on how you shoot and expose. thanks
@@Panotaker Planning on getting to this one soon. Thanks for your patience 🙏🏾 My wife and I are expecting our first child within the next month so I haven't had too much time to devote to content creation as of late. But this one is one I want to get to as soon as possible. I just started experimenting with the EL zone exposure tool as well, so expect that to be part of the video as well. Stay tuned!
@@DylColeman Congratulations on your first born! You better buy all your toys before the baby gets here. I just got the EVF-11 for my Sigma FP today. Looking forward to playing with that.
@@Panotaker for real. I just got my first accessory from Dark Power Labs - the over- EVF SSD cage. SO cool. I got tired of having to awkwardly rig the Samsung T5 and manage the short cable constantly. But this will probably be the last bit of gear I buy for some time….:
When you say you underexpose by two stops, is that even with the false color not showing red? I use false color and always try to get the highlights out of that zone if I can but do you still feel you need to further underexpose two stops from that point??
Good question. If I don't have highlights in red I'm good to go, but since I often shoot into light and tend to lean towards natural light looking aesthetic with a pronounced "shadow side", those situations are few and far between for me. There's often a great difference between the highlight and shadow areas of my images. The dynamic range on the camera helps out a lot in those situations, though
Awesome video! I wanted to ask you if you're using the T5 if you find it too slow to edit your cinema dng videos directly on it rather than using slimraw and having your files on your mac. Thanks!
Hey there! Thanks for watching! I AM using a 1TB Samsung T5 to record to, but I've never actually tried to edit uncompressed Sigma fp cinemaDNG off of it - not any large projects anyway. I haven't found it to be slow in any way, even when working with uncompressed files. The main reason I use SlimRaw is for file size management. I just can't deal with the space the the uncompressed files take up
Thanks for the informative video, Dylan. I have different FP question that I hope you can answer. Why can’t I get 120 fps out of the camera? No matter what I try, the footage is either 24 or 30. Believe it or not, I talked to Sigma technicians in New York and they couldn’t capture slow motion either. And sadly, they never called me back.
Hey there! In my experience, the only way you can get 120 fps footage out of this camera is to shoot in 10-bit FHD to an external drive (not internal). You can also get 100 fps at 12-bit using an external drive, but without the use of an SSD those options drop down to 12-bit 60 fps in FHD and NO high-framerate options in UHD
@@matthewsisson1234 a lot actually, thanks for asking. She’s a good sleeper, going down for about 10-11 straight hours a night at the moment. Good naps too!
Your M1 is good enough. I edit on the last generation of Intel Macs - an i9 with the top of the line graphics card at the time. I struggle on heavy projects and I’m forced to edit in a 1920x1080 timeline most of the time. I’m honestly looking to upgrade to a refurbished m1 or m2. Any silicon model is light years ahead of the old intels. I use an m1 for work and it’s night and day
So useful! Thanks! The clips were shot in "no color" mode? Have you made a comparison between compressed and uncompressed footage, it they retain highlights the same way? Thank you
Thanks for watching! Glad you enjoyed it. They WERE shot without a color profile. And yes, the first thing I did when I first started utilizing SlimRaw was compare compressed and uncompressed files side by side. I couldn’t, for the life of me, find any differences, and I consider myself a pretty good “pixel peeper”. I was really surprised honestly. I thought for sure there would be some reduced dynamic range, at the very least. Couldn’t see it
@@DylColeman thank you for your answer, I'm loving this camera more and more, and your method will save me a lot of time, efforts and hd space! 💪🏻👍🏻✌🏻👏 You're doing a great job
I've done the difference test in Resolve -- raw process the same frame as original and compressed, then subtract both in a node -- and they are literally the same: the resulting difference image is pure black, no matter how much gain you put into it, indicating that all pixels are exactly the same. I am sure the lossless compression is indeed perfectly lossless and not just "visually" lossless.
