It's worth mentioning that Prores RAW is still pretty young compared to these other ones. As far as the others go, I haven't worked with Canon RAW, but have much experience with both R3D and Braw. REDs implementation clearly has the most latitude and it's incredible how far R3D images can be pushed. IMO that's why Komodo is such an exciting product...not because of it's size, or global shutter, or app, or lens mount. Yes, those things are nice, but pale in comparison to the significance of a $6K camera shooting 6K, 16bit R3D in the IPP2 workflow. I always chuckle at the "RED is overpriced crap" comments that find their way into every RED discussion because those guys clearly have no idea what they're talking about. If what you're used to working with is 10 bit log footage, R3D wakes you up in a hurry.
Thanks Carlos for your informative videos on this. I am curious though why does Canon's raw look so "Canon-like" and Red's looks so much more flexibility. Is it because of the 12 bit vs 16 bit? The canon to me feels flat no matter how you adjust it, but Red has a deeper contrast and feels like a true raw-like look.... I compare it to jpeg on a Sony photo camera vs a 14 bit raw photo on a Sony camera. Not sure if I am making sense or not but would love your take.
Your eyes are telling you the truth. Canon raw isn’t raw. It is a partially debayered file with a 10 bit log curve already applied and noise reduction added. Red contains 4x the information and is truly raw. The premise of this video is completely false. I don’t think on purpose…but it is.
Yeah Blackmagic's highlight recovery is really impressive and I wish Arri cameras had it. My guess is that because Arri has a dual gain sensor, it's already doing a version of highlight recovery on capture, while Blackmagic does its recovery in post.
R3Dcode has the most controls in post for RAW. You are just using resolve. Try premiere and see how much you have to work with. Way beyond. BRAW is compressed and what you shown there is all you have compared to Red and Arri. RAW performance is dictated by the sensor. 4k pocket has even gone to s16 from MFT. 6k is s35 but Braw is still the case. However, you should try premiere. Especially with true cinema cameras such as Red and Arri. Not knocking Blackmagic but Red and Arri (any model) beat any cinema camera. Pretty sure they always will.
You are 100% right about Red and Arri being the only true Raw. But premiere is not for color grading. Every single movie you have seen for the last 30 years has been graded in Resolve.
ISO is literally the “volume” applied to the camera sensor. It is applying more or less voltage to the sensor to make the image appear brighter or darker. But because the amount of light isn’t actually changing, you get noise and degradation if you push iso too much because it isn’t actually changing the variables that affect what the receptors are taking in.
The ProRes Raw "issues" you saw aren't ProRes RAW issues but Sony being lazy implementing proper metadeta support. Panasonic and Z-Cam e.g. have full metadata support for wb/tint/iso/exposure etc. Also keep in mind that the A7sIII deals with quite low usable latitude because of its elevated noise floor.
All the controls Canon Raw offers are identical to the ones outside of the RAW tab. Check the highlight slider in the RAW tab vs. Color tab, it behaves identical (before Rec709 conversion). Same applies to Braw. Also Canon Raw comes with Sharpening and Noise reduction by default, Sharpening can be turned off easily, for NR to be gone you have to switch to Full Res - Resolve. RED only provides the RAW settings you actually need.
I haven’t found that to be true. Changing the highlights and shadows in the raw tab using old blackmagic cdng vs trying to do the same with braw is near impossible
Hey Carlo, just wondering if I could ask you some questions about your work with the Canon C70 ? Do i email you ? I am picking up mine on this coming monday...thx for any advice
I don't try to be a personality, this is who I am and if you were in the same room and this is what we were covering, this is what you get...wish there was a 1.25 speed think in real life, but honestly, I am totally ok with who and how I am.
@@carlosq00 Carlos - I think it is generational. In a recent video that I posted the first comment was that I talked too much. I guess people want silent videos? In the Navy we had a saying "A bitching sailor is a happy sailor." I think the same applies to RUclips viewers.
This is really informative. I truly appreciate the work you put in Carlos. I shoot BM but Canon is where I started and this really makes me want to get the C500 mk2. Good stuff sir. As always be safe and stay healthy.
in terms of quality of colors, what is better a 400 Mbps prores (no raw) o a 120 mbps blackmagic raw, do you think that Bm Raw need a no compressed option to record?
