Who's to say the pro Nikon won't also have raw. Gen 1 Nikon was much better than Gen 1 Canon no matter what all the paid RUclipsrs think. Ibis, better video, a higher megapixel version, better sensor, and with firmware update 3.00 very comparable autofocus.
@tallaganda83 I totally agree with you Nikon is better all around as a first gen. And I am sure in the next few years, the Z cameras will be the compared to device that Canon, Sony, Panasonic and others will measure their standards to. Not to forget, with the new line of lenses, there will be no stoping Nikon from truly moving forward.
Yes, but it has a lot to do I believe because I was using a 32ND filter.. if in Raw or NLog u bottom out any blacks, hard to get back details... in more controlled environment, it tends to do very good
I think the reason from my little experience with different post processing software is some are more capable than others at handling different video codecs and log files. The flat profile seems to be a sweet spot across different editors. By the time you get into the realm of high end formats like n-log, v-log, prores, braw..then the editors begin to show their shortcomings.. I guess if this was edited in davinci resolve it would be a different story
just going over some graded/ungraded 12bit footage diference through youtube videos and it's insane!!! i saw a z9 video ... i am blown away ... this is really hollywood blockbuster looking footage!
RAW is RAW - no compromise. Log is too great for RUclips presentation, but flat missing details. One question.. what do you think about Magic Lantern for Canon devices? Its better with ML on Canon than original firmware? MLV format is really 14-bit RAW or some compensation only or somenthing.. Thank You for this comparison video and for answer me :)
Raw formats are hard to predict how they will act within any NLE as far as support and real time playback. But, I’ll be honest, I stick within my lane (Nikon) and won’t speak about something I hardly know about. I don’t know the canon eco system well enough to dissect. I know that MLV does replace some aspects of how canon operates, but that’s it. Sorry to disappoint in this aspect. 🥃🥃
The differences are so clear to see. 8 bit is baked and lacks DR. 10 bit is a bit better but the shadows look noisy and lack color. 12 bit is the best in color and DR. Clear winner. If Nikon made it record 10 bit or 12 bit internally, I'd jump from Sony ship to Nikon! 😐
I definitely agree with you... they have to make NLog recording available internally ASAP if they are to get more people onboard. Glad you were able to be unbiased about your stance based on your current cam equipment. I welcome this types of feedbacks and appreciate them more as well. 🥃🥃
Did you apply the Sony LUT (as other RUclipsrs) or just fiddle around with the color controls? I understand Apple has not come out with the ProRes RAW profile - specifically - for Nikon / Atomos / Ninja V yet...
I'm using Z7II and comparing 12 bit RAW with 10 bit N-Log. While there's improvement with 12 bit, what I'm struggling with are highlights. N-Log seems to do a better job in this case. Looking at the monitor (ninja v) histogram, the highlights show as clipping faster with raw. Sitting on my table, 1/60, F/4, ISO 800 (N-log) the room is visible, a window frame, trees are visible through the window and the sky is blown out. Same settings, RAW: window frame shows some blooming and the trees and sky is now blown out. the highlights are not recoverable in premier. So my question, is this your experience as well? am I missing something? Thanks!
Try these settings for real Estate.. works me, as long as everything u edit u convert to Ases and go from there with any Lut, except the Nikon Lut, which is meant to be used upfront. Don’t use it. Interior no strong window light f3.2-f4 - 120 Iso 100 Interior with strong outdoor light f6.3-120 iso 100… works great for ProRes raw… try these settings in Log, with a base of iso800 and then compare… u want to shoot a little faster shutter if u want to keep things in focus and minimize blur if slowing down the footage. 4k30p is what I use.
@@Aperture35 I am really just at the start of my video journey. I already discovered the truth with the Nikon codec and was totally confused why anyone would use it as it makes video look like it's from an old vhs tape. your explanation clears that up. When comparing between log/raw I kept the iso at 800 to make it easier to compare but I can see from your response that it was not the way to go for raw. You've given me something to try out tomorrow, thanks again!
Depends, if you are using Apple FcPX then yes. Because u will have some control over WB, otherwise, you are better off shooting raw and taking that to Lightroom
thinking about buying the ninja - just searching for example vids - surprised at how much noise there is in the n-log samples are you still shooting nikon ?
Well, it all depends on your budget, the new Z9 doesn’t require a ninja anymore, everything is built in, pro res raw and nikon raw video. Ninja route, with z6 and z6II. The noise comes only when something is under exposed, it’s luminance trying to get definition from the darks. If you have resolve paid version, you can rid of it. I am still shooting Nikon and that’s all I use. just haven’t done a vid here for about 2-3 months. Do plan on coming back, just ran out of ideas. By the way resolve doesn’t support ProRes Raw, once you are finishing editing in premiere or FCPX you can export a prores 422 version and take it there to get rid of the noise. FcPX noise reduction is sub par ok, and premiere’s sucks.
@@Aperture35 thanks for replying :) yep I thought about z9, but currently thinking more about Blackmagic. Looking at sample vids it looks soooo nice. Adapting my Nikon glass will be a bit of a pain but 🤷
Ok, well if you are taking about BlackMagic Raw, then I do highly recommend the assist 12g. It’s awesome, just a bit heavy, but works great. Always shoot 4K, and then Resample as needed. 4K is cleaner and sharper.
Hey great video thanks. Just wondering how you handle the exposure on your monitor's waveform with prores raw, did you expose for the mid tone and keep high under 100 and low above 0?
