Hey buddy. Hope all so well. I just want to jump in on the white balancing aspect of this video. Using the temperature and tint sliders on resolve is very much NOT the ideal method to attack white balancing mistakes, in fact it’s arguably the worst. The reason being is you are essentially adding “warm colors” or “cool colors” to your image, which only adds to the problem. The solution is you need to TAKE AWAY colors not add more of the opposite colors. So the best method for white balancing, even vs the RAW tab, is using the offset and your color wheels to remove certain colors (or add colors by taking the opposite color away). For example of the shot is over kelvin (I.e 8500k instead of 5600k) you want to remove blue in the offset wheel or add yellow to the image (they mean the same thing). Just wanted to post this here because you used the temperature tint as solutions, and I just can’t recommend that method with color grading.
Good lookin out! The sort of idea was to moreso identify the WB if set to the same value gives different outcomes vs Color grading recommendations , I can’t quantify that in the offset unfortunately 😅
@@KofiYeboah I hear you man! I only post it because you can definitely make 8500K look more like 5600K (and vise versa with the 3200K) if you corrected it using the offset, color wheels and/or curves. It actually works just as good as actual raw metadata on say a Komodo X.
Your correct. Another RUclipsr showed how to adjust white balance this way. Adding and subtracting color. Here is just one: ruclips.net/video/MI19X_JUeoI/видео.htmlsi=Ppcnty1pmVhZJfhP
The zooming in is simple. RAW = 1:1 pixel readout. Until the FX30 can do open gate 6K RAW, 4K RAW is ALWAYS ALWAYS a heavy crop (smaller than M43 sensors iirc) RAW doesn't necessarily give you more dynamic range either. It's mostly better colour flexibility and white balance flexibility.
Great demonstration. I would definitely like to see a more detailed walkthrough of how you take FX30 footage, render it as XAVC-I from Catalyst Browse, and then import it into Resolve and grade it. Thanks for more great content.
A bit off topic but relating to FX3- How are you roundtripping from FCPX to Resolve and back with XAVC files from FX3? So the fcpxml from FCPX opens up in Resolve but the media is offline and it doesn’t relink even after I point it to the bin the rushes are in. Looks like it’s a known problem (according to RUclips) or is there something I’m missing? Perhaps you can do a video on this..? Regards from Ghana.
🎯 Key Takeaways for quick navigation: 00:00 🎥 *Introduction to Internal RAW* - Explanation of RAW in cameras: capturing light, data interpretation, and storage. - Differences between log and RAW: flexibility, color depth, and post-processing capabilities. 01:13 📸 *Understanding RAW Footage* - Deeper dive into RAW: flexibility to change settings like ISO and white balance after capture. - Simplified focus on two settings for RAW footage: white balance and exposure/ISO. 02:25 🛠️ *Unlocking RAW Powers in Sony Cameras* - Easy process to unlock RAW footage in Sony FX3, FX30, or FX6 using Catalyst Browse. - Integration with Da Vinci Resolve for editing and adjusting RAW settings. 03:23 💻 *Sponsorship - Lepow Portable Monitor* - Introduction to Lepow portable monitor and its benefits for additional display space. - Use cases for dual monitors in video editing, travel convenience, and ease of use. 04:19 🖥️ *Comparing Internal RAW to ProRes RAW* - White balance comparison between three clips shot at different Kelvin values. - Revealing that internal RAW doesn't behave as expected, leading to differences in post-adjustments. 06:25 📊 *ISO and Dynamic Range Comparison* - ISO comparison between 200 and 800, expecting similar dynamic range adjustments. - Observations on cleaner shadows at lower ISO and the trade-off in highlight details. 08:51 🔄 *RAW Codec Flexibility* - Exploring the flexibility of RAW codecs: differences in adjusting ISO and dynamic range. - Highlighting variations in flexibility between different RAW formats like R3D and ProRes RAW. 09:46 🏠 *Transition to Home Studio* - Shift to home studio due to scheduling conflicts, maintaining continuity in the video. - Mentioning an interesting fact about ProRes RAW causing a zoom effect when HDMI is disconnected. 10:55 🎞️ *Dynamic Range Comparison in Da Vinci Resolve* - Comparison of dynamic range in ProRes RAW and XAVC RAW in Da Vinci Resolve. - Clarification that dynamic range remains the same, while color differences may arise due to color space transforms. 11:51 🌈 *Color Aspects in RAW* - Analysis of color differences between ProRes RAW and XAVC RAW at different white balance values. - Demonstrating adjustments to make the color representations closer in post-processing. 13:17 🤔 *Conclusion and Viewer Engagement* - Summarizing the key points of the video. - Inviting viewer comments for more detailed comparisons and expressing hope for a valuable learning experience. Made with HARPA AI
XAVCS-* is all debayered though, so it really is not raw at all, even if raw controls can be used in davinci with it, its not going to offer the same experience. It is somewhat amusing to me that this can be done and certainly not without value, small corrections using the raw tab are certainly beneficial.