Awesome video. Question if I may. Many C200 users transcode to ProRes. So what you showed today tells me that doing that transcode (C200 Raw to ProRes) actually eliminates control options. Correct, or am I misinterpreting?
Great info, thanks! How is prores raw in Final Cut? I hear you can do exposure, iso, white bal, but at the moment some cameras support it, some don't. I also understand that you can't work on prores raw in resolve, It first has to be transcoded.
At least for Canon Raw, premiere is far more limited. You are limited to Gamma, Color Science , temperature/tint, sharpness and exposure. You don’t have any of the ISO, highlight, shadow and saturation controls in premiere.
I feel like braw is terrible compared to cdng on the pocket 4k. Way less control over the image. Why does r3d raw not give you more raw sliders? Seems like the more expensive camera should give you more controls. Also I can never tell a difference in my image using the “highlight recovery” it looks exactly the same
Hey Carlos, between Canon Raw Lite and BRAW, which format’s RAW file sizes would you say are smaller and take up less computer processing power? I have the Pocket4k and am selling for a C70 (mainly bc of practicalities like autofocus, built in nd’s and good audio, etc), especially now that Raw is coming to C70. Curious to hear your thoughts about the differences between the two in terms of editing and workflow. Thanks!
if you are using Resolve, BRAW will outperform Canon RAW Light. Generally speaking on a very good or high end computer Canon RAW Light will render at about 6-12fps (I have a 16 Core Mac Pro with the Vega II and 512GB of Ram) Where BRaw renders at 120+fps. To balance this out REDCODE RAW (R3D) footage captured at 24p renders at 49fps. In just about every way the C70 is a better camera than the Blackmagic Pocket IMO.
He is saying that, but it is completely wrong. R3D is a true raw 16 bit codec. Canon raw isn’t even raw and has a 10 bit log curve already baked in. He doesn’t realize “gain, temperature, etc etc” are just the normal rgb manipulation.
This is completely incorrect. BRAW is debayered in camera and “highlight” recovery is just a macro shortcut for Blackmagic’s own codec. Which BRAW is actually pretty good even though it is only 12 bit vs actual raw codecs that are 16 bit. Canon RAW is NOT RAW AT ALL. In fact not only are iso and white balance baked in, a 10 bit log curve is applied. What you are seeing in Davinci is just the color controls you have on the wheels and dials to give the appearance of RAW. Canon also has noise reduction and other baked in info before you see the image. Red and Arri and the old .dng are the only actual Raw codecs and are all 16 bit and have much more information and all info is metadata that can be changed. Without knowing it, you actually proved it yourself when you commented on the noise in the red clip when you jacked up with iso. The reason for that is that red doesn’t apply sharpening or any other effect in camera. It is actually Raw. I don’t even understand why someone would want to make up false info like this. What is there to gain? Anyway, now you know.
Carlos great content really enjoying the series but the monotone-ness is killing me. Put some excitement into that voice! Id be super excited if I had your grading skills, gear and knowledge! haha
It's worth mentioning that Prores RAW is still pretty young compared to these other ones. As far as the others go, I haven't worked with Canon RAW, but have much experience with both R3D and Braw. REDs implementation clearly has the most latitude and it's incredible how far R3D images can be pushed. IMO that's why Komodo is such an exciting product...not because of it's size, or global shutter, or app, or lens mount. Yes, those things are nice, but pale in comparison to the significance of a $6K camera shooting 6K, 16bit R3D in the IPP2 workflow. I always chuckle at the "RED is overpriced crap" comments that find their way into every RED discussion because those guys clearly have no idea what they're talking about. If what you're used to working with is 10 bit log footage, R3D wakes you up in a hurry.
💯💪🏽👍🏽🤙🏽
Thanks Carlos for your informative videos on this. I am curious though why does Canon's raw look so "Canon-like" and Red's looks so much more flexibility. Is it because of the 12 bit vs 16 bit? The canon to me feels flat no matter how you adjust it, but Red has a deeper contrast and feels like a true raw-like look.... I compare it to jpeg on a Sony photo camera vs a 14 bit raw photo on a Sony camera. Not sure if I am making sense or not but would love your take.
Your eyes are telling you the truth. Canon raw isn’t raw. It is a partially debayered file with a 10 bit log curve already applied and noise reduction added. Red contains 4x the information and is truly raw. The premise of this video is completely false. I don’t think on purpose…but it is.