@Chenli Yang thank you. I usually use a medium grey card to set that between 35-40%... that’s to make sure you keep your skin and shadows where they need to be. While u have that grey card out, white balance as well. Specially if you want the beat colors in skin and natural textures. I’m doing a new video on this topic this week. Should be out soon
@ShelbyWorks Hello and thank you for asking. All footage was shot in 24p. Thus, the flickering was due to slowing it down in post. Not an option I recommend, but otherwise it was shaky and too short. I should have thought of the output when recording... I just trigger happy :)
Thank you for the video. I have done some test myself and I must say it gives the same result with masks on both, 10bit ProRes HQ and 12bit ProRes RAW. I believe, if it would be possible to apply masks within the "master" tab in Effect Controls in Premiere Pro (where you can adjust exposure for RAW), then it would give an advantage over the ProRes HQ, but when I apply lumetri masks in the regular tab in Effect Controls, it gives me basically the same results. The only difference is that 12bit is more flexible with aggressive colour manipulations. Or am I missing something, please advise if possible as I am getting confused ) Thanks
Hello Leon, whether you are shooting 10 or 12bit, it’s basically the same dynamic range. The tonality of colors come into play in the darks and highlights to create a better gradient effect and lower the banding effect of colors. When color grading ProRes raw, it is best to do so in the master tabs as it gives you much better control over everything color and dynamic range related. If you do it in the effects tab, you will be limited in controlling the highlights and darks. For Prores422 it doesn’t really matter in which tab you work in. I have brought attention to Adobe support with regards to exposure ramping not working in the masters tab for ProRes RAW. So, that aspect of controlling your exposure will be addressed soon. They weren’t aware that it was never working until I pointed it out. Hope this helps. Any further questions, please just ask 🥃🥃
8bit looks good enough most of the time. But for more those times u want more dynamic range.m, The other two make more sense and and are easier to color grade 🥃🥃
So I’ve been playing with Nikon/Atomos ProRed RAW and I found it impossible to predictably Color Grade... using an xRite Passport Color Checker and Color Finale 2.0 one has the ability to get correct Color by using ACES Profiles for Sony, Cannon, Panasonic... but, of course, nothing for Nikon - not even for legacy Nlog! Undaunted, I chose the “Assuming Log” and tried the Passport Check... again, no good. Can’t get a profile match to baseline. I did tweak the Passport Checker to get close to my original (high quality LED) lighting but as soon as I applied the Color Finale Effect to the actual video clip... pure garbage, waaay over exposed and looking more like False Colour🤮 Oddly enough, if I just brought in the ProRes RAW as “Video” into Color Finale (not “log” and no ACES profile... it looks pretty good... but WHY shoot log??? I could just shoot Nikon XQD 8 bit and get better results!?! (So long as I took great care in controlling the lighting exposure and color temperature at the shoot!) It looks like we can’t really use Nikon / Atomos / Pro Res RAW until Apple gets FCPX upgrades, along with 3rd Party tools like Color Finale! Am I missing something???
Yes and no… ProRes RaW from Nikon allows to shoot 10bit raw plus 2more bits is achieved from from other forms, which I forget at the moment. Search the web. But just cus u are shooting raw within Nikon, it ain’t the same as photo raw. Highlights and shadows are still very critical in exposure, and unless u are using FinalCut u can’t take advantage of all the features that raw offers. Premiere is limited and blackmagic doesn’t support it.
I just purchased my ninja v a few days ago and I was wondering does it allot for a clean out to it from the z6? Like all that camera info won't show up if im shooting stills or video?
The screen info during photos will be capture by ninja if you want to record that, when you switch to video on the z6, I believe it is already set to clean output. It’s been such a long time since I have done an initial setup, I don’t recall the steps to make sure the screen doesn’t turn off and so on. Keep surging in my vids, I believe I show you how…
Hi, thanks for the video ! How did you manage to import Prores Raw 12 bit in Premiere pro ? Did you transcode the file before importing in Premiere Pro ? thanks !
@jeremy Joch, yes, it was transcoded to ProRes 4444 in FCPX then taken to premiere. In FCPX, all I did was apply the Sony.cine raw conversion and take it straight to premiere after.
shadows looks better on the 8bit! on 10/12bit clips the blacks looked grayish... but yeah in terms of color richness and highlight roll-off, 12bit any day (except when shooting moire-prone subjects then 10bit).
shadows are supposed to look milky before post bro its for shadow recovory and dynamic range.....if ur blacks are already crushed in compression 8 bit ur might not get that data out of those shadows
@TheTonytone77 You are very right. if your blacks look right when shooting, you are underexposing. make sure they look washed out. Thanks for the feedback Bro! 🥃
@AnthonyGraves Nlog’s Native ISO base is 800 and higher. In low light this camera don’t do well with focus, it hunts, so always expose right or manual focus. I heard that if you turn off live view it will show the rear display with more light and will have better focus. Haven’t tried that yet in video, in photo it works perfect. Hope to see more of you around here. Thank you
@@Aperture35 I'm having some bad issues with auto focus in low light. It's not even really bad low light. It doesn't have these issues recording out of N-Log. Autofocus is tack sharp! Also, "3D Tracking" doesn't work in these low light situations. It's pretty much unusable.
@AnthonyGraves do you press the shutter button every time so you can focus? Are you in any other mode, other than dynamic? IF yes to any of these, you have the wrong settings. Make sure you are in dynamic Full time auto focus, and don’t press the shutter button at all. Press the ok button to acquire a focus point and then press the shutter or OK. It will track your subject. If it’s losing tracking all the time. You are underexposing. nLong has a 800 iso base, therefore your blacks are in better shape. In 8 bit You probably have to shoot the same thing at iso 500 or 640. If ProRes Raw, Watch my video on exposure with ninja V, which is also true for nlog and 8bit ruclips.net/video/xLdSJ02yf0s/видео.html
@GeorgeRady True. It’s one or the other. The Atomos ninja V has to reboot to go into other setting. And you have to manually set it on the cam to read Raw or Nlog. And then set it in the Ninja. And with the new 10.3 update on the ninja, you have to register ProRes RAW to access it... don’t know why... but it gives you legacy access in settings now which allows you to see and record better quality in ninja. But be ware, it’s not wise to use unless familiar with it, otherwise you will end up with a headache.
The only you only need an hDMI cable and a ninja V or Video assist 12G for ProRes raw or BRAW. Cage is only required if you do not want to stress the glass hotshoe with monitor adapters
Hey Faisal, I don’t use the Sony system... but I do apply the cine.sony conversion lut to prores raw. And for that, it does a great job at making the file more manageable for color grading. The Nikon 3DLut is a good profile... in the end, it all depends how you capture your footage... if you over or under expose you will pay when correcting. That’s what I have learn thus far. So, expose and white balance properly to make your life a lot easier in post. And regardless of lut applied, it won’t be a headache.
How do I record 12 bit prores raw on the ninja with z6, All I can see in the menu is 10bit. I just can’t figure out what and how I get prores raw in 12bit. Turning off raw signal in the menu and using nlog with prores 422, hq or lt implies that I’m using 10bit nlog is it ? And when I turn on the raw it means it’s doing it in 12bit, right ? Is this the case ? I’m just too confused about this..