I mostly shoot street video at night, but there are most often streetlights and such around that i use (i guess that counts as low light?) I want to upgrade from iPhone 14 pro to either fx30 or a7iv. I Don’t take pictures so that is not a factor. Which one to choose? I mostly make moogy ig reels but i am starting to get more and more business offers and i want to be able to shot all kinds of videos, commercial, shott film, documentary style stuff.
Did I miss something? The FX3 does NOT record RAW internally you have to output RAW to an external recorder. I didn't see the mention how to actually shoot RAW internally.
Yes I’m a FCPX editor. I’ve been wanting to color grade with DaVinci Resolve for years. Yet for now I entrenched into FCPX. I have a Ninja 5 & would like to see more about Pro Res Raw.
The only raw format that is worth it is red raw. The compressed formats are always a lousy compromise. Red footage always looks better than any others. 10 bit fake raw cant compete with 16 bit real raw. The difference is night and day.
I happen to prefer shooting in XAVC HS (HEVC H.265 4:2:2) which can be painful when editing with many motion VFX but you can correct the WB fairly good if you don't use your camera blindly.
Interestingly with the compression algos and data rates there is actually more image data to use in post with XAVC HS than XAVC-I - long GOP actually beats Intra because of the tradeoffs with data rates on the FX 30
@@GlobalShutterNY Personally can have clean screenshots as well from video that look shockingly clean to non-photographer/videographer people as well. Then you upload to youtube and see like 10-20% hit to actual footage you cry internally.
From people that have pixel-peeped this (not me!) it seems that the long GOP format of XAVC HS actually has fewer compression arftifacts (macro blocks) than All Intra. All Intra at a high enough data rate should be better - but not at the data rates Sony uses it seems. Obvi your computer has to work harder for Long GOP formats (the new Apple M silicon handles these very well) but the image is a bit cleaner.@@exshenanigan2333
Thanks for the video Kofi! I am really trying to make my fx3 XAVC HS files work so I can change ISO and temp like you did in this video. I've tried dowloading different resolve studio updates 18, 18.1, 18.6(build9), 18.6.4 from the Blackmagic website all using converted files into XAVC Intra from Catalyst. All these updated versions of resolve won't work for me. The camera raw tab doesn't light up for use in resolve. You think resolve took it away in updated versions online or am I doing something wrong?
How does the internal Raw deal with Noise reduction?? Prores Raw has no NR which is nice, wondering if the internal Raw turns it off as well ( if it does its a game changer, hate that internal processed over sharpened look)
Hi Kofi, like your videos. In terms of data preserving 16 bit(r3d,arriraw) is way ahead of 12 bit(braw,proresraw) and much further from 8 bit. But it all makes sense only for the people who are ready to spend their time on precise color grading or this is their main field and they know what to do. In most cases casual people will just look at the picture and won't be able to say what is the difference without side to side comparison. And yeah...dominating amount of displays are 8 bit and people will never see this perfectly balansed gradient in particular shot that you worked on around a week. What do you think about it?
