I want to be clear here: although the issue seems to be with Resolve, the program is only as good as the information it has. Meaning, whoever created the color matrix should go back and take a look. It is unclear if Nikon provided this information via an SDK and Blackmagic Design simply uploaded it, or if Blackmagic Design developed it themselves. Either way, a reassessment of this color matrix is crucial to resolving the blue channel clipping issue effectively. Furthermore, The reason why I say ProRes Raw is a good indication of the sensor data is because ProRes Raw is a container of nothing more than the linear Bayer data of the sensor with some apple magic compression according to the documentation. Thus, it should be a good indication of what is going on. More information can be found here: www.apple.com/final-cut-pro/docs/Apple_ProRes_RAW.pdf Lastly, over time, I've begun to suspect that the issue here could also be how Resolve is processing Rec 2020 footage as an input. I only say this because I notice that the HDR selection in automatic color management uses Rec 2020 as a timeline instead of DWG. I am not sure if that means anything though.
Thanks Sidney . I complain about the blue issue since day one of N-RAW. Contacted even Tico Raw, but no one wants to listen. It's all exactly as you describe. It's such a shame, because N-Raw is otherwise so amazing.
I don't think that it's the fact that no one wants to listen. I know that they are aware of it, and have been. I think this is a color matrix issue in Resolve period and everyone else's hands are tied. The same way we still don't have any good options for color management for CDNG in resolve as well. But that's a different story lol
Thanks for making videos on NRAW, your videos are very educative and they help people like me a lot who dont have any prior experience in handing raw video, colour spaces and gamma.
Nice findings ! Keep up the good work ! And hopefully someone at Nikon and/or Bmd is listening. Did you sent all this to Nikon/Bmd ? I truly think that if it's possible on the hardware side Nikon should put REDCODE available to their mirrorless...paid upgrade I don't care. It would also open the upgrade path nicely to Nikon customers to stay in the family if going on a bigger pro level camera body. Having Nikon mirrorless B cam and RED A cam all on the z mount... redcode... Peace !
I showed BMD the issue at NAB and I have showed Nikon what I've found. I would prefer to keep Nikon Raw and simply use RWGL3G10. REDCODE is using very old JPEG2000 wavelet compression, and Nikon RAW uses much newer technology. There's a lot more RAW technologies out there better than R3D, they just haven't been explored because of the patent.
Nice video. May I ask why you are choosing to use N-Log for your NRAW footage? Unless you have LGOP (H.264/H.265) N-Log footage you're needing to match to on the same timeline there's no benefit to using N-Log for NRAW. Unlike LGOP use, N-Log does not change the underlying the raw data, outside of how it manages ISO and exposure.
Thanks Sidney for doing these videos on NLOG, NRAW and grading in resolve. I have a Z8 and have been trying out RAW to get a handle on editing those files. I recently shot some footage in 8K and noticed some banding in the sky footage, I couldn't understand why that was occurring as I shot it in NRAW. I did lift the brightness some in post as it was partly cloudy and I was using Auto ISO, the noise level was higher than I expected so some major correcting was needed. I hope we can see this remedied when 19 is out of Beta. Thanks again for doing all these videos on filming with NLOG, I typically learn through experimentation but, I look forward to your videos to guide me when I can't figure out when I mess up.
my light blue skies can typically get pretty bright. But if you’re running into that issue, I would definitely double check your exposure and protect that blue. Also make sure you have proxies disabled and see if that helps
Thanks for this video Sidney. I really enjoy your videos. I bought the z9 a couple years ago but was intimidated by the whole process of learning a new editor (resolve) and the concept of color space transforms and nodes seemed quite complex and I rarely used the camera as a result. Your channel encouraged me to use it again and I try now to shoot with it everyday to get some practice and facility. I have learned so much from you. Do you think that Nikon and resolve will collaborate to release an ACES color transform. I see there are transforms for Arri, Panasonic, and Sony as well as so many other brands.
Thank you for all the kind words. I would think so at some point. However, you can use ACES with Nikon RAW. When you setup the color management as ACES everything should transform.
I want to be clear here: although the issue seems to be with Resolve, the program is only as good as the information it has. Meaning, whoever created the color matrix should go back and take a look. It is unclear if Nikon provided this information via an SDK and Blackmagic Design simply uploaded it, or if Blackmagic Design developed it themselves. Either way, a reassessment of this color matrix is crucial to resolving the blue channel clipping issue effectively.
