@@bearish. oh ye srry that i cant buy a new camera every year. I have a uni to pay for .and also sorry that i dnt want to “””upgrade “”” my current a7SIII to the same camera in a now metal body.
@@bearish. whaat your comment didnt sound like thst at all. Like i was getting “ Im tried of this shit we need something new “ like u are tired of this argument thst the a7SIII ppl are Always wanting the pro features like w the shutter angle.
It’s really time for Sony to have some sort of RAW format internally on the next gen Cinema Line cameras, namely the FX6 and FX3. The current all-intra codecs are fine but they really start to lag behind when compared with the internal RAW codecs of the (fierce) competition. The FX3 can’t even record MXF files like the FX6 for unknown reasons, I have to transcode on CB to get the Sony RAW functionality on Resolve which is extremely time consuming. Sony obviously have the knowledge and the financial resources to make it happen if they really want to. Having great AF and low light performance isn’t enough anymore, most competitors have internal RAW nowadays which is a major advantage for professional work. It’s certainly nice to get a great codec like BRAW but it will still be externally. Not ideal at all. It’s time Sony.
@edengate1 Very Important: When transcoding from Atomos Ninja into Davinci, first it doesnt look as good as Slog from stretch (many times) has "much" higher noise and well don't know looks wack. But after color grading and Noise reduction, the final denoised image is soo much better in my eyes compared to internal Codes (+ or without noise reduction). Its not worth it due to this insame stupid workflow. So now I have to purchase an BM monitor and my Atomos just became useless :-P (instead you nead a thing thats loud and makes batteries fast emtpy). Important: This is not dual base Iso noise reduction. This is due to both condensors. There really is some internal noise reduction, you can only turn off with RAW.
Sadly I dont think we will see that. In fact it looks like Panasonic, Blackmagic and Fujifilm are the only ones really pursuing open gate in this price bracket.
@@JonathanPalfrey Panasonic and BM give you open gate for almost half the price of FX3. Sony has the upperhand with very low readout time and production proven s-log, and they're exploiting the sh$t out of it. I got s5IIX for the open gate but that jello is just making me nauseous.
My main question is will it change the way we expose footage on our Sony cameras? I’m just getting used to using cine EI and I’m so used to always over exposing slog 3, would we still need to keep an eye on this after all the sensor and noise floor will still be the same whether we are shooting slog or braw
I used to shoot BM and have a 7” Video Assist around so I might do a little testing. But the monitor itself is heavy and adds a lot of bulk to an FX6 rig so I doubt I would use it much if at all. XAVC is fine for most situations.
I am not in GAS, I will keep my Sony FX9 and FX3 for long time to come, It is surely amazing we still get updates like this! Even tho I do not have the big back for RAW over SDI thing. I am happy with the codex and options already but for some this may just be huge awesome thing!
As a FCPX editor who can shoot PRRaw via Ninja V, the BRaw is nice to open up more usability, but I don’t find PRRaw files that crazy huge (especially none QT) and FCPX edits them like butter. I don’t shoot a lot of raw anyway. I thought I would shoot more raw, but slog3 10bit is enough for almost everything I do. Cool to see BRaw coming to Sony though!
I do agree that raw generally is a bit overrated. 90% of the time I have no need to do any major changes to the exposure or white balance so the 10bit file is more than good enough. Copying files quicker and getting them backed up is generally more important for most shoots.
@@JonathanPalfrey raw is just another tool in the box. I would not call it an absolute necessity, but the 5-10% extra it might give in certain applications might be the difference.
I find huge differences in the Quality between RAW and Internal. Don’t mind the size but it’s very annoying having to convert ProRes Raw every time as I edit in DaVinci
Honestly it's kind of a dream come true I hope it comes to more cameras as others have said in the comments FX30 because I'm broke. Panasonic has been tempting because of open gate external braw and internal ProRes. It definitely keeps me happy that I've spent the majority of my money investing in Sony. Hopefully I'll be able to use it one day.
This was my personal wish and the only gripe I've had with Sony. BRAW is the best format out there (in my humble opinion). I even listed my FX3 for sale, very good news indeed!
5:08 i think it is just enough at the moment. We are kind of used to Sony being so far ahead since the A7siii and i wish they would bring a FX3 mkii with internal RAW capabilities. A nicer display(A7RV maybe) would be nice, the AI chip with even better AF(also A7RV), 6K would be nice, although not necessary, Face Prio AF(as the Canons have it) I think the FX3 is still more than good enough for most people. I realize we are just spoiled as i'm tiping(:
Internal lets you bypass needing extra gear and it’s somewhat easier on the workflow which I enjoy with my R5C but some internal can only go to 12bit 422 while you can have external that goes to 16bit for better color and image raw data. I would say its worth it for those who need it but for me, I stick with external for when I need it. Not necessary for my work. I would say Sony’s Auto ND would be nice for the FX3 and global shutter but for the price range its understandable why they dont put it in.
