Why aren't more people talking about the S1H? Why is all of the attention seemingly on the Sony A7siii and the Canon R5. Seems like everyone should be talking about Panasonic S1H: 6K, no over heating, great color science, flip out screen, 24mp photos, Netflix approved, great cinematic footage. Why aren't more people drooling over the S1H?
It is about autofocus. The Panasonic autofocus system is not as good as Sony and Canon. The hype around these Sony and Canon cameras is driven by enthusiasts who want a true hybrid do everything camera. Enthusiasts are not recording videos for Netflix. Also regarding lenses there aren't as many L lenses as there are lenses for Sony and Canon.
@@DanielBrklyn I suspect it's only a matter of time before we hear that the Sony a7s III and Canon R5 are Netflix-approved as well. The R5 is so impractical due to the overheating that very few people would want to use it for that. If Canon doesn't address the overheating issue soon with firmware (at least for the 4K HQ), then this camera will be DOA.
This needs to be pinned/higher. I've done testing with the WB changes in Assimilate Scratch and you can get a 100% match to another white balance if you set the WB entirely wrong in camera. ProRes RAW is true RAW, but Final Cut, Premiere Pro, and Avid don't let you adjust the ISO/WB for some reason.
It's a bit outside what you normally cover, but I'd be interested to see how it affects keying out areas. I'm imagining a greenscreen setup, with Chris on the floor, rolled into a ball, being shot on internal 8 bit, 10 bit, and ProRes Raw. Then you can composite him onto various bridges.
When I saw Jordan out in that sunny field I initially thought, "my camera would look about like that, some stuff overexposed, some under, etc." Then I froze it and looked more carefully and saw that none of that was true: the sky is blue, the shirt is white, his skin looks like skin in the sun, the foliage is natural. And his Panasonic is only $4000 more than mine!
The limitation mentioned here about ProRes RAW, are not from the codec himself but are on Final Cut Pro X side. It’s quite a shame that Apple didn’t allow inside of FCPX to modify all the metadata ISO, WB, etc... like it’s possible to do with let say RedCode RAW. Other tool that are supporting ProRes RAW like Assimilate Scratch (www.newsshooter.com/2020/07/18/assimilate-scratch-adds-iso-gain-wb-and-tint-controls-for-prores-raw/) allow to update those metadata and then give full control and access to all the potential of ProRes RAW. It will have been good for DPReview to mentioned that or eventually try it as well and let us know.
@@TaipeiGeek Not weird. Stop trolling. there is no WB metadata in Final Cut, which is a big drawback, since that is one of the advantages of shooting RAW in the first place. It's extremely difficult compared to say Blackmagic RAW in DaVinci Resolve. Other professionals are saying the same thing.
lol... try using ProRes RAW in Premiere, it's an absolute joke. They have no option for conforming to log and you're stuck working off the linear gamma with a shitty "exposure" slider.
@@joe_scotto to be honest, for colorists, DaVinci is the more polished platform for grading, with Final Cut trailing far behind. I can't see shooting ProRes RAW only to be handicapped by tools that are generations behind Blackmagic.
I know right?!? 🤣 I get tired of people saying “the flippy screen is for vloggers” and “the evf is for photographers”. Jared Polin did an old EOS 5D review and he was complaining during a photo shoot that the 5D didn’t have a flippy screen 🤣 sometimes photographers just need to have a flippy screen to help with composition and sometimes videographers need a viewfinder.
can you make a comprehensive comparison between Sony a7siii, Canon r5/r6 and Panasonic s1h/s1 cameras today? At least in mirrorless video world panasonic was pretty much unparalleled until just a month ago, but how much do new-comers challenge their cameras and are they still worth buy now? What would be trade-offs and such? Your reviews are amazing and many thanks in advance for any response from you or anyone else!!!
Problem is with final cut. As others have stated look into Assimilate Scratch where you have full Raw flexibility. Final cut wants to do all the work for you, like any other Apple product 😞
Because it's not real raw. It's deBayered in-camera, which by definition makes it NOT raw, as BlackMagic freely admits. It also means Panasonic would have to build that functionality into its cameras. I don't know if that is free.
@@SoundOfYourDestiny Hmmm but isn't that better because that means we won't have to buy Atmos Recorders and Monitors and also those SSDs and the god damn hdmi cable anymore to get a Type of Raw format also isn't ProRes Raw not real Raw since we can't even change the highlights and shadows much since ProRes is just giving a higher colour depth and not a real raw
@@Aman_Mondal SSDs are a lot cheaper than CFast. BMD even sells an adapter so you can use SSDs with their cameras. ProRes Raw is real raw, like Redcode, Arriraw, or any other proper raw codec. You can change the exposure, highlights, and shadows... and most importantly the white balance... after you shoot. Just because whatever gimped software you're using doesn't offer proper raw controls doesn't mean the codec isn't raw. You can open a Canon raw still photo in Preview, and it doesn't give you any controls at all. Does that mean it's not raw?