Furthermore, The reason why I say ProRes Raw is a good indication of the sensor data is because ProRes Raw is a container of nothing more than the linear Bayer data of the sensor with some apple magic compression according to the documentation. Thus, it should be a good indication of what is going on. More information can be found here: www.apple.com/final-cut-pro/docs/Apple_ProRes_RAW.pdf
Lastly, over time, I've begun to suspect that the issue here could also be how Resolve is processing Rec 2020 footage as an input. I only say this because I notice that the HDR selection in automatic color management uses Rec 2020 as a timeline instead of DWG. I am not sure if that means anything though.
The Leading voice for the Nraw community, thanks for your expertise 👍
Thanks Sidney . I complain about the blue issue since day one of N-RAW. Contacted even Tico Raw, but no one wants to listen.
It's all exactly as you describe. It's such a shame, because N-Raw is otherwise so amazing.
I don't think that it's the fact that no one wants to listen. I know that they are aware of it, and have been. I think this is a color matrix issue in Resolve period and everyone else's hands are tied. The same way we still don't have any good options for color management for CDNG in resolve as well. But that's a different story lol
Fantastic. Thank you for doing the leg work and digging deep…
Thanks for making videos on NRAW, your videos are very educative and they help people like me a lot who dont have any prior experience in handing raw video, colour spaces and gamma.
Nice findings ! Keep up the good work ! And hopefully someone at Nikon and/or Bmd is listening. Did you sent all this to Nikon/Bmd ? I truly think that if it's possible on the hardware side Nikon should put REDCODE available to their mirrorless...paid upgrade I don't care. It would also open the upgrade path nicely to Nikon customers to stay in the family if going on a bigger pro level camera body. Having Nikon mirrorless B cam and RED A cam all on the z mount... redcode...
Peace !
I showed BMD the issue at NAB and I have showed Nikon what I've found. I would prefer to keep Nikon Raw and simply use RWGL3G10. REDCODE is using very old JPEG2000 wavelet compression, and Nikon RAW uses much newer technology. There's a lot more RAW technologies out there better than R3D, they just haven't been explored because of the patent.
Nice video. May I ask why you are choosing to use N-Log for your NRAW footage? Unless you have LGOP (H.264/H.265) N-Log footage you're needing to match to on the same timeline there's no benefit to using N-Log for NRAW. Unlike LGOP use, N-Log does not change the underlying the raw data, outside of how it manages ISO and exposure.
Good info. Thanks for this.
Thanks Sidney for doing these videos on NLOG, NRAW and grading in resolve. I have a Z8 and have been trying out RAW to get a handle on editing those files. I recently shot some footage in 8K and noticed some banding in the sky footage, I couldn't understand why that was occurring as I shot it in NRAW. I did lift the brightness some in post as it was partly cloudy and I was using Auto ISO, the noise level was higher than I expected so some major correcting was needed. I hope we can see this remedied when 19 is out of Beta. Thanks again for doing all these videos on filming with NLOG, I typically learn through experimentation but, I look forward to your videos to guide me when I can't figure out when I mess up.
my light blue skies can typically get pretty bright. But if you’re running into that issue, I would definitely double check your exposure and protect that blue. Also make sure you have proxies disabled and see if that helps
@@sidneybakergreen Thanks, I’ll do that.
Thanks for this video Sidney. I really enjoy your videos. I bought the z9 a couple years ago but was intimidated by the whole process of learning a new editor (resolve) and the concept of color space transforms and nodes seemed quite complex and I rarely used the camera as a result. Your channel encouraged me to use it again and I try now to shoot with it everyday to get some practice and facility. I have learned so much from you. Do you think that Nikon and resolve will collaborate to release an ACES color transform. I see there are transforms for Arri, Panasonic, and Sony as well as so many other brands.
Thank you for all the kind words. I would think so at some point. However, you can use ACES with Nikon RAW. When you setup the color management as ACES everything should transform.
Thank you! Would you like to do an update video if Bm/Nikon get fixed this issue?
Thanks for digging into this!
Useful stuff
Love the facial hair 🙏🙏
Enjoyed the video
Hi I am having the same issue on DR with Apple RAW to CDNG, from the Ronin 4D 8K, thank you for sharing
Anytime. The settings I use for CDNG footage from ProRes Raw has given me the best results. Don't forget to tick highlight recovery.
@@sidneybakergreen Thank you so much!🙏
I’m saying someone at Sony or Canon he’s paying Davinci Resolve team to mess things up for users to leave Nikon