@@ezsteel78 Nice! I did a similar test with a clip that required me to boost the exposure almost 3 stops to bring back detail in the shadows and I saw the same thing when toggling between uncompressed and compressed clips - no change in grain or detail! Pretty awesome. Still don't really get how it's possible lol
Hello, quick question... why do you compress your footage with SlimRaw if you eventually import the DNG in Davinci ? Thanks! (loved the RAW project set-up info)
Hey there! I actually don't keep the original DNG. The great thing about SlimRaw is that it compresses the DNG files but keeps them in their native format and is a true lossless compression. They call it "entropy compression." There's a lot of info on their site about how they do this ----> www.slimraw.com/faq.html Fascinating
@@DylColemancurious if you have any idea what's lost to reduce the file sizes. How can it truly be lossless if we're losing half the data? This was a really great tutorial, thank you. I especially appreciate the tip on preserving highlights in the exposure.
Hey there@@tripslip38 . I don't. I've done some testing on my own comparing the detail and versatility of both uncompressed and compressed CDNG files and couldn't find any differences between the two in terms of their performance during grading and such. It's a mystery.....
Hey there @tripslip38 & @DylColeman. True lossless compression doesn't toss out data, just stores it more efficiently. It's grossly oversimplified but the way it was explained to me is that if you have bits (literally) of data that are the same & repeated numerous times, instead of copying that same bit every single time, only 1 is kept & then referenced every time it's repeated. I always loved the shopping list example, say you want to buy 5 bananas. Uncompressed would be writing "one banana" 5 times. Lossless compressed would be to write that as "5 bananas". The same information, stored more efficiently. Someone with more technical knowledge may correct me on this, but that's my understanding. I'm fairly sure that's the way it works for certain image formats for example, say if you have multiple pixels with exactly the same colour data. A lot of space is saved by not re-writing that data every single time. PNG files are a great example for relatively simple graphics, often ending up even smaller than JPEGs if there's only a few colours involved. An audio example is WAV vs FLAC. FLAC files are bit for bit perfect, but generally around 75% the size on average. I think DNG tends to be an extremely large format anyway just in general. I remember converting some raw stills from my dslr into DNG format for something I can't remember, & they ended up being significantly larger. Just speculation but that makes me think there's a significant overhead of the format, probably for compatibility reasons so a lot of the compression is possibly coming from that.
Great video as I'm new to this journey :) Is there a risk to choose the actual T5 ssd as "source folder" in slimraw so you just have the compressed raw in the storage?
I’ve never tried it but I assume you can select the whole drive as the source. The only consideration there I would say is that you HAVE to pick a completely separate drive as the destination or else you will be stuck in an endless loop of compressing files and then re-compressing them as the resulting files appear on the same drive. The program actually warns you about it if you attempt to do so. Pretty neat
I’ll have to get back to you on this. I haven’t compressed a large amount of media from the sigma fp at one time in a minute. When I was in Thailand, I think a whole 1 tb drive would take somewhere close to 30 minutes to convert to a Lacie HDD from a Samsung t5, but I can’t be sure
I turn it off. I’ve experimented with warm gold after the firmware update but didn’t really like the look. To be fair, I haven’t tested the other modes that much
I export as an H.264-encoded Quicktime MOV with a bitrate of 40 mb/s. I always do a dual-pass encode as I think this makes for a richer, less washed out image - less of a difference between what I see in Resolve and upon export.
Why buy shoot a camera that records in RAW only to compress it as you download it. ? I understand that the file sizes are huge.. But why cripple your files right from the get go ?
Interestingly there is no reduction in versatility when it comes to things like exposure and pushing and pulling the colors in Post after compression. I’m not sure how SlimRaw does it, but that was a concern of mine as well. I’ve tested both “compressed” and uncompressed files and haven’t been able to see a noticeable difference in overall fidelity of the files 🤷🏾♂️
Very nice video again! Concise and to the point.
I believe I can answer your question about the Premiere CC option: you can, actually, edit the CinemaDNG footage in Premiere if you compress with this option enabled! Slimraw does some magic under the hood and Premiere can import the compressed raw footage even though it can't import the uncompressed originals! Not that I recommend Premiere for CinemaDNG production, mind you. Resolve is vastly superior for this purpose.
A few tips I gathered from my years of using slimraw with various cameras (Bolex, Sony FS and now Sigma):
1) Turn off the Premiere CC compatibility option if you are not using Premiere. This will shave off even more bytes!
2) There is a setting in the options dialog, called "Maximum compression". This also increases compression a tad with no change in quality.
3) I use the Lossless 10-bit log option as a baseline. This is indistinguishable from the Lossless option in quality, but once again produces a bit smaller files. There is a lengthy explanation on the slimraw site about how this works which I recommend reading.