@@SoundOfYourDestiny What about Zraw do you have any info about that? Also i wonder if Redcode is really 16bit depth while Prores raw, ArriRaw, Zraw are all 12bit.
@@peacht.1073 Hi! Zraw is not legitimate raw; like BM raw, it is partially debayered in-camera to avoid Red's bogus patent. However, you can get raw output from Zcams into a Ninja for ProRes Raw.
And I wonder if Panasonic, Canon and Nikon will ever support BRAW... It is after all free to use by camera manufacturers, and Black Magic have a FREE plugin for Premiere and Avid to edit BRAW files.
@@petrub27 supporting all common file formats isn't a compromise. All the problems shown in this video are problems with bad editing software, not with the codec.
If only Blackmagic Design could collaborate with as many brands as Atomos can, we'd get BRAW with a BM Video Assist 12G on the S1H and others. I know ProRes RAW is good, I'm just very deep in the Blackmagic bubble at this point.
As far as I understand it, it is the camera manufacturers and Atomos who are not collaborating with Black Magic. BRAW is (as far as I understand it) free to use (unlike ProRes RAW where manufacturers have to pay a licensing fee). There is a free plugin for Premiere and for AVid to edit BRAW files as well.
@@marinrealestatephotography Nope. First of all, Apple and Atomos spent a lot of time figuring out how to pipe true raw data over HDMI, and camera manufacturers have gotten on board because a lot of the engineering work is done. Braw isn't raw, which BMD explains on their own site. Second, they probably started the work on raw output before Braw came out and weren't about to do a bunch more to put another encoding method in their cameras.
I would love if they added full frame 60 Pro Res Raw, that would make the camera complete! Would definitely keep it competitive with the 120 4k the a7siii does.
I'm wanting to get into photography professionally. I've done some photography and am good at it. Which camera would you recommend for portraits and shooting landscapes/wildlife? I've looked at the Canon Mark Series and Sony A7R IV.
OK... there's significant misinformation here. The white balance and ISO are NOT baked into ProRes Raw. FCP simply fails to present the necessary controls for Apple's (well, Apple & Atomos's) own format. Competent software does, in fact, let you change these in post, as you can with any true raw format.
SoundOfYourDestiny if I don’t set white balance I’m stuck with bad contrasty colors since Adobe doesn’t have the Remove Camera LUT feature that Final Cut Pro X has.
How would you compare it to BRAW? The flexibility of BRAW is so good that I don't know if I could give it up. It's one of the reasons the A7s III just isn't there for me because I really want to be able to shoot raw to an SSD.
@@IgnacioDure Yeah, just had a shoot where pretty much all of my footage shot on the gimbal way over my head to clear a plastic wall was unusable because of focus. Could definitely use auto-focus and IBIS honestly.
Braw isn't real raw; you can read about it on BlackMagic's site. The image is deBayered in-camera, which by definition is not raw. Sadly, Red has a bogus patent on compressed raw, and BMD's workaround was to call a non-raw codec "raw."
I'm confused. The video first says you can't ignore white balance in the field when shooting ProResRAW, then demos how much better it is than internal Log when correcting white balance that is way off!
It's pretty interesting that we're still not there yet. Look at the Canons' overheating problems. I guess external recorders will still be a thing for a while.
@@martysender5539 Yes, it can read it but it's a cluster fuck to work with. Unlike FCPX, there is no option to conform your footage to a LOG space meaning it's a nightmare to grade. FCPX with ColorFinale is a dream for ProRes RAW. I opened an issue with Adobe and haven't heard back, my general rule right now for ProRes RAW is that if you plan on shooting it, you're going to be using FCPX. adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/40507270-raw-to-log-conversions-for-prores-raw
You should check The DP Journey's videos on ProRes Raw for S1H and the format itself - Part 1: th-cam.com/video/ASPoQsdo_5M/w-d-xo.html - Part 2: th-cam.com/video/LlkiPWCUhik/w-d-xo.html
@@EdStarkey don't have use for Mac, and dislike premiere. My personal and business projects/clients, only require finished projects, not out of camera shots.
Not at all. LOG is simply a flat image profile. Whereas actual RAW video has dynamic metadata that you can change after the fact like you do with RAW pics. But ProRes Raw is a bit different. It has its advantages and disadvantages.