If you paid for the Nikon Z6 RAW upgrade you will have access to record ProRes RAW on the ninja V. It is accessible only if RAW is turned on. Capturing ProResRAW also requires an activation from Atomos, which means u have to register the ninja. Once these is done, here is how Raw works. - Nikon Z6 RAW is now 10bit Log instead of linear which is how you are able to convert raw to log now in premiere or FCPX. 12 bit raw is achieved when the ninja and the Z6 shake hands and an additional 2bits of color are added to the format coder. So it’s 10bit + 2bit Hope that clears things up. Any other questions please just ask. 🥃🥃
@@Aperture35 Firstly, thanks for replying to a video done a year ago. Shows how you care about your content. I appreciate it. So recording in 422, LT or HQ gives me Nikon raw/ Nlog, right? Finally when I turn on RAW recording in the menu this gives me that 2 additional bits Prores Raw and gives me a 12bit signal. Yeah? And I did pay for the upgrade, I'm just confused about when am I getting the 12bit signal.
Perfect… you seems to have all the ingredients to capture raw properly then. Let me just clear some things up. ProRes 422 and ProRes Raw are two different codec/coder. ProRes 422 is a codec, which means it can code and decode, u can capture, edit, and save to the same format. ProRes RAW is a coder, not a codec, it is only for acquisition . It’s meant to record from camera/device only, and not save back in the same format. Hope that makes sense. So ProRes RAW can only be capture in ProRes and ProRes HQ. If you see ProRes 422 LT or ProRes 422 you are not capturing RAW. Check your camera signal and that the ninja says ProRes RAW or RAW on top right corner of device. 😁
@@Aperture35 So just this last time, I’m really sorry to do this, How do I record “10bit Nlog”, like what are the settings for it ? And how do I record 12bit prores raw?
To record 10bit 422 out of the Nikon Z6, you need to go to the advance settings of the camera video output and select 10bit… Make sure video external recorder is enabled as well. the ninja V will have options to record as ProRes 422 and DNxHR… if you purchased the h265 codec, you will have those options as well. To record RAW, all the same settings as log, but now you need to enable raw output in the Nikon z6 menu. Make sure that external recording is enabled as well. Finally, on the ninja, power it on, if it doesn’t detect the raw signal it will prompt you to restart the ninja if it’s not in ProRes raw mode already. RAW can ONLY be capture in ProRes RAW or ProRes RAW HQ. Nikon can only export Raw in HD 24, 25, 30, 60 FPS. 4K in 24,25, and 30 FPS only. HD120 and 4K60(ZII) are locked to internal recording only
@RonnieWolfe yes and no... but mostly no. There is no kelvin adjuster. But u can tweak your colors, which is not the same as adjusting your WB in RAW. You still have to get the white balance right when shooting for better results, they may introduce that later, but not an option now in premiere or FCPX. 🥃🥃
how do I get it to record 12 bit pro res raw? I have the pro res raw upgrade from nikon and the atoms ninja v but when I HDMI out to the atoms in the nikon settings it only shows 10 bit
Hey Chris, turning on the log profile gives you 10bit, and then 2 more bits get added via the HDMI out for a total of 12bits. You known you are recording ProRes RAW when the pro res raw coder is reflected on the top right corner of the ninja V. If it only says ProRes. You aren’t recording raw.
This video was made back in March maybe, so back then. There was no way to import it to premiere. So I had to convert the file to prores 422 in FCPX before working on the file in premiere. Now it’s not a problem at all. Compatible all the way. I recommend u watch my latest video on raw to log conversion. Cheers! 🥃🥃
Hello George, yeah, there is no way to apply a natural converter to Nikon thus yet... if you apply any Luts post that... colors get weird. I tend to keep it as simple as possible and take that to premiere after and do all my color correction there, as I am more familiar with that.
Aperture 35 Yeah, I’m more familiar with FCPX so I’m sticking with that... and tapping my figures waiting for Apple (not like it was a surprise!?!) as I won’t get to editing for a while... but the Sony makes sense... afterall Sony makes the video chip for Nikon...
Hey George, yeah, if you are familiar with the Luts and know how to use, please do... i just happen to achieve better results without any Luts applied in FCPX and in Premiere by just using the adjustment tools. In FCPX I liked using the color wheel and the hue and saturation with curves tools. Hope you find this helpful. I have a 2013 iMac, this it’s not that fast for rendering and I take it all to my PC to have an easier time. But both post processing programs should do the work just fine.
@Sanjeevi 10bit was always available to record externally only... internally, 8bit is only allowed. Maybe in future updates it will be allowed. But the best part about it is that when you have 10bit enabled in the menu, you also have the ability to pick whether to use NLog or normal capture with flat Nikon profile... I have not played with that yet, but it should be better than 8bit at that level when captured on to the Ninja V. All the color benefits of 8bit with out the extreme flatness of Nlog
The problem for me is the absurdly small video bit rates in nikon z cameras... In 1080p it is only 25 Mbit/s. My phone with filmic pro gets about a 100!!
I actually like the bitrate ratio… it’s very friendly to edit and perhaps all you need. I do recommend your shoot everything in 4K. It’s sharper and less noisy. Then you can zoom in or use in any way u like. Unless you do HD for the 60p and 120p… but even those FPS are nice to work with in premiere. Of course, more bitrate is better, but when compressed to h264 or h265… does it really matter?… yet, I do understand your dilemma.🥃🥃
As of today... it works at 60% capacity, but it doesn’t mean that FCPX works at 100%... FCPX works at about 80%. ProRes RAW is not fully supported yet. We just got ISO and WB compensation a week ago on FCPX. Will be a while before we see it in Premiere. But even with those upgrades, it is still behind what true raw is. Regardless, 12bit ProRes Raw is still better then capturing 8bit and 10bit. Better color gradient and better overall tonality. Just make sure you are near ballpark WB for now when shooting for use in premiere.
In order to maintain the highlights the same as ProRes Raw, I believe I underexposed the shot, because it look good at native ISO800, but I think otherwise it would have looked as good as 8 bit... but would have lost the highlights as well
I have a Ninja V and never use it. I prefer a smaller, more nimble setup. I currently shoot Fuji and have had the ability to shoot 10 bit internal since the X-T3. Shameful, Nikon. If it did 10 bit internal and 4K 120 I would have switched to Nikon. Now, I’m waiting to hear the Fuji announcements in January and if it isn’t compelling, I’ll be switching back to Canon.
working with small rig setups are great and that is something that nikon lacks. It would be great if it would put out 10bit Nlog within the camera.. I mean, it sure can do it... the cards that it writes to are extremely fast, fast enough to handle ProRes RAW. I feel your pain, bit regardless, I love using the large atomos screen and now the Video assist 12g with BRAW. Its awesome. Its just a matter of preference. Much like you , I wish that Nikon would step up their game and put out a cam with at least 4k240P on the next version. 120p is just not fast enough... SO I am there with ya...