Yeah Blackmagic's highlight recovery is really impressive and I wish Arri cameras had it. My guess is that because Arri has a dual gain sensor, it's already doing a version of highlight recovery on capture, while Blackmagic does its recovery in post.
Yep this one feature changes so much! IMHO
Highlight recovery is simply adjusting the gain to a certain swath of pixels.
R3Dcode has the most controls in post for RAW. You are just using resolve. Try premiere and see how much you have to work with. Way beyond. BRAW is compressed and what you shown there is all you have compared to Red and Arri. RAW performance is dictated by the sensor. 4k pocket has even gone to s16 from MFT. 6k is s35 but Braw is still the case. However, you should try premiere. Especially with true cinema cameras such as Red and Arri. Not knocking Blackmagic but Red and Arri (any model) beat any cinema camera. Pretty sure they always will.
You are 100% right about Red and Arri being the only true Raw. But premiere is not for color grading. Every single movie you have seen for the last 30 years has been graded in Resolve.
Thank you for showing this and differentiating between these raw codecs. Very interesting 👍🤗🤗
Thanks Carlos, this was very valuable!
beginners silly question... what is difference between ISO and exposure control?
think of exposure control as a pivot point around the ISO value
Great question.
ISO is literally the “volume” applied to the camera sensor. It is applying more or less voltage to the sensor to make the image appear brighter or darker. But because the amount of light isn’t actually changing, you get noise and degradation if you push iso too much because it isn’t actually changing the variables that affect what the receptors are taking in.
The ProRes Raw "issues" you saw aren't ProRes RAW issues but Sony being lazy implementing proper metadeta support.
Panasonic and Z-Cam e.g. have full metadata support for wb/tint/iso/exposure etc.
Also keep in mind that the A7sIII deals with quite low usable latitude because of its elevated noise floor.
All the controls Canon Raw offers are identical to the ones outside of the RAW tab.
Check the highlight slider in the RAW tab vs. Color tab, it behaves identical (before Rec709 conversion). Same applies to Braw.
Also Canon Raw comes with Sharpening and Noise reduction by default, Sharpening can be turned off easily, for NR to be gone you have to switch to Full Res - Resolve.
RED only provides the RAW settings you actually need.
I haven’t found that to be true. Changing the highlights and shadows in the raw tab using old blackmagic cdng vs trying to do the same with braw is near impossible
Thank you sir!
You are welcome!
Hello, thanks for this amazing comparations. It's possible to get 4k text Foote to play with.
Hey Carlo, just wondering if I could ask you some questions about your work with the Canon C70 ? Do i email you ? I am picking up mine on this coming monday...thx for any advice
yep email me
I've always got to watch these at 1.25 speed so I don't fall asleep. But damn there's always some super useful info!
I don't try to be a personality, this is who I am and if you were in the same room and this is what we were covering, this is what you get...wish there was a 1.25 speed think in real life, but honestly, I am totally ok with who and how I am.
@@carlosq00 Carlos - I think it is generational. In a recent video that I posted the first comment was that I talked too much. I guess people want silent videos? In the Navy we had a saying "A bitching sailor is a happy sailor." I think the same applies to RUclips viewers.
@@GearZenChannel haha "silent videos" LMAO I posted one of those and everyone wanted to know what I thought...LMAO
This is really informative. I truly appreciate the work you put in Carlos. I shoot BM but Canon is where I started and this really makes me want to get the C500 mk2. Good stuff sir. As always be safe and stay healthy.
thank you
in terms of quality of colors, what is better a 400 Mbps prores (no raw) o a 120 mbps blackmagic raw, do you think that Bm Raw need a no compressed option to record?
hi carlos i ask to you. what other brand of camera to used b cam for red monstro 8k
Awesome video. Question if I may. Many C200 users transcode to ProRes. So what you showed today tells me that doing that transcode (C200 Raw to ProRes) actually eliminates control options. Correct, or am I misinterpreting?
You are correct. Raw controls are only available if you have edit the raw clip. ProRes bakes all the info in.
Yes that is correct
very interesting, I didn't know Canon Raw was so rich! Did you try Sony's Xocn from Alta serie ? it looks very promising too
I didn't mainly because I am very comfortable in my current workflow.
Great info, thanks! How is prores raw in Final Cut? I hear you can do exposure, iso, white bal, but at the moment some cameras support it, some don't. I also understand that you can't work on prores raw in resolve, It first has to be transcoded.