No. Log takes the image and compresses the dynamic range, allowing it to "fit" into a limited bit depth by redistributing data. In post, you re-expand the dynamic range. You're still dealing with the same bit depth so the gradients between light and dark may be chunkier, but at least information won't simply be clipped. But the color-temperature decision you made when shooting is still baked into the data. Raw is a brightness value from each photosite on the sensor; each site is tagged as red, green, or blue. In post, you can assign weights to those colors as you see fit, to set an overall white balance however you want. That is probably the biggest win with raw: color that's not baked in. If the camera's raw output offers more than the 12 bits that ProRes Raw currently handles, a log curve will be applied to the brightness values to compress them into 12 bits. 12 bits still offers excellent range, and the colors still remain independent. And finally, data compression is applied to most raw formats (Red, Arri, ProRes) to make their bulk manageable with minimal quality loss.
ProRes RAW is raw, while ProRes 444 isn't. ProRes RAW only has proper support inside Assimilate Scratch yet. The FCPX implementation is very basic and quite laughable. Also it's much smaller.
@@clintcompose As a Sony shooter, I'll go for A7S3 no problem, just wait for a big sale to come up cause I don't really need all the benefit that camera gives me right now tho
@@davidp158 its digital, so if it works, it works. no need to drop more money on cable voodoo. but of course you should buy a branded and certified one, not some dubious china thing.
They're only allowed to put ProRes RAW onto external cameras not onto cameras directly. RED's patent doesn't allow for real RAW on other cameras than their own or companies who are licensing their idea. Because their patent is that trivial and shouldn't have been allowed in the first place.
AVID is awful to deal with, the worst customer service I have ever had in IT. I'm still waiting for my email to be answered even after paying for the service.
I think one of the benefits of PreRes RAW is that it is supposed to be less compressed than your typical h.264 / h.265 codecs, so the main requirement is going to be LOTS of fast storage space. If you use Resolve, it benefits from a fast, capable graphics card with lots of memory (really, 8GB VRAM is probably a MINIMUM amount of GPU memory with 4K on Resolve 16... more is better).
@@marinrealestatephotography "LOTS of fast storage space" Yes indeed, but how much? The point of the question is to wake up DP Review that simply the rather gigantic focus on things video related to DP Review and the Canon R5 is such that they don't deal with the rest of reality, not merely stills images, but the nature of the equipment needed to deal with video itself and the ever-growing image file sizes. They talk about lenses, they will talk about various accessories occasionally however, they never address the most basic thing: Just how much PC do you really need and just how much storage and the like. This was a much lesser issue in years past since the file sizes were not nearly so gigantic and the basic hard drives on many machines were adequate., or easily upgraded Today, however, image file sizes are growing and growing and then there is the whole video issue. Since it it about photography and since they currently make a nod to film in various DP review things, they were able to notice the uptick in film, however, they lack sufficient coverage of the other important aspects of the tools: PC requirements, backups, speed, etc. IF it IS about digital photography mostly, then they need to talk about ALL the tools and not provide glib reviews. It is just not enough. Further, given the size of the market and its shrinking nature in terms of sales of cameras and the definite higher prices there needs to be recognition on their part that they DO NOT have sufficient coverage and discussion of the other super important equipment one needs today. Since the increased prices and diminished market will mean that those who engage in serious photography whether amateur or professional will likely need very good equipment to work with the images and or video, that means PC's. I had lots of room when my image files were only 16 megabytes, then came 20-24, and now much more. For my professional use, in real estate photography 16mp is more than enough, but when you look at what is going on and there is no small or medium raw only some form of "condensed" raw that can be rather frustrating in terms of storage. DP Review never addresses this real-world situation which in my estimation IS a growing issue. They harp and harp on 4K ad nauseam , now they get to bitch about 8K or whatever. They just don't address the reality that the shrinking market IS more concerned with more things than that. The form of review that was done two years ago no longer meets the new reality of a more serious commitment among those "into" photography today and the tools needed. Just like magazines have died off, video presentations that fail to keep up with the changing needs and expectations of the market will die as well. My comments should not be taken as anything negative to your response. I thank you for your efforts. Best wishes!
Wow, Pro Res Raw sounds horrible. if i can’t ignore my White balance in the field that’s pretty much my whole reason to shoot raw gone. Wish other cameras would shoot BlackMagic Raw 😢 that shits amazing
ProRes RAW is real raw and doesn't bake in either debayer, no white balance nor ISO. All is done in post. Apple is just hiding these functions - maybe even to sabotage their own codecs, who knows? Inside Assimilate Scratch ProRes RAW has all the white balance, ISO, tint etc. adjustments you need. :)
@@EdStarkey Sony also does a 12 bit video readout. So what you'll get is the equivalent to a black and white image saved inside a rgb container. It's just marketing.