Internal raw is 100% necessary. Sony needs to just put it in a camera and let Nikon sue them. Sony will easily win that case and Nikon doesn't have the deep pockets like Sony, so the longer the case goes on the more it will hurt Nikon.
That's not how lawsuits work, 9 times out of 10 they will get hit with a cease and desist until it gets to court which will stop a lot of production, regardless if you got a lot of money certain injunctions will block you no matter how powerful and which you are And Sony is smart enough to not fall for that trap
Necessary is a stretch, vast majority of clients don’t want raw as deliverables. You’d also spend more on storage, from a technical perspective raw is great, from a business pov raw is bloated af
red's patent is for compressed "true raw" which is not debayered. braw is a partially debayered raw, and so is sony's x-ocn. that's why bm and Sony cinema cameras have them and they haven't been sued. so yeah Sony could just put braw in the camera, and Nikon can't do anything about it.
I don't need BRAW for 99% of my projects. What I would really like to see, and what Sony should have fixed 3 years ago, is simply having XAVC HS in 25fps. It's already there in 24fps so the fact they haven't fixed this is an insult to everyone in the PAL region.
I don’t know how often I will use BRaw on my Sony FX3 because like you, I’m not a fan of recording externally (also you can’t record internationally with external raw simultaneously). There’s too much that can go wrong and adding more potential points of failure. You’ll also have to buy a video assist if you don’t have one. They’re great monitors but it makes the fx3 more bulky and I keep my fx3 to a minimum set up. Also there’s already a way to get raw metadata control internally from Sony cameras that is native to Resolve anyway. But when the job calls for it, I will likely just rent one (that is once it access for fx3 becomes available)
Actually you can record internally and externally in simultaneous. While in the HDMI OUTPUT SETTINGS, select REC MEDIA DURING HDMI OUPUT and turn it ON if you want to dual record internally and OFF if you want to just record external RAW. Hope that helps.
Aren't people shooting on the FX3 using an external monitor? That screen is tiny. I think this opens up the possibility for us Blackmagic owners to think about getting an FX3 for low-light scenarios and having an easier time matching footage.
My temptations of switching had nothing to do with Raw. Canon has a much better lens lineup for me as a sports doc shooter who is capturing highlights as well as the off field things. 24-105 f2.8 100-300 f2.8 and the upcoming 200-500 f4. I don’t know if I’ll switch my personal kit away from Sony at this point because I’m moving away from freelance and back to working directly for a team. If I was to buy from scratch for a department right now I’d be getting Red bodies with RF mounts
That's an interesting reason. I think most peoples biggest criticism is the lack of lens options with RF so it's interesting for you the range is a reason to switch.
I disagree that there should be a definition between "Cinema" Line and anything else. There should not be software imposed limitations that limit your ability to use modern tech. It's such an unfortunate thing when these things should all be getting cheaper.
I understand but software and new features do take time and money to develop and thats got to come from somewhere. I guess Sony's mindset is it's better for the Cine line users to pay for that development as they want it while keeping the alpha cameras cheaper. To be fair to Sony they traditionally have been very good at giving more than anyone else regardless of level of the camera. S-Log3 and pro codecs have been in all of their cameras for a long time unlike Canon who only now have let C-Log2 appear in their hybrids.
@@JonathanPalfrey That's fair, but why the heck did the a7sIII put on the wrong side of that line. It was out 5 months before fx6 and 8 months before the fx3. It's not a still hybrid camera, its video first so it just sucks that they put arbitrarily put it on the wrong side of the "cinema" lineup.
@@NakeanWickliff Yeah it's just the weird way these companies work as separate entities. Sony have been making smartphones for years with great screens yet somehow they cant stick one of them in their camera despite the R&D and supply chain already being there.
@@NakeanWickliff "That's fair, but why the heck did the a7sIII put on the wrong side of that line. " That easy to answer, the clue is clearly in its name: it is part of the Alpha series of camera (i.e. stills cameras), and *not* part of the FX cinema range.
Why would you think software is the only differentiator? You need a reliable camera with a fan to record raw. And even if it is, obviously software has to cater to the intended customer. It's weird for people to blame Sony for choosing the wrong product to buy.