ProRes RAW in FinalCut is horrible because it is so limited.
Carlos... thanks... very helpful.
Glad it was helpful!
excelent video man! is it too much to ask if u do a similar video in adobe premiere?
At least for Canon Raw, premiere is far more limited. You are limited to Gamma, Color Science , temperature/tint, sharpness and exposure. You don’t have any of the ISO, highlight, shadow and saturation controls in premiere.
@@JamesJacksonFilmz tnx for answering
Thanks James for answering, I don't develop my RAW in Premier so it would have been a stretch for me to have any info on the subject.
In my opinion, the only negative point of Canon R5 raw images
The size of the files is extremely large
I bought the R5 because I needed more resolution for the commercial work like billboard ads and some print work that we do around here.
Keep up the great work
Thanks, will do!
I feel like braw is terrible compared to cdng on the pocket 4k. Way less control over the image. Why does r3d raw not give you more raw sliders? Seems like the more expensive camera should give you more controls. Also I can never tell a difference in my image using the “highlight recovery” it looks exactly the same
highlight recovery only happens in the super whites and likely why you can't see any difference.
Hey Carlos, between Canon Raw Lite and BRAW, which format’s RAW file sizes would you say are smaller and take up less computer processing power? I have the Pocket4k and am selling for a C70 (mainly bc of practicalities like autofocus, built in nd’s and good audio, etc), especially now that Raw is coming to C70. Curious to hear your thoughts about the differences between the two in terms of editing and workflow. Thanks!
if you are using Resolve, BRAW will outperform Canon RAW Light. Generally speaking on a very good or high end computer Canon RAW Light will render at about 6-12fps (I have a 16 Core Mac Pro with the Vega II and 512GB of Ram) Where BRaw renders at 120+fps. To balance this out REDCODE RAW (R3D) footage captured at 24p renders at 49fps. In just about every way the C70 is a better camera than the Blackmagic Pocket IMO.
We’ve been told IPP3 is coming soon for Red. I’m assuming more control will be baked into the workflow, but I don’t know. You hear anything?
that would be my guess too and no I haven't heard any details on it either.
IPP2 offers more RAW controls already. This is incorrect. The limitation here is based on software.
In your other videos you mentioned how flexible r3d is in Resolve. Are you now saying the R5 canon raw and BRaw are giving us more control than r3d?
from a refinement perspective, yes. from a you can't mess things up not really...
He is saying that, but it is completely wrong. R3D is a true raw 16 bit codec. Canon raw isn’t even raw and has a 10 bit log curve already baked in. He doesn’t realize “gain, temperature, etc etc” are just the normal rgb manipulation.
does this apply to the r5 canon raw or only the cinema line?
Yes it applies to the R5 and all canon cameras that can capture internally in Canon RAW and RAW Light
This is completely incorrect. BRAW is debayered in camera and “highlight” recovery is just a macro shortcut for Blackmagic’s own codec. Which BRAW is actually pretty good even though it is only 12 bit vs actual raw codecs that are 16 bit.
Canon RAW is NOT RAW AT ALL. In fact not only are iso and white balance baked in, a 10 bit log curve is applied. What you are seeing in Davinci is just the color controls you have on the wheels and dials to give the appearance of RAW. Canon also has noise reduction and other baked in info before you see the image.
Red and Arri and the old .dng are the only actual Raw codecs and are all 16 bit and have much more information and all info is metadata that can be changed.
Without knowing it, you actually proved it yourself when you commented on the noise in the red clip when you jacked up with iso. The reason for that is that red doesn’t apply sharpening or any other effect in camera. It is actually Raw.
I don’t even understand why someone would want to make up false info like this. What is there to gain? Anyway, now you know.
👍
Carlos great content really enjoying the series but the monotone-ness is killing me. Put some excitement into that voice! Id be super excited if I had your grading skills, gear and knowledge! haha
that's how I talk and who I am, and I don't know how to be a "personality" or "fake it" also I don't want to try to...
Anyone tried to match BRAW to Redcode RAW? Or is it just way better to match Redcode RAW to BRAW?
It is easier to dumb down R3D or REDCODE RAW to whatever 😶😉
@@carlosq00 ya that’s what I thought lol 😂 still - it’s nice to be able to match