Dear Jordan, Canon R5 gives Super35 mode and you called it "cropped mode" because of you people devalue the camera. In this review you nicely call it Super35 for Panasonic.
Can somebody explain what the hell do they say in the beggining - welcome back dp####reviewers?😄 I assume they do that on purpose and it's hilarious every time.😄
I love DVReview
Why aren't more people talking about the S1H?
Why is all of the attention seemingly on the Sony A7siii and the Canon R5.
Seems like everyone should be talking about Panasonic S1H: 6K, no over heating, great color science, flip out screen, 24mp photos, Netflix approved, great cinematic footage.
Why aren't more people drooling over the S1H?
Hopefully the R5/R6 falling flat on their (video) faces after hyping up 8K will bring some attention to the S1H.
Because some people are terrified to have to use manual focus when shooting video... ( Netflix 4K motion picture certification means nothing to them )
It is about autofocus. The Panasonic autofocus system is not as good as Sony and Canon. The hype around these Sony and Canon cameras is driven by enthusiasts who want a true hybrid do everything camera. Enthusiasts are not recording videos for Netflix. Also regarding lenses there aren't as many L lenses as there are lenses for Sony and Canon.
@@DanielBrklyn I suspect it's only a matter of time before we hear that the Sony a7s III and Canon R5 are Netflix-approved as well.
The R5 is so impractical due to the overheating that very few people would want to use it for that. If Canon doesn't address the overheating issue soon with firmware (at least for the 4K HQ), then this camera will be DOA.
SCRATCH allows true ISO and WB metadata controls. This is a problem with the NLEs, not ProResRAW
This needs to be pinned/higher. I've done testing with the WB changes in Assimilate Scratch and you can get a 100% match to another white balance if you set the WB entirely wrong in camera. ProRes RAW is true RAW, but Final Cut, Premiere Pro, and Avid don't let you adjust the ISO/WB for some reason.
^ THIS
Yes, let’s stop the false information. This is definitely a NLE issue and not a codec issue.
Damn I just searched for 20 minutes about it
Exactly. Apple is kinda stupid treating their own RAW codec like that. Inside Assimilate Scratch ProRes RAW is fantastic!
It's a bit outside what you normally cover, but I'd be interested to see how it affects keying out areas.
I'm imagining a greenscreen setup, with Chris on the floor, rolled into a ball, being shot on internal 8 bit, 10 bit, and ProRes Raw.
Then you can composite him onto various bridges.
When I saw Jordan out in that sunny field I initially thought, "my camera would look about like that, some stuff overexposed, some under, etc." Then I froze it and looked more carefully and saw that none of that was true: the sky is blue, the shirt is white, his skin looks like skin in the sun, the foliage is natural. And his Panasonic is only $4000 more than mine!
Has to be some of the best image quality I’ve seen on this channel
The limitation mentioned here about ProRes RAW, are not from the codec himself but are on Final Cut Pro X side. It’s quite a shame that Apple didn’t allow inside of FCPX to modify all the metadata ISO, WB, etc... like it’s possible to do with let say RedCode RAW. Other tool that are supporting ProRes RAW like Assimilate Scratch (www.newsshooter.com/2020/07/18/assimilate-scratch-adds-iso-gain-wb-and-tint-controls-for-prores-raw/) allow to update those metadata and then give full control and access to all the potential of ProRes RAW.
It will have been good for DPReview to mentioned that or eventually try it as well and let us know.
Premiere also supports ProRes Raw now. Apple... who knows what they're doing?
It's kinda telling that third party programs such as Assimilate Scratch get ProRes RAW right but FCPX doesn't...
The implementation of ProRes RAW controls in FCPX is reprehensible. Shame on you Apple! Get your act together!
Very shocking indeed
Why is it Apple's fault that you don't know how to use them? Weird.
@@TaipeiGeek Not weird. Stop trolling. there is no WB metadata in Final Cut, which is a big drawback, since that is one of the advantages of shooting RAW in the first place. It's extremely difficult compared to say Blackmagic RAW in DaVinci Resolve. Other professionals are saying the same thing.
lol... try using ProRes RAW in Premiere, it's an absolute joke. They have no option for conforming to log and you're stuck working off the linear gamma with a shitty "exposure" slider.
@@joe_scotto to be honest, for colorists, DaVinci is the more polished platform for grading, with Final Cut trailing far behind. I can't see shooting ProRes RAW only to be handicapped by tools that are generations behind Blackmagic.