@@Chrysopoeia-XVI as mentioned before it’s only officially announced to be accessible for FX6/FX9 via video assist 12G monitors. But it was mentioned they would explore the FX3 later down the road.
they better add this feature to the A1. it's bs that I got a flaship camera that is more than capable of doing all of this and yet is capped by software.
feels like a7s line is ending now. even if a7s4 comes out now, we will just go for fx series since they are obviously not going to prioritise the a7s series.
True, I feel bad for the people who got the a7sIII right at the launch when the FX3 wasn’t announced yet. The truth is that the a7sIII doesn’t make sense anymore in Sony’s line up since the FX3 launch (which was just a few months after the a7sIII). It’s not good enough for pro photography due to the sensor limitations and lacks too much video features for professional video work (Cine EI, shutter angle, active cooling system, XLR audio inputs, tally lights, dedicated layout, etc). Sony should have launched the FX3 only in my opinion and wouldn’t have frustrated the a7sIII owners. Fortunately I got the FX3 at the time. I believe that the S series will be discontinued soon, there’s really no reason to continue when the FX3 exists.
I think we've just reached a tipping point where Sony could no longer ignore these features in other cameras. They had quite an advantage in a lot of areas so didn't care that other brands might have internal raw etc. Now that competition is getting much tighter so I guess they felt they needed to do something about it.
Sony still have to launch some sort of RAW internally for the next generation Cinema Line cameras. They will lose a lot of their pro users if otherwise. All-intra compressed codecs aren’t enough anymore when compared to the internal RAW of most competitors. Mainly in post production latitude, it’s truly a major factor. Not only the competition offer internal RAW but is also catching up in all areas where Sony seemed unbeatable, namely AF and low light performance. It’s time for Sony to step up.
We need Internal X-OCN. Better than BRAW. Sony needs to stay state of the art. Stay inspiring. Not catch up with some overdue benefits. I have the atomos. Pro Res is nice, however a non acceptable workflow to get it into DW. Now I would have to buy several BM monitors…well.
BRAW is the best - and one of the best things about shooting on BMD cameras - surely this is to some degree BMD shooting themselves in the foot!? Very interesting. I wonder if this will improve the colour from Sonys!? Be interested to see. I wonder also if removing Sony's NR will make it less affective in low light as surely part of Sony's secret sauce here is the NR processing!?
You need BM Video Assist to record with this codec, so I think it's exactly the opposite of BM shooting themselves in the leg. They get to sell far more Video Assists. Colors is a bit more complex. If the reason Sony colors aren't to your liking is because of the sensor, this coded will not change that. Sure, with this codec it's far easier to calibrate the colors and you can set custom calibrated LUT to your Video Assist and record using that, so you always have the perfect colors in post when using the LUT. What comes to low light performance, this has basically no effect to it. Sony sensor design is the main reason the low light performance is so good. This codec doesn't change that. Sony NR however isn't anything super special. There are better algorithms than what Sony uses. It's not bad, but it's nothing special. DaVinci Resolve's own NR is likely pretty much on par with Sony NR, but something like Neat Video cleans the plate in comparison.
@@JonasStuart It could be a risk but I guess BMD realise they aren’t going to compete with Sony for certain features any time soon. I think this does suggest Sony don’t have any mark 2 cameras coming any time soon and perhaps are slightly worried about the new competition. If they had new cameras with internal raw they probably wouldn’t bother working with BMD
@@JonathanPalfrey All good points! For me, loving the BMD image so much but wanting something smaller for some use cases - and for personal use. I've been looking at the Micro G2, but this would make me think twice if one of Sony's cheaper cameras had this feature.
I wonder if this RED RAW Patent is going to expire. With the updates of the C80 and C400, Sony will soon be forced to offer a RAW internal format for their next-generation cinema cameras.
you can't use prores raw in the industry standard davinci color workflow without converting to DNG, which costs money. this skips that step and gets sony users to use davinci
I believe the people that speak of switching systems are talking out of their necks, switching systems is a very costly move especially for the average film maker and no camera is perfect. Switching to Nikon or Lumix, good luck but every brand has a crutch, Lumix - autofocus and Nikon - Lens support. It will trickle down but honestly the FX9 needs an upgrade especially with the release of the fx6 almost making it obsolete. PS Atomos sucks Blackmagic Video Assist would be a great monitor to couple with any brand with the added bonus of recording with SD Cards or SSD.