Not at this point nor I’m sure it will support it. There were talks about it supporting ProRes Raw last year, but nothing so far. Premiere does a great job thus far, soon you will have WB and ISO access plus the ability to record black magic Raw, so then U can use Davinci, but will require u purchase the video assist 12G from them.
@@Aperture35 I have had so many issues with premier I switched my workflow to davinci as it takes me half the time. Considering switching cameras ...wish the z6 could record in a raw format compatible with davinci
@@brandontemple20 you will only be able to record blackmagic RAW with the Nikon Z6 or Z6 II through the blackmagic video assist the 12g version. You can not record blackmagic RAW with the Atomos Ninja V
@ZhennanYu yes and no... if u have an adobe subscription to premiere, and you are chosen to have access to beta programs... premiere now supports ProResRAW. In the video u watched, I started in FCPX and exported ProRes 4444 file out to work in premiere. If u want access to use premiere beta cc, requested from adobe. But in a few weeks ProRes RAW will be available natively in premiere cc. Hope to see more of you around here... have plenty more videos of premiere beta here. Enjoy!
I noticed that once I had nikon update my z7 to do prores raw with the atomos ninja, that even though I have n-log turned off on my cam, when I check out the input settings on the atomos, its still showing that its receiving n-log not linear. Did you find this was the same on your nikon to atomos setup?
Thanks for the post Danny. Are you sure u have the Nikon paid upgrade on your camera. U can not record ProRes Raw on ninja if you haven’t paid for the upgrade even with firmware 3.20. Anyways, when raw is enabled, it will capture linear 12Bit not log. If you are seeing log, u do not have the RAW video upgrade in your z7. The Ninja automatically changes to ProRes raw when the signal is enabled on your Z7. Hope that helps.🥃🥃
Also, when ProRes raw isn’t on, it will capture whatever you your camera throws at it. If it 8bit, it will capture 8bit prores422 or DNXHR or 10bit in those formats as well, unless u turn NLog which will be capture in either format again. Make sure you have the latest ninja firmware on as well, 10.55 or higher. 10.57 is the latest as of today.
@@Aperture35 Yes it was sent in specifically to be updated by nikon this past week by me, and as you know, you don't have the raw output menu options on the cam available until you have the raw update installed on your camera. Also, my Device ID have been registered by atomos and prores raw codec is installed on the ninja V. Needless to say I'm very confused and atomos and nikon are both sending me in circles, but something is not right.
Do you have the menu for type A and type B with firmware 3.2 on your z7. In this video it shows you. If you do, the problem is the ninja. If you don’t, the problem is the fact that the z7 never got the update. And u also need to make sure your cable is hDMI 2.0. Otherwise it will not work. ruclips.net/video/4kDZTzUFyR4/видео.html
It does not matter if it is raw prores, how ugly the colors of the sky and the green of the leaves ... something common from Nikon and it has not improved even with more bits.
This video was done a year ago. Prior to premier having LUT conversion. So the amount of processing was extremely limiting working with two programs to get it to look somewhat decent. Not even FCPX worked with Nikon then.
@@Aperture35 I clarify that I did not mean that it was your fault, on the contrary Nikon does not improve its colors and we are already in 2021. When you use Canon in 10 bits the colors do not look like that, they look more natural. Anyway thanks for sharing your video.
To be honest, I really like the colors that Nikon has. Maybe in this video I added to much contrast and saturation to images... nonetheless, as far as today goes, what’s capture gets proper raw to log conversion and LUTs can be applied to achieve WB captured in camera. Back then the footage always was warmer and greener as the only conversion was Rec709. today it’s converted to Rec2020 NLog. So, what’s achieve today compared to then is much better. And ultimately, colors and grading is up to the editor, native colors are provided with Nikon Lut, but grading and additional Lut use can take it in many directions as taste desires. 🥃🥃
@@Aperture35 I don't see anything wrong with the colors. It is just a matter of opinion. Nikon has improved their colors after D800. Whatever they are doing now looks much better than before. Watching this video has convinced me to send my Nikon Z6 to Nikon for an upgrade. I just hate it will cost me. Made a mistake and bought Ninja inferno 7 instead of Ninja V. I don't understand why Atoms won't update inferno 7" for Raw recording.
Thanks for the comments!... sucks you are in a tough place inferno vs Ninja V. If you are a premiere user, the. So go the V, if u are a resolve user, than purchase the video assist 12G to capture BRAW. 🥃🥃 The upgrade will allow you to capture both raw flavors, but it requires their specific recorder to go along with it.
Who's to say the pro Nikon won't also have raw. Gen 1 Nikon was much better than Gen 1 Canon no matter what all the paid RUclipsrs think. Ibis, better video, a higher megapixel version, better sensor, and with firmware update 3.00 very comparable autofocus.
@tallaganda83 I totally agree with you Nikon is better all around as a first gen. And I am sure in the next few years, the Z cameras will be the compared to device that Canon, Sony, Panasonic and others will measure their standards to. Not to forget, with the new line of lenses, there will be no stoping Nikon from truly moving forward.
This is one of the better comparison videos that I've seen. I'm very surprised at the lack of shadow detail in 10bit.
Yes, but it has a lot to do I believe because I was using a 32ND filter.. if in Raw or NLog u bottom out any blacks, hard to get back details... in more controlled environment, it tends to do very good
Thanks for Going in The Depth .
I found this video After a Lot Searches .🤯
Glad it was helpful!... I have way more vids about Nikon Z6 that you might find useful... Thank you, Cheers!
I think the reason from my little experience with different post processing software is some are more capable than others at handling different video codecs and log files. The flat profile seems to be a sweet spot across different editors. By the time you get into the realm of high end formats like n-log, v-log, prores, braw..then the editors begin to show their shortcomings.. I guess if this was edited in davinci resolve it would be a different story
just going over some graded/ungraded 12bit footage diference through youtube videos and it's insane!!! i saw a z9 video ... i am blown away ... this is really hollywood blockbuster looking footage!