I think that a casual person person probably doesn’t care, but I also would stand to argue that I don’t think we SHOULD have to tailor our choices to appease casuals, and more so feed our own tastes
Hey man really appreciate you doing this - I think maybe you had some confirmation bias though - from an outside perspective there is a pretty massive difference with the raw. If you look at the roll off areas it is very very apparent. Look at the creases in the cushion or even the portion of the interior wall where the gradient in the white transitions. As you move around the settings... the non-raw roll off flattens out a lot. So you are losing a lot of the 3 dimensional subtle tonality in the image. These are the fundamental subtleties that cause the mind to view something as 2d vs more 3d and pulling the viewed into the scene. I think if you take a few months away from these scenes then watch back this video you will see the drastic difference.
So I’m going to disagree entirely, both files are XAVCS I files and the ‘Raw’ just unlocked the ability ti use the tab, if there was internal compressed raw in thr fx30, RED ( who owns the patent ) would sue the ever living crap out of Sony , Sony only has OCN internal on the Venice and Burano , it’s the same file
@@KofiYeboah yooo. Our wires got crossed haha. I was referring to the actual raw you showed. Obviously 12bit vs 10bit more tonality but just saying I think giving a lot of credit to the Sony slog3. Totally agree with you that the Sony internal “raw” ain’t raw!!! Sending positive vibes!
@@NeonCucumber I think we did lol ! 😅 commenting through text is hard to read emotion, I was by no means being mad ! ( though reading it back, probably sounded that way aha) my bad! I don’t see a HUGE difference most of the time that garners NEEDING to get PRR for those who don’t have it still but yes you’re right there are some differences!
@@KofiYeboah agreed! I’d say for client work and commercial looks - absolutely no need. For narrative work - 12 bit all day because immersion is key. Would love… love loooove to see a braw vs red raw like this video!
H.265 10-bit 422 isn't raw. It's similar to 12-bit ProRes raw, but it does have JPEG compression, but it also has an anti-noise filter on it so it's going to look cleaner sometimes than RAW, and will be easier to work with, but you can denoise in post and if you're doing some heavy color grading you may not get acceptable results with 10-bit. You should nail your exposure and white balance if you are using 10-bit 422 H.265.
I'm here for the mortal explanation of RAW!
😅I tried
therefore I bought the bm, was tired with the digital sony mess
Hey buddy. Hope all so well. I just want to jump in on the white balancing aspect of this video.
Using the temperature and tint sliders on resolve is very much NOT the ideal method to attack white balancing mistakes, in fact it’s arguably the worst. The reason being is you are essentially adding “warm colors” or “cool colors” to your image, which only adds to the problem.
The solution is you need to TAKE AWAY colors not add more of the opposite colors. So the best method for white balancing, even vs the RAW tab, is using the offset and your color wheels to remove certain colors (or add colors by taking the opposite color away).
For example of the shot is over kelvin (I.e 8500k instead of 5600k) you want to remove blue in the offset wheel or add yellow to the image (they mean the same thing).
Just wanted to post this here because you used the temperature tint as solutions, and I just can’t recommend that method with color grading.
Good lookin out! The sort of idea was to moreso identify the WB if set to the same value gives different outcomes vs Color grading recommendations , I can’t quantify that in the offset unfortunately 😅
@@KofiYeboah I hear you man! I only post it because you can definitely make 8500K look more like 5600K (and vise versa with the 3200K) if you corrected it using the offset, color wheels and/or curves.
It actually works just as good as actual raw metadata on say a Komodo X.
Your correct. Another RUclipsr showed how to adjust white balance this way. Adding and subtracting color. Here is just one: ruclips.net/video/MI19X_JUeoI/видео.htmlsi=Ppcnty1pmVhZJfhP
ruclips.net/video/9FEXUQHMLmo/видео.htmlsi=f9AXrsOGfOqSpHv8&t=694
The zooming in is simple. RAW = 1:1 pixel readout. Until the FX30 can do open gate 6K RAW, 4K RAW is ALWAYS ALWAYS a heavy crop (smaller than M43 sensors iirc)
RAW doesn't necessarily give you more dynamic range either. It's mostly better colour flexibility and white balance flexibility.