It's technically all software then. So why aren't there companies trying to R&D this stuff for the non cinema line? Cause that's right, most people refuse to understand the camera hardware capabilities.
all you Sony people - salute to Panasonic...as Sony had no choice :) ...or BM ......as BM video assist stop sellin well after s5iix :)... i still love my bm video assist 12g as is king
Same here, I'm already thinking about boycotting sony altogether after their disastrous firmware rollouts which are literally breaking cameras. On top of that they have the audacity to charge 700 dollars to have it sent back in. Fucking moronic company
it is inexcusable to still not have an internal raw capability from SONY. It is equally unacceptable for Davinci to not process RAW formats other than B raw.... where's my pitchfork.
he did say the FX line so I presume that would include the FX30. The only problem I could see is it being a different sensor and whether they see its worth the R&D matching BRAW to a sensor thats only in one cine camera.
@@JonathanPalfrey ya, tats a valid point. but i have to assume i am not the only one for editing flow purposes... its so nice when footage can match. I will be crossing fingers that it will work for my workflow!
Seeing the difference is not the point when you shoot RAW. There is almost no difference visually. RAW has in some times more noice then the internal files. The benefit off shooting RAW is the flexibility to change ISO , WB etc in post before you start color correcting and then color grading.
I've ways hated the fact that all you were a le to get is prores raw as its pretty much useless if you seriously want to grade. BRAW is a much welcome edition.
Only thing that is Good in Black Magic cameras is BRAW , I am Glad its coming to sony , can't wait to switch from black magic , a terrible camera i ever bought , gets corrosion after an year , no autofocus , terrible battery , Not portable , and terrible service
really, who the heck needs braw? In the end are you all people high paid color graders who push your files to the limit and you need raw so much really? Or are you amateur shooters who need to color correct your shooting mistakes or what? Are you getting paid so much to really justify the RAW existence? Anyway i will only consider "playing" with raw if Sony implements the codec internally which they should already have done. I'm a geek and i really like having these extra tools even if i don't need them.
I n never buying sony ever again after qhat they did to a7s3 n then firmware update 3.02 frying components on the camera. If braw comes then better, if not i m never using sony anymore
It's annoying but all these manufactures do it. Canon putting the C300 sensor in the C70. Red dropping their prices, Blackmagic repeatedly realising a camera then an improved version a year later.
BRAW is my favorite codec to work with, hands down. To have an autofocusing camera that includes BRAW internal is like my dream.
And amazing low light as well ❤
JUSTICE FOR THE A7SIII
tired of this shit like we need something new
@@bearish. oh ye srry that i cant buy a new camera every year. I have a uni to pay for .and also sorry that i dnt want to “””upgrade “”” my current a7SIII to the same camera in a now metal body.
@@poti732 lol i'm on your side brother.
@@bearish. whaat your comment didnt sound like thst at all. Like i was getting “ Im tried of this shit we need something new “ like u are tired of this argument thst the a7SIII ppl are Always wanting the pro features like w the shutter angle.
😂😂😂😂😂
It’s really time for Sony to have some sort of RAW format internally on the next gen Cinema Line cameras, namely the FX6 and FX3. The current all-intra codecs are fine but they really start to lag behind when compared with the internal RAW codecs of the (fierce) competition.
The FX3 can’t even record MXF files like the FX6 for unknown reasons, I have to transcode on CB to get the Sony RAW functionality on Resolve which is extremely time consuming.
Sony obviously have the knowledge and the financial resources to make it happen if they really want to.
Having great AF and low light performance isn’t enough anymore, most competitors have internal RAW nowadays which is a major advantage for professional work.
It’s certainly nice to get a great codec like BRAW but it will still be externally. Not ideal at all.
It’s time Sony.
Finally we can use Sony sensor without the backed in sharpening and noise reduction!
Thats a big point I forgot to mention.
@edengate1 Yes
What do you mean finally? you can still do that with the Nina V when you record externally.
@edengate1 Very Important: When transcoding from Atomos Ninja into Davinci, first it doesnt look as good as Slog from stretch (many times) has "much" higher noise and well don't know looks wack. But after color grading and Noise reduction, the final denoised image is soo much better in my eyes compared to internal Codes (+ or without noise reduction). Its not worth it due to this insame stupid workflow. So now I have to purchase an BM monitor and my Atomos just became useless :-P (instead you nead a thing thats loud and makes batteries fast emtpy). Important: This is not dual base Iso noise reduction. This is due to both condensors. There really is some internal noise reduction, you can only turn off with RAW.
There’s an option to turn off noise reduction in FX6.