RAW is RAW - no compromise. Log is too great for RUclips presentation, but flat missing details. One question.. what do you think about Magic Lantern for Canon devices? Its better with ML on Canon than original firmware? MLV format is really 14-bit RAW or some compensation only or somenthing.. Thank You for this comparison video and for answer me :)
Raw formats are hard to predict how they will act within any NLE as far as support and real time playback. But, I’ll be honest, I stick within my lane (Nikon) and won’t speak about something I hardly know about. I don’t know the canon eco system well enough to dissect. I know that MLV does replace some aspects of how canon operates, but that’s it. Sorry to disappoint in this aspect. 🥃🥃
Watching this video and I think it deserves 1 million views
Thank you… I myself believes at least 1M + 1… 😂🥃🥃
The differences are so clear to see. 8 bit is baked and lacks DR. 10 bit is a bit better but the shadows look noisy and lack color. 12 bit is the best in color and DR. Clear winner.
If Nikon made it record 10 bit or 12 bit internally, I'd jump from Sony ship to Nikon! 😐
I definitely agree with you... they have to make NLog recording available internally ASAP if they are to get more people onboard. Glad you were able to be unbiased about your stance based on your current cam equipment. I welcome this types of feedbacks and appreciate them more as well. 🥃🥃
have you jumped?
Did you apply the Sony LUT (as other RUclipsrs) or just fiddle around with the color controls? I understand Apple has not come out with the ProRes RAW profile - specifically - for Nikon / Atomos / Ninja V yet...
I'm using Z7II and comparing 12 bit RAW with 10 bit N-Log. While there's improvement with 12 bit, what I'm struggling with are highlights. N-Log seems to do a better job in this case. Looking at the monitor (ninja v) histogram, the highlights show as clipping faster with raw. Sitting on my table, 1/60, F/4, ISO 800 (N-log) the room is visible, a window frame, trees are visible through the window and the sky is blown out. Same settings, RAW: window frame shows some blooming and the trees and sky is now blown out. the highlights are not recoverable in premier. So my question, is this your experience as well? am I missing something? Thanks!
Try these settings for real Estate.. works me, as long as everything u edit u convert to Ases and go from there with any Lut, except the Nikon Lut, which is meant to be used upfront. Don’t use it.
Interior no strong window light f3.2-f4 - 120 Iso 100
Interior with strong outdoor light f6.3-120 iso 100… works great for ProRes raw… try these settings in Log, with a base of iso800 and then compare… u want to shoot a little faster shutter if u want to keep things in focus and minimize blur if slowing down the footage. 4k30p is what I use.
@@Aperture35 I am really just at the start of my video journey. I already discovered the truth with the Nikon codec and was totally confused why anyone would use it as it makes video look like it's from an old vhs tape. your explanation clears that up. When comparing between log/raw I kept the iso at 800 to make it easier to compare but I can see from your response that it was not the way to go for raw. You've given me something to try out tomorrow, thanks again!
Great video! I’m a stills photographer learning video. Is there an advantage shooting Timelapse in ProRes Raw 12-bit or is it only for video?
Depends, if you are using Apple FcPX then yes. Because u will have some control over WB, otherwise, you are better off shooting raw and taking that to Lightroom
@@Aperture35 Thank you!
thinking about buying the ninja - just searching for example vids - surprised at how much noise there is in the n-log samples are you still shooting nikon ?
Well, it all depends on your budget, the new Z9 doesn’t require a ninja anymore, everything is built in, pro res raw and nikon raw video. Ninja route, with z6 and z6II.
The noise comes only when something is under exposed, it’s luminance trying to get definition from the darks. If you have resolve paid version, you can rid of it.
I am still shooting Nikon and that’s all I use. just haven’t done a vid here for about 2-3 months. Do plan on coming back, just ran out of ideas.
By the way resolve doesn’t support ProRes Raw, once you are finishing editing in premiere or FCPX you can export a prores 422 version and take it there to get rid of the noise. FcPX noise reduction is sub par ok, and premiere’s sucks.
@@Aperture35 thanks for replying :) yep I thought about z9, but currently thinking more about Blackmagic. Looking at sample vids it looks soooo nice. Adapting my Nikon glass will be a bit of a pain but 🤷
Ok, well if you are taking about BlackMagic Raw, then I do highly recommend the assist 12g. It’s awesome, just a bit heavy, but works great. Always shoot 4K, and then Resample as needed. 4K is cleaner and sharper.
Hey great video thanks. Just wondering how you handle the exposure on your monitor's waveform with prores raw, did you expose for the mid tone and keep high under 100 and low above 0?
@Chenli Yang thank you. I usually use a medium grey card to set that between 35-40%... that’s to make sure you keep your skin and shadows where they need to be. While u have that grey card out, white balance as well. Specially if you want the beat colors in skin and natural textures. I’m doing a new video on this topic this week. Should be out soon
@@Aperture35 cant wait, keep up for the good work
Curious what this flickering is that I’m noticing at 5:28 in the 8-bit and 10-bit footage around the sky?
@ShelbyWorks Hello and thank you for asking. All footage was shot in 24p. Thus, the flickering was due to slowing it down in post. Not an option I recommend, but otherwise it was shaky and too short. I should have thought of the output when recording... I just trigger happy :)
Aperture 35 ok i see. Thanks!
Thank you for the video. I have done some test myself and I must say it gives the same result with masks on both, 10bit ProRes HQ and 12bit ProRes RAW. I believe, if it would be possible to apply masks within the "master" tab in Effect Controls in Premiere Pro (where you can adjust exposure for RAW), then it would give an advantage over the ProRes HQ, but when I apply lumetri masks in the regular tab in Effect Controls, it gives me basically the same results. The only difference is that 12bit is more flexible with aggressive colour manipulations. Or am I missing something, please advise if possible as I am getting confused ) Thanks
Hello Leon, whether you are shooting 10 or 12bit, it’s basically the same dynamic range. The tonality of colors come into play in the darks and highlights to create a better gradient effect and lower the banding effect of colors.
When color grading ProRes raw, it is best to do so in the master tabs as it gives you much better control over everything color and dynamic range related. If you do it in the effects tab, you will be limited in controlling the highlights and darks.
For Prores422 it doesn’t really matter in which tab you work in.
I have brought attention to Adobe support with regards to exposure ramping not working in the masters tab for ProRes RAW. So, that aspect of controlling your exposure will be addressed soon. They weren’t aware that it was never working until I pointed it out. Hope this helps. Any further questions, please just ask 🥃🥃
@@Aperture35 thanks a lot. I understood it now ) Looking forward to new useful videos!
Surprised. I actually like the 8 bit as much, or even a little more, than the other options.