A man of knowledge and culture 🙂
Great demonstration. I would definitely like to see a more detailed walkthrough of how you take FX30 footage, render it as XAVC-I from Catalyst Browse, and then import it into Resolve and grade it. Thanks for more great content.
Why would you need to render it in XAVC-I?
Thanks man! It’s nice to have those controls , it’s not the end of the world but it’s cool!
Man I just love your compositions and lighting and colour grading
Thanks 🙏🏾🙏🏾
A bit off topic but relating to FX3- How are you roundtripping from FCPX to Resolve and back with XAVC files from FX3?
So the fcpxml from FCPX opens up in Resolve but the media is offline and it doesn’t relink even after I point it to the bin the rushes are in.
Looks like it’s a known problem (according to RUclips) or is there something I’m missing? Perhaps you can do a video on this..? Regards from Ghana.
I’m not actually, I have a raw converter to cinema DNG 👍🏾
hey bro whats your thoughts on atamos ninja v for fx30?
I use it all the time !
I selected the files then transcoded them to XAVC -I , however I'm not getting that raw tab in Davinci Resolve
Uh oh...Reds lawyers are listening in to this video as soon as the words "internal raw" is mentioned 😂
👀👀 me clutching my KX just in case
RED has a patent on Internal compressed RAW not RAW itself.
Thanks for clarifying this! This was my suspicion but haven't had time to test.
🎯 Key Takeaways for quick navigation:
00:00 🎥 *Introduction to Internal RAW*
- Explanation of RAW in cameras: capturing light, data interpretation, and storage.
- Differences between log and RAW: flexibility, color depth, and post-processing capabilities.
01:13 📸 *Understanding RAW Footage*
- Deeper dive into RAW: flexibility to change settings like ISO and white balance after capture.
- Simplified focus on two settings for RAW footage: white balance and exposure/ISO.
02:25 🛠️ *Unlocking RAW Powers in Sony Cameras*
- Easy process to unlock RAW footage in Sony FX3, FX30, or FX6 using Catalyst Browse.
- Integration with Da Vinci Resolve for editing and adjusting RAW settings.
03:23 💻 *Sponsorship - Lepow Portable Monitor*
- Introduction to Lepow portable monitor and its benefits for additional display space.
- Use cases for dual monitors in video editing, travel convenience, and ease of use.
04:19 🖥️ *Comparing Internal RAW to ProRes RAW*
- White balance comparison between three clips shot at different Kelvin values.
- Revealing that internal RAW doesn't behave as expected, leading to differences in post-adjustments.
06:25 📊 *ISO and Dynamic Range Comparison*
- ISO comparison between 200 and 800, expecting similar dynamic range adjustments.
- Observations on cleaner shadows at lower ISO and the trade-off in highlight details.
08:51 🔄 *RAW Codec Flexibility*
- Exploring the flexibility of RAW codecs: differences in adjusting ISO and dynamic range.
- Highlighting variations in flexibility between different RAW formats like R3D and ProRes RAW.
09:46 🏠 *Transition to Home Studio*
- Shift to home studio due to scheduling conflicts, maintaining continuity in the video.
- Mentioning an interesting fact about ProRes RAW causing a zoom effect when HDMI is disconnected.
10:55 🎞️ *Dynamic Range Comparison in Da Vinci Resolve*
- Comparison of dynamic range in ProRes RAW and XAVC RAW in Da Vinci Resolve.
- Clarification that dynamic range remains the same, while color differences may arise due to color space transforms.
11:51 🌈 *Color Aspects in RAW*
- Analysis of color differences between ProRes RAW and XAVC RAW at different white balance values.
- Demonstrating adjustments to make the color representations closer in post-processing.