I hope it comes to the FX30 as well. If it doesn't, then I'm going forward with switching to LUMIX.
Join the LUMIX gang!
What makes you want to switch so bad? is it just BRAW and Opengate?
@@owenjenkinsofficial better image, cheaper, more video features (desqueeze, waveform, etc etc )
@@owenjenkinsofficial BRAW is my favorite RAW format to work with. It's so good to work with, I switched to Blackmagic cameras.
Bye bye
Will FX30 be included? And 6K output? Please Sony
sensor not big enough for 6k
@@aytothemm.1035the sensor is big enough, because it has a 6k sensor. But it only records downscaled to 4K.
Open Gate FX3 damn it!
It has the gigabit per second to do it.
Sadly I dont think we will see that. In fact it looks like Panasonic, Blackmagic and Fujifilm are the only ones really pursuing open gate in this price bracket.
@@JonathanPalfreythe only one with a bad AF and a bad software 😭
@@OurletBeurre software and auto focus is an easy thing to improve. Just give it a few more years well corporate Sony continues to BS
@@JonathanPalfrey Panasonic and BM give you open gate for almost half the price of FX3. Sony has the upperhand with very low readout time and production proven s-log, and they're exploiting the sh$t out of it. I got s5IIX for the open gate but that jello is just making me nauseous.
The A7S III MUST be included. We demand it!!!!
My main question is will it change the way we expose footage on our Sony cameras? I’m just getting used to using cine EI and I’m so used to always over exposing slog 3, would we still need to keep an eye on this after all the sensor and noise floor will still be the same whether we are shooting slog or braw
Love the video!!! Great job on this!!!
As a BMPCC 4K user considering switching to Sony cameras, I am very pleased to hear this
Bro same Ive had the BMPCC 4k for 5 years. I think I want to switch to sony. I want some autofocus and ibis. If they add BRAW its game over.
I used to shoot BM and have a 7” Video Assist around so I might do a little testing. But the monitor itself is heavy and adds a lot of bulk to an FX6 rig so I doubt I would use it much if at all. XAVC is fine for most situations.
Yeah the bulkiness is what's put me off getting one in the past. I think I'd only get the 5in if I was to pick one up.
@@JonathanPalfrey And keep in mind the primary recording medium is SD cards. Frame rates are limited with the Video Assist.
If Braw comes to sony, im swapping to sony
I am not in GAS, I will keep my Sony FX9 and FX3 for long time to come, It is surely amazing we still get updates like this! Even tho I do not have the big back for RAW over SDI thing. I am happy with the codex and options already but for some this may just be huge awesome thing!
Sony autofocus and low light technology combined with BRAW will make it a BEAAASST of a machine!!!!!!
Will the auto focus work recording internally with B-Raw?
As a FCPX editor who can shoot PRRaw via Ninja V, the BRaw is nice to open up more usability, but I don’t find PRRaw files that crazy huge (especially none QT) and FCPX edits them like butter. I don’t shoot a lot of raw anyway. I thought I would shoot more raw, but slog3 10bit is enough for almost everything I do. Cool to see BRaw coming to Sony though!
I do agree that raw generally is a bit overrated. 90% of the time I have no need to do any major changes to the exposure or white balance so the 10bit file is more than good enough. Copying files quicker and getting them backed up is generally more important for most shoots.
@@JonathanPalfrey raw is just another tool in the box. I would not call it an absolute necessity, but the 5-10% extra it might give in certain applications might be the difference.
I find huge differences in the Quality between RAW and Internal. Don’t mind the size but it’s very annoying having to convert ProRes Raw every time as I edit in DaVinci
I'm about to get the FX3, but I'm waiting to see if a mk2 is announced soon
Hi, great content, but i have a question record internal?
No this will only be external sadly. Hopefully we will see internal BRAW on non Blackmagic cameras at some point but it will be unlikely.
Honestly it's kind of a dream come true I hope it comes to more cameras as others have said in the comments FX30 because I'm broke. Panasonic has been tempting because of open gate external braw and internal ProRes. It definitely keeps me happy that I've spent the majority of my money investing in Sony. Hopefully I'll be able to use it one day.
Sad to hear nothing for the Alpha series. Looks like I'll still be converting ProRes RAW to Cinema DNG for the foreseeable future...
I hope that the FX30 gets this as well!
Wish it would work with my trusty FS700 Love this camera so much.
This was my personal wish and the only gripe I've had with Sony. BRAW is the best format out there (in my humble opinion). I even listed my FX3 for sale, very good news indeed!