8bit looks good enough most of the time. But for more those times u want more dynamic range.m, The other two make more sense and and are easier to color grade 🥃🥃
So I’ve been playing with Nikon/Atomos ProRed RAW and I found it impossible to predictably Color Grade... using an xRite Passport Color Checker and Color Finale 2.0 one has the ability to get correct Color by using ACES Profiles for Sony, Cannon, Panasonic... but, of course, nothing for Nikon - not even for legacy Nlog! Undaunted, I chose the “Assuming Log” and tried the Passport Check... again, no good. Can’t get a profile match to baseline.
I did tweak the Passport Checker to get close to my original (high quality LED) lighting but as soon as I applied the Color Finale Effect to the actual video clip... pure garbage, waaay over exposed and looking more like False Colour🤮
Oddly enough, if I just brought in the ProRes RAW as “Video” into Color Finale (not “log” and no ACES profile... it looks pretty good... but WHY shoot log??? I could just shoot Nikon XQD 8 bit and get better results!?! (So long as I took great care in controlling the lighting exposure and color temperature at the shoot!)
It looks like we can’t really use Nikon / Atomos / Pro Res RAW until Apple gets FCPX upgrades, along with 3rd Party tools like Color Finale!
Am I missing something???
So, you're telling me I can récord 12 bit with nikon z6ii and atomos?
Is that true that I have to send it to nikon to unlock raw?
Yes and no… ProRes RaW from Nikon allows to shoot 10bit raw plus 2more bits is achieved from from other forms, which I forget at the moment. Search the web.
But just cus u are shooting raw within Nikon, it ain’t the same as photo raw. Highlights and shadows are still very critical in exposure, and unless u are using FinalCut u can’t take advantage of all the features that raw offers. Premiere is limited and blackmagic doesn’t support it.
I just purchased my ninja v a few days ago and I was wondering does it allot for a clean out to it from the z6? Like all that camera info won't show up if im shooting stills or video?
The screen info during photos will be capture by ninja if you want to record that, when you switch to video on the z6, I believe it is already set to clean output. It’s been such a long time since I have done an initial setup, I don’t recall the steps to make sure the screen doesn’t turn off and so on. Keep surging in my vids, I believe I show you how…
sold ! and subscribed.
Sweet. Welcome onboard!
Hi, thanks for the video ! How did you manage to import Prores Raw 12 bit in Premiere pro ? Did you transcode the file before importing in Premiere Pro ? thanks !
@jeremy Joch, yes, it was transcoded to ProRes 4444 in FCPX then taken to premiere. In FCPX, all I did was apply the Sony.cine raw conversion and take it straight to premiere after.
shadows looks better on the 8bit! on 10/12bit clips the blacks looked grayish...
but yeah in terms of color richness and highlight roll-off, 12bit any day (except when shooting moire-prone subjects then 10bit).
shadows are supposed to look milky before post bro its for shadow recovory and dynamic range.....if ur blacks are already crushed in compression 8 bit ur might not get that data out of those shadows
@TheTonytone77 You are very right. if your blacks look right when shooting, you are underexposing. make sure they look washed out. Thanks for the feedback Bro! 🥃
Are you limited to only 800 ISO and higher using NLog? Also, in darker situations, does it focus hunt using auto focus??
@AnthonyGraves Nlog’s Native ISO base is 800 and higher. In low light this camera don’t do well with focus, it hunts, so always expose right or manual focus. I heard that if you turn off live view it will show the rear display with more light and will have better focus. Haven’t tried that yet in video, in photo it works perfect. Hope to see more of you around here. Thank you
@@Aperture35 I'm having some bad issues with auto focus in low light. It's not even really bad low light. It doesn't have these issues recording out of N-Log. Autofocus is tack sharp! Also, "3D Tracking" doesn't work in these low light situations. It's pretty much unusable.
@AnthonyGraves do you press the shutter button every time so you can focus? Are you in any other mode, other than dynamic? IF yes to any of these, you have the wrong settings. Make sure you are in dynamic Full time auto focus, and don’t press the shutter button at all. Press the ok button to acquire a focus point and then press the shutter or OK. It will track your subject. If it’s losing tracking all the time. You are underexposing. nLong has a 800 iso base, therefore your blacks are in better shape. In 8 bit You probably have to shoot the same thing at iso 500 or 640. If ProRes Raw, Watch my video on exposure with ninja V, which is also true for nlog and 8bit ruclips.net/video/xLdSJ02yf0s/видео.html
For some reason, once I set the Z6/Ninja V to ProRes RAW, I’m no longer able to get back to Nlog??? It remains disabled???
@GeorgeRady True. It’s one or the other. The Atomos ninja V has to reboot to go into other setting. And you have to manually set it on the cam to read Raw or Nlog. And then set it in the Ninja. And with the new 10.3 update on the ninja, you have to register ProRes RAW to access it... don’t know why... but it gives you legacy access in settings now which allows you to see and record better quality in ninja. But be ware, it’s not wise to use unless familiar with it, otherwise you will end up with a headache.
You need some hadware setup for Nikon z6 ?
The only you only need an hDMI cable and a ninja V or Video assist 12G for ProRes raw or BRAW. Cage is only required if you do not want to stress the glass hotshoe with monitor adapters
The 12 K ProResRaw footage is on par with the much more expensive Sony A 7 S III
That’s good to know. I’m sure the color science is the only difference. Thanks Samine 🥃🥃
How different is Sony S Log 2 and 3 from Nikon's Flat and Log profile in terms of dynamic range and how do they hold up when applying luts
Hey Faisal, I don’t use the Sony system... but I do apply the cine.sony conversion lut to prores raw. And for that, it does a great job at making the file more manageable for color grading. The Nikon 3DLut is a good profile... in the end, it all depends how you capture your footage... if you over or under expose you will pay when correcting. That’s what I have learn thus far. So, expose and white balance properly to make your life a lot easier in post. And regardless of lut applied, it won’t be a headache.
How do I record 12 bit prores raw on the ninja with z6, All I can see in the menu is 10bit. I just can’t figure out what and how I get prores raw in 12bit. Turning off raw signal in the menu and using nlog with prores 422, hq or lt implies that I’m using 10bit nlog is it ? And when I turn on the raw it means it’s doing it in 12bit, right ? Is this the case ? I’m just too confused about this..
If you paid for the Nikon Z6 RAW upgrade you will have access to record ProRes RAW on the ninja V. It is accessible only if RAW is turned on.