13:17 🤔 *Conclusion and Viewer Engagement*
- Summarizing the key points of the video.
- Inviting viewer comments for more detailed comparisons and expressing hope for a valuable learning experience.
Made with HARPA AI
Doing gods work 👍🏾
XAVCS-* is all debayered though, so it really is not raw at all, even if raw controls can be used in davinci with it, its not going to offer the same experience.
It is somewhat amusing to me that this can be done and certainly not without value, small corrections using the raw tab are certainly beneficial.
I mostly shoot street video at night, but there are most often streetlights and such around that i use (i guess that counts as low light?) I want to upgrade from iPhone 14 pro to either fx30 or a7iv. I Don’t take pictures so that is not a factor. Which one to choose? I mostly make moogy ig reels but i am starting to get more and more business offers and i want to be able to shot all kinds of videos, commercial, shott film, documentary style stuff.
I use ProRes raw so I can transcode it to Cinema DNG.
Same !
Did I miss something? The FX3 does NOT record RAW internally you have to output RAW to an external recorder. I didn't see the mention how to actually shoot RAW internally.
Yes, that it’s NOT real raw it’s just raw controls like you would if you did
@@KofiYeboah oh got it, thanks! It’s a conversion
Yes I’m a FCPX editor. I’ve been wanting to color grade with DaVinci Resolve for years. Yet for now I entrenched into FCPX. I have a Ninja 5 & would like to see more about Pro Res Raw.
I'll try!
You long videos on RUclips shot on Sony A7IV?
killing it with that FX30
Thanks 🙏🏾🙏🏾
wait... does this mean i can transcode my inter files into intra as well????
I’ve never tried that (yet)!
@KofiYeboah Thanks for the in-depth on RAW, clarifying and demonstrating the difference between ProRes and XAVC RAW. Desk Kofi????? 🤣🤣😂😂
Did a video on the desk top set up 🫡
@@KofiYeboah That was clever, really nice. I had to rewind to realize that was you that you were talking about, had to hear it again LOL
Shot at that studio location a couple weeks back, so many sets to choose from!
It is !!!
The only raw format that is worth it is red raw. The compressed formats are always a lousy compromise. Red footage always looks better than any others. 10 bit fake raw cant compete with 16 bit real raw. The difference is night and day.
I happen to prefer shooting in XAVC HS (HEVC H.265 4:2:2) which can be painful when editing with many motion VFX but you can correct the WB fairly good if you don't use your camera blindly.
Interestingly with the compression algos and data rates there is actually more image data to use in post with XAVC HS than XAVC-I - long GOP actually beats Intra because of the tradeoffs with data rates on the FX 30
@@GlobalShutterNY Personally can have clean screenshots as well from video that look shockingly clean to non-photographer/videographer people as well. Then you upload to youtube and see like 10-20% hit to actual footage you cry internally.
@@GlobalShutterNY does that mean XAVC HS is more flexible in post compared to XAVC-I?
From people that have pixel-peeped this (not me!) it seems that the long GOP format of XAVC HS actually has fewer compression arftifacts (macro blocks) than All Intra. All Intra at a high enough data rate should be better - but not at the data rates Sony uses it seems. Obvi your computer has to work harder for Long GOP formats (the new Apple M silicon handles these very well) but the image is a bit cleaner.@@exshenanigan2333
What do you mean painful when editing? I often use the XAVC HS 200Mbps and it plays as smooth as Intra. Are you using a very old computer?
Thanks for the video Kofi! I am really trying to make my fx3 XAVC HS files work so I can change ISO and temp like you did in this video. I've tried dowloading different resolve studio updates 18, 18.1, 18.6(build9), 18.6.4 from the Blackmagic website all using converted files into XAVC Intra from Catalyst. All these updated versions of resolve won't work for me. The camera raw tab doesn't light up for use in resolve. You think resolve took it away in updated versions online or am I doing something wrong?
I don’t think so, perhaps shoot in Xavci?