5:08 i think it is just enough at the moment. We are kind of used to Sony being so far ahead since the A7siii and i wish they would bring a FX3 mkii with internal RAW capabilities. A nicer display(A7RV maybe) would be nice, the AI chip with even better AF(also A7RV), 6K would be nice, although not necessary, Face Prio AF(as the Canons have it)
I think the FX3 is still more than good enough for most people. I realize we are just spoiled as i'm tiping(:
You got me with the no lens cap, immediate stress haha
I know, right?!? Why do TH-camrs do this?
Noob here. What does internal RAW of external RAW mean ? What is the difference ?
Internal lets you bypass needing extra gear and it’s somewhat easier on the workflow which I enjoy with my R5C but some internal can only go to 12bit 422 while you can have external that goes to 16bit for better color and image raw data. I would say its worth it for those who need it but for me, I stick with external for when I need it. Not necessary for my work. I would say Sony’s Auto ND would be nice for the FX3 and global shutter but for the price range its understandable why they dont put it in.
Will it be internal recording or via Atomos?
what about A1 or it's successor
Internal raw is 100% necessary. Sony needs to just put it in a camera and let Nikon sue them. Sony will easily win that case and Nikon doesn't have the deep pockets like Sony, so the longer the case goes on the more it will hurt Nikon.
That's not how lawsuits work, 9 times out of 10 they will get hit with a cease and desist until it gets to court which will stop a lot of production, regardless if you got a lot of money certain injunctions will block you no matter how powerful and which you are And Sony is smart enough to not fall for that trap
sony literally has raw with XOCN they should put that in their future cameras going forward
Necessary is a stretch, vast majority of clients don’t want raw as deliverables. You’d also spend more on storage, from a technical perspective raw is great, from a business pov raw is bloated af
Didn’t they lose already against Red? I don’t if it can be re trialed
red's patent is for compressed "true raw" which is not debayered. braw is a partially debayered raw, and so is sony's x-ocn. that's why bm and Sony cinema cameras have them and they haven't been sued. so yeah Sony could just put braw in the camera, and Nikon can't do anything about it.
i just hope the fx9 wont need that silly submarine extension to use it although i suspect it will.
I don't need BRAW for 99% of my projects. What I would really like to see, and what Sony should have fixed 3 years ago, is simply having XAVC HS in 25fps. It's already there in 24fps so the fact they haven't fixed this is an insult to everyone in the PAL region.
Okay this is a game changer. Time to sell my Blackmagic pocket
BRAW is the one!
I don’t know how often I will use BRaw on my Sony FX3 because like you, I’m not a fan of recording externally (also you can’t record internationally with external raw simultaneously). There’s too much that can go wrong and adding more potential points of failure.
You’ll also have to buy a video assist if you don’t have one. They’re great monitors but it makes the fx3 more bulky and I keep my fx3 to a minimum set up.
Also there’s already a way to get raw metadata control internally from Sony cameras that is native to Resolve anyway.
But when the job calls for it, I will likely just rent one (that is once it access for fx3 becomes available)
Actually you can record internally and externally in simultaneous.
While in the HDMI OUTPUT SETTINGS, select REC MEDIA DURING HDMI OUPUT and turn it ON if you want to dual record internally and OFF if you want to just record external RAW.
Hope that helps.
@ResizeFilms what I am referring to is RAW specifically in this case. If you select raw internal recording is disabled
Even in my dreams, I didn't dare to dream of such a thing
Aren't people shooting on the FX3 using an external monitor? That screen is tiny. I think this opens up the possibility for us Blackmagic owners to think about getting an FX3 for low-light scenarios and having an easier time matching footage.
Damn. B-Raw on the FX3 🤤
Hopefully they update the zvE1
PLEASEEE
@@LimitVisualMedia I just got it few months ago, love it
We can only hope
That's not a cinema camera.
@@z352kdaf8324 you just hurt our feelings 😂
My temptations of switching had nothing to do with Raw.
Canon has a much better lens lineup for me as a sports doc shooter who is capturing highlights as well as the off field things. 24-105 f2.8 100-300 f2.8 and the upcoming 200-500 f4.
I don’t know if I’ll switch my personal kit away from Sony at this point because I’m moving away from freelance and back to working directly for a team.
If I was to buy from scratch for a department right now I’d be getting Red bodies with RF mounts
That's an interesting reason. I think most peoples biggest criticism is the lack of lens options with RF so it's interesting for you the range is a reason to switch.
The fx30?????? COME OOOOOOOOOOON!
FX3!
how about a7s iii?