4) The Lossy compression modes actually work very good and I don't hesitate using them if I want to save more space. Very handy especially on jobs with lots of ingest.
Keep up the content and I hope this is of some use.
Thanks so much for all the additional info and tips! I can't believe I didn't even think to try to import the compressed files into Premiere. Even though I use Resolve for mostly all of my editing these days, it's nice to know that Premiere can import the compressed cinemaDNG with that option "checked." Also, GREAT to know I can save even more space by unchecking it and messing around with the other options. Will have to try that out.
Thanks for the additional tips! I have a question for you. Why is it not good to edit cinema dng in premiere after the slimraw treatment? Is it because Premiere won't be able to bring back the details in the shadows of cinema dng like how it can do highlight recovery with BRAW?
@@strawhatsam The raw processing options in Resolve are more detailed. The CinemaDNG source effect in Premiere only has color temperature and tint, IIRC.
@@ezsteel78 Thanks for that! What is the difference between the rwaw processing options and the regular color grading tools? In Premiere one would have to use the lumetri effect panel to adjust exposure, contrast, and color hues, but will that not be utilizing the raw data effectively and be missing out on hidden extra dynamic range?
@@strawhatsam My understanding is that the raw processing options affect the image earlier in the pipeline, during debayering and while it is still linear. Lumetri is working on a tone mapped RGB image further down the pipe, after raw development. I believe an exposure adjustment during raw processing can, for example, pull whites back, but exposure adjustments on a tone mapped image can't bring back what's already gone.
I'm brand new to a raw work flow and found this very helpful. Thank you!
This video is jam-packed with detailed and useful info! Ty! 🙌
You’re very welcome! Glad you found it helpful 😁
It's been a while since I've worked in Resolve so yep, I'm watching this again. I only watch your Sigma FP and Resolve videos as we have a very similar workflow. Thank you again for making this.
You're very welcome! Glad my content has been helpful 🙂
So many things to thank you for but my top 2 are - thanks for the test footage download files and thanks for mentioning your computer spec 👏🏻👏🏻👏🏻
Straightforward. Clear. Easy to follow. Nice job, Dylan.
Thank you!
Your honesty about not knowing about some of the click options in SlimRaw had me pause to subscribe. Much appreciated.
Thanks, friend!
Thank you so much. I'm following now this workflow.
Love that! You’re very welcome!
Great video. Thanks for going to the point quick. 👍
Thanks! I’ve been aiming for a balance of brevity and information. I think there’s still some more improving to do
Thanks. That was very helpful. I really hope you do that video on how to expose the Sigma FP. That is one of my biggest concerns regarding this camera. I am seriously considering buying one. It really seems like a great camera for some purposes.
Glad you found it helpful! I think I may do that video next....
@@DylColeman Please do! Thank you!
Thank you!
Yes please make video of how you shoot!
Will do!
Fast pace, dense content and compassionately informative. Thank you for this. Now I can actually use my SIGMA fp in a meaningful way.
I really like to know before you enter the " Camera RAW " settings ( 8:35 ) how had you setup your " Color Management " settings ( two rows up from Camera Raw in Project Settings page ). I have seen Cullen Kelly paying special attention to the settings of the " Color Management ". So, please share your settings in that area also.
Hey there! Glad you're enjoying the content. I don't change anything in Color Management. I leave it on the default "DaVinci YRGB" for "Color Science", "Rec.709 Gamma 2.4" for "Timeline color space" and "same as timeline" for "Output color space"
Very generous!
Thanks for watching!
Solid work flow, nice one Dylan ❤
Thanks, Emmanuel! 🙏🏾
Love your channel for the useful Sigma fp info! Presumably you could export into ProResRaw (which would preserve all the quality of Cinema DNG) and work in Premiere?
Thanks for watching! And yes, I’ve heard people having great success doing a base level of color correction and then exporting into ProRes. I DID confirm from another creator that the CC compatibility toggle in SlimRaw does allow the resulting DNG files to be used in Premiere, but I haven’t tested it myself yet
Thank you this is very useful and really clearly explained.
You're welcome! I'm really glad you found it useful!