How does the internal Raw deal with Noise reduction?? Prores Raw has no NR which is nice, wondering if the internal Raw turns it off as well ( if it does its a game changer, hate that internal processed over sharpened look)
The internal raw isn’t raw that’s the point of the video , so unfortunately no different than xavsi
How’d you get ProRes raw in Davinci??
There’s a raw converter you can download and buy a license for your camera
I have been trying to figure out the best workflow for this. Which converter do you recommend?
Here for it
Calvin
Hobbs
So is this more of a 10 bit “raw” with raw control?
Not really, it’s still 10-bit xavc-I, just gave the raw tab open 🤘🏾
Hi Kofi, like your videos. In terms of data preserving 16 bit(r3d,arriraw) is way ahead of 12 bit(braw,proresraw) and much further from 8 bit. But it all makes sense only for the people who are ready to spend their time on precise color grading or this is their main field and they know what to do. In most cases casual people will just look at the picture and won't be able to say what is the difference without side to side comparison. And yeah...dominating amount of displays are 8 bit and people will never see this perfectly balansed gradient in particular shot that you worked on around a week. What do you think about it?
I think that a casual person person probably doesn’t care, but I also would stand to argue that I don’t think we SHOULD have to tailor our choices to appease casuals, and more so feed our own tastes
@@KofiYeboah yeah, can't desagree, our tastes are what making us to move further and become better in favorable craft
More please.
Done ✅
Doesn’t work…
Why not,
@@KofiYeboah downloaded Catalyst browse, export to XAVC-I, but does not open the RAW file settings in Davinci
Hey man really appreciate you doing this - I think maybe you had some confirmation bias though - from an outside perspective there is a pretty massive difference with the raw. If you look at the roll off areas it is very very apparent. Look at the creases in the cushion or even the portion of the interior wall where the gradient in the white transitions. As you move around the settings... the non-raw roll off flattens out a lot. So you are losing a lot of the 3 dimensional subtle tonality in the image. These are the fundamental subtleties that cause the mind to view something as 2d vs more 3d and pulling the viewed into the scene. I think if you take a few months away from these scenes then watch back this video you will see the drastic difference.
So I’m going to disagree entirely, both files are XAVCS I files and the ‘Raw’ just unlocked the ability ti use the tab, if there was internal compressed raw in thr fx30, RED ( who owns the patent ) would sue the ever living crap out of Sony , Sony only has OCN internal on the Venice and Burano , it’s the same file
@@KofiYeboah yooo. Our wires got crossed haha. I was referring to the actual raw you showed. Obviously 12bit vs 10bit more tonality but just saying I think giving a lot of credit to the Sony slog3. Totally agree with you that the Sony internal “raw” ain’t raw!!! Sending positive vibes!
@@NeonCucumber I think we did lol ! 😅 commenting through text is hard to read emotion, I was by no means being mad ! ( though reading it back, probably sounded that way aha) my bad! I don’t see a HUGE difference most of the time that garners NEEDING to get PRR for those who don’t have it still but yes you’re right there are some differences!
@@KofiYeboah agreed! I’d say for client work and commercial looks - absolutely no need. For narrative work - 12 bit all day because immersion is key. Would love… love loooove to see a braw vs red raw like this video!
@@NeonCucumber this can be arranged !!
Man I always enjoy your content. I have a FX30 and love the content
Thank you !more on the way
RED HAS ENTERED THE CHAT
Not everyone has $10,000 Conor 😒 lmfaoo
@@KofiYeboah WEAKNESS MAKES RED DISGUSTED
H.265 10-bit 422 isn't raw. It's similar to 12-bit ProRes raw, but it does have JPEG compression, but it also has an anti-noise filter on it so it's going to look cleaner sometimes than RAW, and will be easier to work with, but you can denoise in post and if you're doing some heavy color grading you may not get acceptable results with 10-bit. You should nail your exposure and white balance if you are using 10-bit 422 H.265.
That was the whole point of the video yes 😅