If Blackmagic provide Braw support for this it will be unbeatable. (Like they did with the Sigma FP with their BM Assist)
Braw isn't even raw; why would Panasonic build that into their camera, when they deliver real raw now?
It totally sucks that ProRes is so important because not all of us have Macs or even Premiere.
Great !
This is the first time that your skin looks really natural !
Neat been waiting for this
I just shot 1TB of 6k Prores Raw in 46 minutes, which is higher data rate than the Canon R5 uncompressed 8k raw.
I saw another test that had bad channel-clipping on over-exposed highlights. Didn't see any comparable shots here. Anyone know if that's been fixed?
When Sony announced the crazy high megapixel EVF. I read so many comments saying “YoU dOnT uSe ThE eVf FoR vIdEo”. Boom roasted
I know right?!? 🤣 I get tired of people saying “the flippy screen is for vloggers” and “the evf is for photographers”. Jared Polin did an old EOS 5D review and he was complaining during a photo shoot that the 5D didn’t have a flippy screen 🤣 sometimes photographers just need to have a flippy screen to help with composition and sometimes videographers need a viewfinder.
can you make a comprehensive comparison between Sony a7siii, Canon r5/r6 and Panasonic s1h/s1 cameras today? At least in mirrorless video world panasonic was pretty much unparalleled until just a month ago, but how much do new-comers challenge their cameras and are they still worth buy now? What would be trade-offs and such?
Your reviews are amazing and many thanks in advance for any response from you or anyone else!!!
Problem is with final cut. As others have stated look into Assimilate Scratch where you have full Raw flexibility. Final cut wants to do all the work for you, like any other Apple product 😞
I wonder how the A7S III will compare, when we get recorders that will accept the RAW signal.
The Atomos Ninja will record raw from the A7S III too.
@@SoundOfYourDestiny Oh, will it? I thought I'd read we were waiting on a firmware update, but I could be wrong.
@@ziginox Most likely there will be one required, but the capability is announced.
Support and free upgrades is what makes a company stand out.
Just thinking why can't Panasonic use BlackMagic raw it's free after all
Because it's not real raw. It's deBayered in-camera, which by definition makes it NOT raw, as BlackMagic freely admits. It also means Panasonic would have to build that functionality into its cameras. I don't know if that is free.
@@SoundOfYourDestiny Hmmm but isn't that better because that means we won't have to buy Atmos Recorders and Monitors and also those SSDs and the god damn hdmi cable anymore to get a Type of Raw format also isn't ProRes Raw not real Raw since we can't even change the highlights and shadows much since ProRes is just giving a higher colour depth and not a real raw
@@Aman_Mondal SSDs are a lot cheaper than CFast. BMD even sells an adapter so you can use SSDs with their cameras.
ProRes Raw is real raw, like Redcode, Arriraw, or any other proper raw codec. You can change the exposure, highlights, and shadows... and most importantly the white balance... after you shoot. Just because whatever gimped software you're using doesn't offer proper raw controls doesn't mean the codec isn't raw.
You can open a Canon raw still photo in Preview, and it doesn't give you any controls at all. Does that mean it's not raw?
@@SoundOfYourDestiny What about Zraw do you have any info about that? Also i wonder if Redcode is really 16bit depth while Prores raw, ArriRaw, Zraw are all 12bit.
@@peacht.1073 Hi! Zraw is not legitimate raw; like BM raw, it is partially debayered in-camera to avoid Red's bogus patent. However, you can get raw output from Zcams into a Ninja for ProRes Raw.
I wonder if Resolve will ever support ProRes Raw...
And I wonder if Panasonic, Canon and Nikon will ever support BRAW... It is after all free to use by camera manufacturers, and Black Magic have a FREE plugin for Premiere and Avid to edit BRAW files.
I hope not. Lets make davici and blackmagic great rather than do a compromise with other brands
@@petrub27 supporting all common file formats isn't a compromise.
All the problems shown in this video are problems with bad editing software, not with the codec.
If only Blackmagic Design could collaborate with as many brands as Atomos can, we'd get BRAW with a BM Video Assist 12G on the S1H and others.
I know ProRes RAW is good, I'm just very deep in the Blackmagic bubble at this point.
As far as I understand it, it is the camera manufacturers and Atomos who are not collaborating with Black Magic. BRAW is (as far as I understand it) free to use (unlike ProRes RAW where manufacturers have to pay a licensing fee). There is a free plugin for Premiere and for AVid to edit BRAW files as well.