Capturing ProResRAW also requires an activation from Atomos, which means u have to register the ninja.
Once these is done, here is how Raw works.
- Nikon Z6 RAW is now 10bit Log instead of linear which is how you are able to convert raw to log now in premiere or FCPX.
12 bit raw is achieved when the ninja and the Z6 shake hands and an additional 2bits of color are added to the format coder. So it’s 10bit + 2bit
Hope that clears things up. Any other questions please just ask. 🥃🥃
@@Aperture35 Firstly, thanks for replying to a video done a year ago. Shows how you care about your content. I appreciate it.
So recording in 422, LT or HQ gives me Nikon raw/ Nlog, right?
Finally when I turn on RAW recording in the menu this gives me that 2 additional bits Prores Raw and gives me a 12bit signal. Yeah?
And I did pay for the upgrade, I'm just confused about when am I getting the 12bit signal.
Perfect… you seems to have all the ingredients to capture raw properly then. Let me just clear some things up.
ProRes 422 and ProRes Raw are two different codec/coder. ProRes 422 is a codec, which means it can code and decode, u can capture, edit, and save to the same format.
ProRes RAW is a coder, not a codec, it is only for acquisition . It’s meant to record from camera/device only, and not save back in the same format. Hope that makes sense.
So ProRes RAW can only be capture in ProRes and ProRes HQ. If you see ProRes 422 LT or ProRes 422 you are not capturing RAW. Check your camera signal and that the ninja says ProRes RAW or RAW on top right corner of device. 😁
@@Aperture35 So just this last time, I’m really sorry to do this,
How do I record “10bit Nlog”, like what are the settings for it ?
And how do I record 12bit prores raw?
To record 10bit 422 out of the Nikon Z6, you need to go to the advance settings of the camera video output and select 10bit… Make sure video external recorder is enabled as well. the ninja V will have options to record as ProRes 422 and DNxHR… if you purchased the h265 codec, you will have those options as well.
To record RAW, all the same settings as log, but now you need to enable raw output in the Nikon z6 menu. Make sure that external recording is enabled as well. Finally, on the ninja, power it on, if it doesn’t detect the raw signal it will prompt you to restart the ninja if it’s not in ProRes raw mode already.
RAW can ONLY be capture in ProRes RAW or ProRes RAW HQ.
Nikon can only export Raw in HD 24, 25, 30, 60 FPS. 4K in 24,25, and 30 FPS only.
HD120 and 4K60(ZII) are locked to internal recording only
With the raw file can you change your white balance in post?
@RonnieWolfe yes and no... but mostly no. There is no kelvin adjuster. But u can tweak your colors, which is not the same as adjusting your WB in RAW. You still have to get the white balance right when shooting for better results, they may introduce that later, but not an option now in premiere or FCPX. 🥃🥃
Aperture 35, thanks for the reply. I’ve been wondering about that.
how do I get it to record 12 bit pro res raw? I have the pro res raw upgrade from nikon and the atoms ninja v but when I HDMI out to the atoms in the nikon settings it only shows 10 bit
Hey Chris, turning on the log profile gives you 10bit, and then 2 more bits get added via the HDMI out for a total of 12bits.
You known you are recording ProRes RAW when the pro res raw coder is reflected on the top right corner of the ninja V. If it only says ProRes. You aren’t recording raw.
did you have any problem importing prores raw file in premier pro ?
This video was made back in March maybe, so back then. There was no way to import it to premiere. So I had to convert the file to prores 422 in FCPX before working on the file in premiere. Now it’s not a problem at all. Compatible all the way. I recommend u watch my latest video on raw to log conversion. Cheers! 🥃🥃
Oh, you applied Sony.cine.raw (still waiting for Apple to upgrade FCPX for Nikon / Atomos / Ninja V ProRes RAW)
Hello George, yeah, there is no way to apply a natural converter to Nikon thus yet... if you apply any Luts post that... colors get weird. I tend to keep it as simple as possible and take that to premiere after and do all my color correction there, as I am more familiar with that.
Aperture 35 Yeah, I’m more familiar with FCPX so I’m sticking with that... and tapping my figures waiting for Apple (not like it was a surprise!?!) as I won’t get to editing for a while... but the Sony makes sense... afterall Sony makes the video chip for Nikon...
Hey George, yeah, if you are familiar with the Luts and know how to use, please do... i just happen to achieve better results without any Luts applied in FCPX and in Premiere by just using the adjustment tools. In FCPX I liked using the color wheel and the hue and saturation with curves tools. Hope you find this helpful. I have a 2013 iMac, this it’s not that fast for rendering and I take it all to my PC to have an easier time. But both post processing programs should do the work just fine.
Does the firmware update , enables 10 bit recording internally!?
@Sanjeevi 10bit was always available to record externally only... internally, 8bit is only allowed. Maybe in future updates it will be allowed. But the best part about it is that when you have 10bit enabled in the menu, you also have the ability to pick whether to use NLog or normal capture with flat Nikon profile... I have not played with that yet, but it should be better than 8bit at that level when captured on to the Ninja V. All the color benefits of 8bit with out the extreme flatness of Nlog
@@Aperture35 hey thanks 🤓! That was quite useful.
My latest video the Z Report was captured in 10bit Fat profile on the Ninja V... I got to say, I really liked it. Colors and blacks were perfect.
The problem for me is the absurdly small video bit rates in nikon z cameras... In 1080p it is only 25 Mbit/s. My phone with filmic pro gets about a 100!!
I actually like the bitrate ratio… it’s very friendly to edit and perhaps all you need. I do recommend your shoot everything in 4K. It’s sharper and less noisy. Then you can zoom in or use in any way u like. Unless you do HD for the 60p and 120p… but even those FPS are nice to work with in premiere. Of course, more bitrate is better, but when compressed to h264 or h265… does it really matter?… yet, I do understand your dilemma.🥃🥃
@@Aperture35 Thank you for taking your time to answer my question. A lot of wisdom from you.....Will probably shoot internally...Thanks
Hope to see you around more Thomas! ☕️
How does prores raw perform in adobe premiere?
As of today... it works at 60% capacity, but it doesn’t mean that FCPX works at 100%... FCPX works at about 80%. ProRes RAW is not fully supported yet. We just got ISO and WB compensation a week ago on FCPX. Will be a while before we see it in Premiere. But even with those upgrades, it is still behind what true raw is. Regardless, 12bit ProRes Raw is still better then capturing 8bit and 10bit. Better color gradient and better overall tonality. Just make sure you are near ballpark WB for now when shooting for use in premiere.
why 10 bit n log has foggy look?