Unlikely, the guy from BMD pretty much dismissed it in the interview with ProAV
Open Gate!?!
I don't even have the FX3, But I want open gate.
I disagree that there should be a definition between "Cinema" Line and anything else. There should not be software imposed limitations that limit your ability to use modern tech. It's such an unfortunate thing when these things should all be getting cheaper.
I understand but software and new features do take time and money to develop and thats got to come from somewhere. I guess Sony's mindset is it's better for the Cine line users to pay for that development as they want it while keeping the alpha cameras cheaper.
To be fair to Sony they traditionally have been very good at giving more than anyone else regardless of level of the camera. S-Log3 and pro codecs have been in all of their cameras for a long time unlike Canon who only now have let C-Log2 appear in their hybrids.
@@JonathanPalfrey That's fair, but why the heck did the a7sIII put on the wrong side of that line. It was out 5 months before fx6 and 8 months before the fx3. It's not a still hybrid camera, its video first so it just sucks that they put arbitrarily put it on the wrong side of the "cinema" lineup.
@@NakeanWickliff Yeah it's just the weird way these companies work as separate entities. Sony have been making smartphones for years with great screens yet somehow they cant stick one of them in their camera despite the R&D and supply chain already being there.
@@NakeanWickliff "That's fair, but why the heck did the a7sIII put on the wrong side of that line. "
That easy to answer, the clue is clearly in its name: it is part of the Alpha series of camera (i.e. stills cameras), and *not* part of the FX cinema range.
Why would you think software is the only differentiator? You need a reliable camera with a fan to record raw. And even if it is, obviously software has to cater to the intended customer. It's weird for people to blame Sony for choosing the wrong product to buy.
It's only for fx6/fx9
For now (fingers crossed).
If they don't include for their other cinema cameras (FX3, FX30) then it just becomes a niche feature.
They said the fx6 and fx9 first then they will look to bring it to the fx3 and fx30
@@Chrysopoeia-XVI as mentioned before it’s only officially announced to be accessible for FX6/FX9 via video assist 12G monitors.
But it was mentioned they would explore the FX3 later down the road.
Now the question is - will it work with FS5? 👀
they better add this feature to the A1. it's bs that I got a flaship camera that is more than capable of doing all of this and yet is capped by software.
Thanks for playing
Sony showed their true unethical colors and are now losing customers as a result. Nice, well deserved
FINALLY!
feels like a7s line is ending now. even if a7s4 comes out now, we will just go for fx series since they are obviously not going to prioritise the a7s series.
@@johnny_blz that's really sad man. A7s3 is indeed a great camera.
True, I feel bad for the people who got the a7sIII right at the launch when the FX3 wasn’t announced yet.
The truth is that the a7sIII doesn’t make sense anymore in Sony’s line up since the FX3 launch (which was just a few months after the a7sIII).
It’s not good enough for pro photography due to the sensor limitations and lacks too much video features for professional video work (Cine EI, shutter angle, active cooling system, XLR audio inputs, tally lights, dedicated layout, etc).
Sony should have launched the FX3 only in my opinion and wouldn’t have frustrated the a7sIII owners.
Fortunately I got the FX3 at the time.
I believe that the S series will be discontinued soon, there’s really no reason to continue when the FX3 exists.
JUSTICE FOR THE FX30
Nraw is amazing. Sony had to respond in some way
Yeah but Nikon did this first with the OG Z6 years ago
I think we've just reached a tipping point where Sony could no longer ignore these features in other cameras.
They had quite an advantage in a lot of areas so didn't care that other brands might have internal raw etc. Now that competition is getting much tighter so I guess they felt they needed to do something about it.
Sony still have to launch some sort of RAW internally for the next generation Cinema Line cameras. They will lose a lot of their pro users if otherwise.
All-intra compressed codecs aren’t enough anymore when compared to the internal RAW of most competitors. Mainly in post production latitude, it’s truly a major factor.
Not only the competition offer internal RAW but is also catching up in all areas where Sony seemed unbeatable, namely AF and low light performance.
It’s time for Sony to step up.
We need Internal X-OCN. Better than BRAW. Sony needs to stay state of the art. Stay inspiring. Not catch up with some overdue benefits. I have the atomos. Pro Res is nice, however a non acceptable workflow to get it into DW. Now I would have to buy several BM monitors…well.
BRAW is the best - and one of the best things about shooting on BMD cameras - surely this is to some degree BMD shooting themselves in the foot!? Very interesting. I wonder if this will improve the colour from Sonys!? Be interested to see. I wonder also if removing Sony's NR will make it less affective in low light as surely part of Sony's secret sauce here is the NR processing!?