Hi Dylan! I always thought that the default sharpness should be set to 100... so I noticed that even in 2k there is too much annoying sharpness. Do you think that 10% represents the original sharpness of the file?
Agreed - too much sharpness is not a great look. Not sure if the default setting of 10 refers to percentage or if it means that it's the base setting and no additional sharpness is being added. I've never touched the setting before but now I'm curious if I should be reducing that number "0" at the very beginning during project setup every time 🤔
Excellent presentation
Thank you!
Great video!
And please do make a video on how you expose the Sigma fp..
Thanks! Glad you enjoyed it 😁 And will do!
@@DylColemanyeah do it please
OMG it's Joe Morton from Terminator 2 😄 Thanks for the tutorial
😂 surprisingly you’re not the first person to tell me that. Thanks for watching!
Thanks a lot! Very helpful!
Glad it was helpful! Thanks for watching 🙏🏾
Thank you for an excellent video. I am curious how to shoot in LOG format so I can color grade after? Should the option in SlimRAW for 10 bit LOG be used when shooting in LOG format?
You're welcome! To answer your question, I'm always shooting with the color profile on the fp turned to "off". I'm not sure if this really qualifies as a LOG profile since it's shooting RAW video. I don't use the "log" settings slimRAW simply cause I'm only looking to convert my RAW cinemaDNG clips, not add a log profile onto them. Plain "lossless" is the way I always go
What's the point of shooting uncompressed cinema dng if then you proceed to compress the files before editing? Also, I highly doubt that "lossless" option is properly lossless.
Hello thanks a lot for this video. Just got my Sigma fp. Sorry the only point that is not clear to me is why you set the Highlights to -100?
That’s just a personal preference. I like more “muted” highlights in my images.
Dope walk through dude!
Thanks, brother! And thanks again for the share ! 💪🏾
Thank you Dylan. I came across SlimRAW when I realised that CinemaDNG (conversion from Prores RAW using Play Pro Studio) cannot produce Proxy files in Davinci. Do you use Proxy files in your CDNG projects or maybe you don't need them as you are processing with a 1080 timeline? TIA.
Hey there! I have used proxies in Resolve for CinemaDNG footage in the past, yes. I used them while editing my Thailand video due to the sheer amount of footage in the project, and I didn’t experience any issues in producing half-res ProRes 422 LT proxies from within the software. In other instances, when I’m doing smaller projects, I just turn the timeline proxy resolution down and, as you stated, work in a 1920x1080 timeline until I’m ready to export. Great questions!
Perfect video!
Thank you!
Than you, great help
You’re welcome
EXCELLENT!
Thank you!
Love the video👍
Thanks! Glad you enjoyed it 🙏🏾🙂
Hi, Dylan good job. Because of your video, I got Sigma fp a week ago, which I have been happy with so far, Please make a video on how you shoot and expose. thanks
Awesome! I really hope you keep enjoying it. And will do! I have a lens review video coming out this week and then it’s on to the exposure vid 👍🏾
@@DylColemanI’m also waiting on the exposure vid, thanks.
@@Panotaker Planning on getting to this one soon. Thanks for your patience 🙏🏾 My wife and I are expecting our first child within the next month so I haven't had too much time to devote to content creation as of late. But this one is one I want to get to as soon as possible. I just started experimenting with the EL zone exposure tool as well, so expect that to be part of the video as well. Stay tuned!
@@DylColeman Congratulations on your first born! You better buy all your toys before the baby gets here. I just got the EVF-11 for my Sigma FP today. Looking forward to playing with that.
@@Panotaker for real. I just got my first accessory from Dark Power Labs - the over- EVF SSD cage. SO cool. I got tired of having to awkwardly rig the Samsung T5 and manage the short cable constantly. But this will probably be the last bit of gear I buy for some time….:
When you say you underexpose by two stops, is that even with the false color not showing red? I use false color and always try to get the highlights out of that zone if I can but do you still feel you need to further underexpose two stops from that point??
Good question. If I don't have highlights in red I'm good to go, but since I often shoot into light and tend to lean towards natural light looking aesthetic with a pronounced "shadow side", those situations are few and far between for me. There's often a great difference between the highlight and shadow areas of my images. The dynamic range on the camera helps out a lot in those situations, though
Would you be able to check what you recorded when you record on cinema DNG? i mean on the camera ?