@@marinrealestatephotography Nope. First of all, Apple and Atomos spent a lot of time figuring out how to pipe true raw data over HDMI, and camera manufacturers have gotten on board because a lot of the engineering work is done. Braw isn't raw, which BMD explains on their own site. Second, they probably started the work on raw output before Braw came out and weren't about to do a bunch more to put another encoding method in their cameras.
Thnx a lot DP !!!
Grass is green, sky is blue and water too, Prores raw, I thank you
I would love if they added full frame 60 Pro Res Raw, that would make the camera complete! Would definitely keep it competitive with the 120 4k the a7siii does.
Jordan - you are the best! @CameraConspiracies told me so! Thank you for this. Chris, um you, too.
I'm wanting to get into photography professionally. I've done some photography and am good at it. Which camera would you recommend for portraits and shooting landscapes/wildlife? I've looked at the Canon Mark Series and Sony A7R IV.
thank u for this video coming from s1h owner
FCP X got basic RAW controls now as well. All those video with "ProRes RAW is not RAW" are so wrong now :)
OK... there's significant misinformation here. The white balance and ISO are NOT baked into ProRes Raw. FCP simply fails to present the necessary controls for Apple's (well, Apple & Atomos's) own format. Competent software does, in fact, let you change these in post, as you can with any true raw format.
I think they might have just fixed this with their latest update which allows you to adjust ISO, exposure offset, and color temperature.
@@ce3937 They did. Long overdue.
Can it auto white balance like the internal S1H if not how do you set WB with the Atomos?
You don't need to set the WB for the recording, since it's raw. For display I think Atomos will map it to the Ninja's panel.
SoundOfYourDestiny if I don’t set white balance I’m stuck with bad contrasty colors since Adobe doesn’t have the Remove Camera LUT feature that Final Cut Pro X has.
Thanks for the video, what's up with the short shutter and sensor dust on the sky?
How would you compare it to BRAW? The flexibility of BRAW is so good that I don't know if I could give it up. It's one of the reasons the A7s III just isn't there for me because I really want to be able to shoot raw to an SSD.
For you the best camera is the sigma fp only problem the af
@@IgnacioDure Yeah, just had a shoot where pretty much all of my footage shot on the gimbal way over my head to clear a plastic wall was unusable because of focus. Could definitely use auto-focus and IBIS honestly.
Braw isn't real raw; you can read about it on BlackMagic's site. The image is deBayered in-camera, which by definition is not raw. Sadly, Red has a bogus patent on compressed raw, and BMD's workaround was to call a non-raw codec "raw."
@@SoundOfYourDestiny Be that as it may, the flexibility has been great.
I'm confused. The video first says you can't ignore white balance in the field when shooting ProResRAW, then demos how much better it is than internal Log when correcting white balance that is way off!
The whole idea of external video capturing is just a necessary step until internal processors become able to record properly in the camera.
It's pretty interesting that we're still not there yet. Look at the Canons' overheating problems. I guess external recorders will still be a thing for a while.
Look forward to ProRes Raw on A7S3.
What about Premiere? It can handle prores raw now but no one is talking about it. wtf.
Colors seem to be not brown so much.. That wooden color tint is reduced. But still something is a little wrong.
I don't know if Jordan look extra good in this pix because he is naturally good looking or if it is because of the profile from the S1H
Hi, what would you prefer, the S1H or the A7Siii?
you quickly mentioned its available in Premiere. was that true?
That's my question, too. And does it lose any features or gain any features when it is edited in Premiere?
@@stevetimko1461 Wake up Jordan. answers pa-leeeeze!
@@martysender5539 Yes, it can read it but it's a cluster fuck to work with. Unlike FCPX, there is no option to conform your footage to a LOG space meaning it's a nightmare to grade. FCPX with ColorFinale is a dream for ProRes RAW.
I opened an issue with Adobe and haven't heard back, my general rule right now for ProRes RAW is that if you plan on shooting it, you're going to be using FCPX.
adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/40507270-raw-to-log-conversions-for-prores-raw
@@joe_scotto thnx for the info
Now if only the S1H had useable AF for those few moments where it can be crucial
Thanks you for clarifying that PRRaw isn't exactly raw. Great looking image quality.
Look up Assimilate Scratch. You can adjust white balance in post, just not in Final Cut or Premiere.
LuxShots Films great app but expensive
You should check The DP Journey's videos on ProRes Raw for S1H and the format itself
- Part 1: th-cam.com/video/ASPoQsdo_5M/w-d-xo.html
- Part 2: th-cam.com/video/LlkiPWCUhik/w-d-xo.html
It is proper RAW
@@siongheeleong8078 those are great reviews, and Jordan says pretty much the same thing. Hopefully, Apple will listen.