In order to maintain the highlights the same as ProRes Raw, I believe I underexposed the shot, because it look good at native ISO800, but I think otherwise it would have looked as good as 8 bit... but would have lost the highlights as well
I have a Ninja V and never use it. I prefer a smaller, more nimble setup. I currently shoot Fuji and have had the ability to shoot 10 bit internal since the X-T3. Shameful, Nikon. If it did 10 bit internal and 4K 120 I would have switched to Nikon. Now, I’m waiting to hear the Fuji announcements in January and if it isn’t compelling, I’ll be switching back to Canon.
working with small rig setups are great and that is something that nikon lacks. It would be great if it would put out 10bit Nlog within the camera.. I mean, it sure can do it... the cards that it writes to are extremely fast, fast enough to handle ProRes RAW. I feel your pain, bit regardless, I love using the large atomos screen and now the Video assist 12g with BRAW. Its awesome. Its just a matter of preference. Much like you , I wish that Nikon would step up their game and put out a cam with at least 4k240P on the next version. 120p is just not fast enough... SO I am there with ya...
You selling the ninja?
Can u work with pro res raw I'm davinci?
Not at this point nor I’m sure it will support it. There were talks about it supporting ProRes Raw last year, but nothing so far. Premiere does a great job thus far, soon you will have WB and ISO access plus the ability to record black magic Raw, so then U can use Davinci, but will require u purchase the video assist 12G from them.
@@Aperture35 I have had so many issues with premier I switched my workflow to davinci as it takes me half the time. Considering switching cameras ...wish the z6 could record in a raw format compatible with davinci
Black magic RAw will be available to record on Z6 and (II) in February. as long as u have the paid RAW upgrade from Nikon it will work
Wow great ,I guess I'll keep shooting 10bit till then! Ill probably be going for the z6 ii around then anyway . Thank you for the info .
@@brandontemple20 you will only be able to record blackmagic RAW with the Nikon Z6 or Z6 II through the blackmagic video assist the 12g version. You can not record blackmagic RAW with the Atomos Ninja V
pr can edit prores raw?
@ZhennanYu yes and no... if u have an adobe subscription to premiere, and you are chosen to have access to beta programs... premiere now supports ProResRAW. In the video u watched, I started in FCPX and exported ProRes 4444 file out to work in premiere. If u want access to use premiere beta cc, requested from adobe. But in a few weeks ProRes RAW will be available natively in premiere cc. Hope to see more of you around here... have plenty more videos of premiere beta here. Enjoy!
I noticed that once I had nikon update my z7 to do prores raw with the atomos ninja, that even though I have n-log turned off on my cam, when I check out the input settings on the atomos, its still showing that its receiving n-log not linear. Did you find this was the same on your nikon to atomos setup?
Thanks for the post Danny. Are you sure u have the Nikon paid upgrade on your camera. U can not record ProRes Raw on ninja if you haven’t paid for the upgrade even with firmware 3.20. Anyways, when raw is enabled, it will capture linear 12Bit not log. If you are seeing log, u do not have the RAW video upgrade in your z7. The Ninja automatically changes to ProRes raw when the signal is enabled on your Z7. Hope that helps.🥃🥃
Also, when ProRes raw isn’t on, it will capture whatever you your camera throws at it. If it 8bit, it will capture 8bit prores422 or DNXHR or 10bit in those formats as well, unless u turn NLog which will be capture in either format again. Make sure you have the latest ninja firmware on as well, 10.55 or higher. 10.57 is the latest as of today.
If none of that works, send your ninja in for repairs. U should have 3 years warranty if you registered it.
@@Aperture35 Yes it was sent in specifically to be updated by nikon this past week by me, and as you know, you don't have the raw output menu options on the cam available until you have the raw update installed on your camera. Also, my Device ID have been registered by atomos and prores raw codec is installed on the ninja V. Needless to say I'm very confused and atomos and nikon are both sending me in circles, but something is not right.
Do you have the menu for type A and type B with firmware 3.2 on your z7. In this video it shows you. If you do, the problem is the ninja. If you don’t, the problem is the fact that the z7 never got the update. And u also need to make sure your cable is hDMI 2.0. Otherwise it will not work. ruclips.net/video/4kDZTzUFyR4/видео.html
But your forgot to say how many gb you need for 1min recording in raw and that recording in raw means new pc
Your right I did... pro res raw 12 bit in 1080 is about 1gb per min, and 7.5GB for 24fps 4k. I don’t recall 10 bit, but I believe is about the same.
Shuttle hunting issue in your video
Sorry can you elaborate... thank you
It does not matter if it is raw prores, how ugly the colors of the sky and the green of the leaves ... something common from Nikon and it has not improved even with more bits.
This video was done a year ago. Prior to premier having LUT conversion. So the amount of processing was extremely limiting working with two programs to get it to look somewhat decent. Not even FCPX worked with Nikon then.
@@Aperture35 I clarify that I did not mean that it was your fault, on the contrary Nikon does not improve its colors and we are already in 2021. When you use Canon in 10 bits the colors do not look like that, they look more natural. Anyway thanks for sharing your video.
To be honest, I really like the colors that Nikon has. Maybe in this video I added to much contrast and saturation to images... nonetheless, as far as today goes, what’s capture gets proper raw to log conversion and LUTs can be applied to achieve WB captured in camera. Back then the footage always was warmer and greener as the only conversion was Rec709. today it’s converted to Rec2020 NLog. So, what’s achieve today compared to then is much better. And ultimately, colors and grading is up to the editor, native colors are provided with Nikon Lut, but grading and additional Lut use can take it in many directions as taste desires. 🥃🥃
@@Aperture35 I don't see anything wrong with the colors. It is just a matter of opinion. Nikon has improved their colors after D800. Whatever they are doing now looks much better than before. Watching this video has convinced me to send my Nikon Z6 to Nikon for an upgrade. I just hate it will cost me. Made a mistake and bought Ninja inferno 7 instead of Ninja V. I don't understand why Atoms won't update inferno 7" for Raw recording.
Thanks for the comments!... sucks you are in a tough place inferno vs Ninja V.
If you are a premiere user, the. So go the V, if u are a resolve user, than purchase the video assist 12G to capture BRAW. 🥃🥃
The upgrade will allow you to capture both raw flavors, but it requires their specific recorder to go along with it.