You can play back clips if that’s what you mean. You can also select and delete individual files which is nice
Informative thank you
You’re welcome!
Nice one.
Thanks!
Awesome video! I wanted to ask you if you're using the T5 if you find it too slow to edit your cinema dng videos directly on it rather than using slimraw and having your files on your mac. Thanks!
Hey there! Thanks for watching! I AM using a 1TB Samsung T5 to record to, but I've never actually tried to edit uncompressed Sigma fp cinemaDNG off of it - not any large projects anyway. I haven't found it to be slow in any way, even when working with uncompressed files. The main reason I use SlimRaw is for file size management. I just can't deal with the space the the uncompressed files take up
@@DylColeman thank you for answering mate!
@@andreistance No prob!
Ace, thanks!
You’re welcome! Glad you enjoyed it!
Thanks for the informative video, Dylan. I have different FP question that I hope you can answer. Why can’t I get 120 fps out of the camera? No matter what I try, the footage is either 24 or 30. Believe it or not, I talked to Sigma technicians in New York and they couldn’t capture slow motion either. And sadly, they never called me back.
Hey there! In my experience, the only way you can get 120 fps footage out of this camera is to shoot in 10-bit FHD to an external drive (not internal). You can also get 100 fps at 12-bit using an external drive, but without the use of an SSD those options drop down to 12-bit 60 fps in FHD and NO high-framerate options in UHD
Thanks, Dylan! Will give your suggestions a try.
Getting any rest?
@@matthewsisson1234 a lot actually, thanks for asking. She’s a good sleeper, going down for about 10-11 straight hours a night at the moment. Good naps too!
@@DylColeman great!
Thinking of buying this camera over Sony, and digging through some nerdy stuff. Your video popped up. Just love it.
Thank you so much! That means a lot. Glad you like it 🙏🏾
hey dylan , what computer you use to edit all this? thanks for the knowledge
i have M1, i hope its good enough
Your M1 is good enough. I edit on the last generation of Intel Macs - an i9 with the top of the line graphics card at the time. I struggle on heavy projects and I’m forced to edit in a 1920x1080 timeline most of the time. I’m honestly looking to upgrade to a refurbished m1 or m2. Any silicon model is light years ahead of the old intels. I use an m1 for work and it’s night and day
So useful! Thanks! The clips were shot in "no color" mode? Have you made a comparison between compressed and uncompressed footage, it they retain highlights the same way? Thank you
Thanks for watching! Glad you enjoyed it. They WERE shot without a color profile. And yes, the first thing I did when I first started utilizing SlimRaw was compare compressed and uncompressed files side by side. I couldn’t, for the life of me, find any differences, and I consider myself a pretty good “pixel peeper”. I was really surprised honestly. I thought for sure there would be some reduced dynamic range, at the very least. Couldn’t see it
@@DylColeman thank you for your answer, I'm loving this camera more and more, and your method will save me a lot of time, efforts and hd space! 💪🏻👍🏻✌🏻👏 You're doing a great job
I've done the difference test in Resolve -- raw process the same frame as original and compressed, then subtract both in a node -- and they are literally the same: the resulting difference image is pure black, no matter how much gain you put into it, indicating that all pixels are exactly the same. I am sure the lossless compression is indeed perfectly lossless and not just "visually" lossless.
@@ezsteel78 Nice! I did a similar test with a clip that required me to boost the exposure almost 3 stops to bring back detail in the shadows and I saw the same thing when toggling between uncompressed and compressed clips - no change in grain or detail! Pretty awesome. Still don't really get how it's possible lol
@@ezsteel78 that's astonishing 🔥 great to know that, in order not to buy a 4tb SSD disk a month!
Hello, quick question... why do you compress your footage with SlimRaw if you eventually import the DNG in Davinci ? Thanks! (loved the RAW project set-up info)
Hey there! I actually don't keep the original DNG. The great thing about SlimRaw is that it compresses the DNG files but keeps them in their native format and is a true lossless compression. They call it "entropy compression." There's a lot of info on their site about how they do this ----> www.slimraw.com/faq.html Fascinating
@@DylColemancurious if you have any idea what's lost to reduce the file sizes. How can it truly be lossless if we're losing half the data?
This was a really great tutorial, thank you. I especially appreciate the tip on preserving highlights in the exposure.