They need to come out with some updates for the S1
Yes! Would love to get BRAW in my S1!!! (Or at least 4K 60p 10-bit 4:2:2)
What are recommended HDMI cables for 5.9K RAW to use with Ninja V? I have 5 different ones and non of them works properly.
Apparently you've got to try your luck with good quality HDMI 2.0 cables.
UGREEN 4K HDMI 2.0 Cable, High-Speed HDMI Nylon Braided 4K 18Gbps Cord with Gold Plated Connectors
What are the dnx output capabilities to the atomos? Skipping pro res, to stay with davinci.?
I used to use DNxHR, but then switched to ProRes as that's what most clients request.
@@EdStarkey don't have use for Mac, and dislike premiere. My personal and business projects/clients, only require finished projects, not out of camera shots.
@@NikkThompson The Ninja has full DNx capability. You get a free license.
I am not a video guy and this confused me. raw and log are not the same in video?
Not at all. LOG is simply a flat image profile.
Whereas actual RAW video has dynamic metadata that you can change after the fact like you do with RAW pics.
But ProRes Raw is a bit different. It has its advantages and disadvantages.
No. Log takes the image and compresses the dynamic range, allowing it to "fit" into a limited bit depth by redistributing data. In post, you re-expand the dynamic range. You're still dealing with the same bit depth so the gradients between light and dark may be chunkier, but at least information won't simply be clipped. But the color-temperature decision you made when shooting is still baked into the data.
Raw is a brightness value from each photosite on the sensor; each site is tagged as red, green, or blue. In post, you can assign weights to those colors as you see fit, to set an overall white balance however you want. That is probably the biggest win with raw: color that's not baked in.
If the camera's raw output offers more than the 12 bits that ProRes Raw currently handles, a log curve will be applied to the brightness values to compress them into 12 bits. 12 bits still offers excellent range, and the colors still remain independent.
And finally, data compression is applied to most raw formats (Red, Arri, ProRes) to make their bulk manageable with minimal quality loss.
Umm, interesting swamp location?
Prores raw is prores 444 v2, adopt BRAW instead
Wrong. Why propagate ignorance?
Prores Raw is almost the same thing with Prores 4444 but slightly small file size.
In my tests PRR is 1/3 the size of 4444.
ProRes RAW is raw, while ProRes 444 isn't. ProRes RAW only has proper support inside Assimilate Scratch yet. The FCPX implementation is very basic and quite laughable.
Also it's much smaller.
Dennis Schmitz You are right, I mean both of them are lack of the flexibility of other raw formats. Smaller size is a good news.
@@brucexppro ProRes Raw doesn't lack any flexibility. FCP just sucks.
the shots look like a camcorder idk but the image looks too sharp or something....thos is gonna take some getting use to
used to
Is the 860 evo ok or do I need 860 Pro?
The 860 evo will keep up just fine.
@@thatjordandrake Thank you, appreciated.
Will your favorite camera get replaced soon?
man should i sell my r5 for this? i do miss the gh5 experience
or what about wait for Sony A7S3 to ship
刘曦元 I do love that one too.
刘曦元 can’t make up my mind
@@clintcompose As a Sony shooter, I'll go for A7S3 no problem, just wait for a big sale to come up cause I don't really need all the benefit that camera gives me right now tho
刘曦元 makes sense for sure. Check out my eos r5 review I just uploaded give me some feedback as I improve in my content creation
Any auto focus improvements?
Hi, any advice on a good cost effective HDMI cable to use between the S1H and Ninja V? Thanks!
the cheapest 8k/4k 120 certified one you can find should normaly do fine.
@@Digi20 ended up buying an Atomos cable to be sure!
You drop $4,000 on a camera, and probably have a significant investment in lenses, and yet you want to risk recording data over a cheap HDMI cable?
@@davidp158 its digital, so if it works, it works. no need to drop more money on cable voodoo. but of course you should buy a branded and certified one, not some dubious china thing.
Wait did RED lose their raw video court case to Apple?
They're only allowed to put ProRes RAW onto external cameras not onto cameras directly. RED's patent doesn't allow for real RAW on other cameras than their own or companies who are licensing their idea. Because their patent is that trivial and shouldn't have been allowed in the first place.
AVID is awful to deal with, the worst customer service I have ever had in IT. I'm still waiting for my email to be answered even after paying for the service.
10 bit is so old these days 😂
🙏🏾
OKAY BRIGHT GUY SO......................... Recommend A PC to use for all this crap!!!!
I think one of the benefits of PreRes RAW is that it is supposed to be less compressed than your typical h.264 / h.265 codecs, so the main requirement is going to be LOTS of fast storage space. If you use Resolve, it benefits from a fast, capable graphics card with lots of memory (really, 8GB VRAM is probably a MINIMUM amount of GPU memory with 4K on Resolve 16... more is better).
@@marinrealestatephotography "LOTS of fast storage space" Yes indeed, but how much? The point of the question is to wake up DP Review that simply the rather gigantic focus on things video related to DP Review and the Canon R5 is such that they don't deal with the rest of reality, not merely stills images, but the nature of the equipment needed to deal with video itself and the ever-growing image file sizes. They talk about lenses, they will talk about various accessories occasionally however, they never address the most basic thing: Just how much PC do you really need and just how much storage and the like. This was a much lesser issue in years past since the file sizes were not nearly so gigantic and the basic hard drives on many machines were adequate., or easily upgraded Today, however, image file sizes are growing and growing and then there is the whole video issue. Since it it about photography and since they currently make a nod to film in various DP review things, they were able to notice the uptick in film, however, they lack sufficient coverage of the other important aspects of the tools: PC requirements, backups, speed, etc. IF it IS about digital photography mostly, then they need to talk about ALL the tools and not provide glib reviews. It is just not enough. Further, given the size of the market and its shrinking nature in terms of sales of cameras and the definite higher prices there needs to be recognition on their part that they DO NOT have sufficient coverage and discussion of the other super important equipment one needs today. Since the increased prices and diminished market will mean that those who engage in serious photography whether amateur or professional will likely need very good equipment to work with the images and or video, that means PC's. I had lots of room when my image files were only 16 megabytes, then came 20-24, and now much more. For my professional use, in real estate photography 16mp is more than enough, but when you look at what is going on and there is no small or medium raw only some form of "condensed" raw that can be rather frustrating in terms of storage. DP Review never addresses this real-world situation which in my estimation IS a growing issue. They harp and harp on 4K ad nauseam , now they get to bitch about 8K or whatever. They just don't address the reality that the shrinking market IS more concerned with more things than that. The form of review that was done two years ago no longer meets the new reality of a more serious commitment among those "into" photography today and the tools needed. Just like magazines have died off, video presentations that fail to keep up with the changing needs and expectations of the market will die as well. My comments should not be taken as anything negative to your response. I thank you for your efforts. Best wishes!
Wow, Pro Res Raw sounds horrible. if i can’t ignore my White balance in the field that’s pretty much my whole reason to shoot raw gone.
Wish other cameras would shoot BlackMagic Raw 😢 that shits amazing
ProRes RAW is real raw and doesn't bake in either debayer, no white balance nor ISO.
All is done in post. Apple is just hiding these functions - maybe even to sabotage their own codecs, who knows?
Inside Assimilate Scratch ProRes RAW has all the white balance, ISO, tint etc. adjustments you need. :)
Why is Chris always wearing the same pants?😂
The image looks great but as good as the new sony a7s3. So I can't wait to see the 16bit coming out of the Sony.
Sony is 16-bit linear, the S1H is 12-bit LOG. Sony's will be converted to 12-bit when hooked to the Ninja V. The results are the same.
@@EdStarkey Sony also does a 12 bit video readout. So what you'll get is the equivalent to a black and white image saved inside a rgb container. It's just marketing.
Dear Jordan, Canon R5 gives Super35 mode and you called it "cropped mode" because of you people devalue the camera. In this review you nicely call it Super35 for Panasonic.
But this is a true 1:1 super 35 readout where on my understanding the Canon version is line-skipped. Not the same thing
@@walrusgumboot wrong! Super35 from Canon R5 comes from a 5.2k downsampled image. There is no line skipping.
D B we’re talking about 4K raw recording in crop mode yeah?
@@walrusgumboot Super35
Sorry but there is no Raw like BRaw. Cheers!
UGGGHHHHH...
Just get back to that organic global-shutter sensor, okay, Panasonic?
😖😤😖😤😖
Can somebody explain what the hell do they say in the beggining - welcome back dp####reviewers?😄 I assume they do that on purpose and it's hilarious every time.😄
"Welcome back, DP Review TV viewers." It's just the intro. I don't think it's meant as a joke.
@@pjw2000 You are right, thanks!
Way too much faffing about and over-complicated workflow for shooting and editing video.
Most of the time Jordan is not in focus and the skin colour doesn't look good, AFAIC. This is not exactly advertising the S1H, is it?
color looks good, his skin is just a bit too pink. Not in focus indeed though.