Hey there@@tripslip38 . I don't. I've done some testing on my own comparing the detail and versatility of both uncompressed and compressed CDNG files and couldn't find any differences between the two in terms of their performance during grading and such. It's a mystery.....
Hey there @tripslip38 & @DylColeman. True lossless compression doesn't toss out data, just stores it more efficiently. It's grossly oversimplified but the way it was explained to me is that if you have bits (literally) of data that are the same & repeated numerous times, instead of copying that same bit every single time, only 1 is kept & then referenced every time it's repeated. I always loved the shopping list example, say you want to buy 5 bananas. Uncompressed would be writing "one banana" 5 times. Lossless compressed would be to write that as "5 bananas". The same information, stored more efficiently. Someone with more technical knowledge may correct me on this, but that's my understanding.
I'm fairly sure that's the way it works for certain image formats for example, say if you have multiple pixels with exactly the same colour data. A lot of space is saved by not re-writing that data every single time. PNG files are a great example for relatively simple graphics, often ending up even smaller than JPEGs if there's only a few colours involved. An audio example is WAV vs FLAC. FLAC files are bit for bit perfect, but generally around 75% the size on average.
I think DNG tends to be an extremely large format anyway just in general. I remember converting some raw stills from my dslr into DNG format for something I can't remember, & they ended up being significantly larger. Just speculation but that makes me think there's a significant overhead of the format, probably for compatibility reasons so a lot of the compression is possibly coming from that.
@@pureventrue2357 Thanks for this! Really interesting analogy
Is there an easy way to get the in-built color modes as LUTs if you'd still like to use those?
Not that I know of. But there's actually a creator named @Richpence that made a bunch of LUTs to match and he's giving them away for free. Pretty cool
Awesome job 🚀🚀
Thanks so much!
Great video as I'm new to this journey :) Is there a risk to choose the actual T5 ssd as "source folder" in slimraw so you just have the compressed raw in the storage?
I’ve never tried it but I assume you can select the whole drive as the source. The only consideration there I would say is that you HAVE to pick a completely separate drive as the destination or else you will be stuck in an endless loop of compressing files and then re-compressing them as the resulting files appear on the same drive. The program actually warns you about it if you attempt to do so. Pretty neat
@@DylColeman Aha yes made that loop mistake already, there is a safeguard :D Thanks for the answer and keep up the great work! :)
hi, how long hour does it take to convert 2Tb sigma fp 4k 12bit cdng files to eksternal T5?
I’ll have to get back to you on this. I haven’t compressed a large amount of media from the sigma fp at one time in a minute. When I was in Thailand, I think a whole 1 tb drive would take somewhere close to 30 minutes to convert to a Lacie HDD from a Samsung t5, but I can’t be sure
Can you uncompress slimraw compression?
Not to my knowledge, no. I guess you could keep the original files but then that kind of defeats the purpose. Big fan of your work btw!
@@DylColeman yeah couldn't find this option, thanks for the confirmation!
What profile or color mode do yiu shoot in?
I turn it off. I’ve experimented with warm gold after the firmware update but didn’t really like the look. To be fair, I haven’t tested the other modes that much
Thank you
You’re very welcome!
How do you export to get the highest quality?
I export as an H.264-encoded Quicktime MOV with a bitrate of 40 mb/s. I always do a dual-pass encode as I think this makes for a richer, less washed out image - less of a difference between what I see in Resolve and upon export.
What is an other option likely slim raw on ipad?
Hmm...I'm not aware of one.
Thanks bro
You’re very welcome! Let me know if there’s anything else you’d like me to talk about.
Natch' Thnx so much, Dylan*
You're very welcome!
bro we gotta collab before you get too famous
Hey brother! Let’s do it man! Seriously. Hit me up!
Why buy shoot a camera that records in RAW only to compress it as you download it. ? I understand that the file sizes are huge.. But why cripple your files right from the get go ?
Interestingly there is no reduction in versatility when it comes to things like exposure and pushing and pulling the colors in Post after compression. I’m not sure how SlimRaw does it, but that was a concern of mine as well. I’ve tested both “compressed” and uncompressed files and haven’t been able to see a noticeable difference in overall fidelity of the files 🤷🏾♂️
@@DylColeman Thanks for the input.