You need BM Video Assist to record with this codec, so I think it's exactly the opposite of BM shooting themselves in the leg. They get to sell far more Video Assists.
Colors is a bit more complex. If the reason Sony colors aren't to your liking is because of the sensor, this coded will not change that. Sure, with this codec it's far easier to calibrate the colors and you can set custom calibrated LUT to your Video Assist and record using that, so you always have the perfect colors in post when using the LUT.
What comes to low light performance, this has basically no effect to it. Sony sensor design is the main reason the low light performance is so good. This codec doesn't change that. Sony NR however isn't anything super special. There are better algorithms than what Sony uses. It's not bad, but it's nothing special. DaVinci Resolve's own NR is likely pretty much on par with Sony NR, but something like Neat Video cleans the plate in comparison.
@@JonasStuart It could be a risk but I guess BMD realise they aren’t going to compete with Sony for certain features any time soon.
I think this does suggest Sony don’t have any mark 2 cameras coming any time soon and perhaps are slightly worried about the new competition. If they had new cameras with internal raw they probably wouldn’t bother working with BMD
@@JonathanPalfrey All good points! For me, loving the BMD image so much but wanting something smaller for some use cases - and for personal use. I've been looking at the Micro G2, but this would make me think twice if one of Sony's cheaper cameras had this feature.
I wonder if this RED RAW Patent is going to expire. With the updates of the C80 and C400, Sony will soon be forced to offer a RAW internal format for their next-generation cinema cameras.
Why it’s better than atomos+prores raw?
cause its internal!
you can't use prores raw in the industry standard davinci color workflow without converting to DNG, which costs money. this skips that step and gets sony users to use davinci
@@theosophicalwanderings7696does this video said it will gonna support b raw internally?
@@theosophicalwanderings7696it’s not internal you will need a blackmagic video assist 12g HDR monitor recorder to access it.
Braw is smaller than prores raw and is more flexible than prores
I believe the people that speak of switching systems are talking out of their necks, switching systems is a very costly move especially for the average film maker and no camera is perfect. Switching to Nikon or Lumix, good luck but every brand has a crutch, Lumix - autofocus and Nikon - Lens support. It will trickle down but honestly the FX9 needs an upgrade especially with the release of the fx6 almost making it obsolete. PS Atomos sucks Blackmagic Video Assist would be a great monitor to couple with any brand with the added bonus of recording with SD Cards or SSD.
Cries in panasonic
WOW!
It's technically all software then. So why aren't there companies trying to R&D this stuff for the non cinema line? Cause that's right, most people refuse to understand the camera hardware capabilities.
Nikon did this years ago with the OG Nikon Z6
Do you think the Blackmagic image quality and colour science will be replicated when shooting in BRAW on a Sony?
No
all you Sony people - salute to Panasonic...as Sony had no choice :) ...or BM ......as BM video assist stop sellin well after s5iix :)... i still love my bm video assist 12g as is king
I'd 100% never take it off my FX3 if it's coming lmao, might still switch brands in the long run but for now it's enough
If Sony doesn’t bring it to the Alpha cameras, I’m going to Nikon
Same here, I'm already thinking about boycotting sony altogether after their disastrous firmware rollouts which are literally breaking cameras. On top of that they have the audacity to charge 700 dollars to have it sent back in. Fucking moronic company
it is inexcusable to still not have an internal raw capability from SONY. It is equally unacceptable for Davinci to not process RAW formats other than B raw.... where's my pitchfork.
I'll grab the torch. These companies are silly.
When Sony releases a new FX3/A7SIII, it'll probably blow pass the competition.
any word from my B cams.,. fx30?!
he did say the FX line so I presume that would include the FX30. The only problem I could see is it being a different sensor and whether they see its worth the R&D matching BRAW to a sensor thats only in one cine camera.
@@JonathanPalfrey ya, tats a valid point. but i have to assume i am not the only one for editing flow purposes... its so nice when footage can match. I will be crossing fingers that it will work for my workflow!
good news! i returned to canon CLOG RAW because sony colours and blackmagic gear not so reliable...so.
Only for fx 6/ 9 but thumbnail is fx 3 / 30 ? Kinda Misleading tbh
They said FX3 is on the cards
yeah in the ProAV live stream they said they are looking at the FX3 after the FX6/9. It seemed quite clear it wont come to any alpha cameras though.
I use s-log3 and did raw on my atmos. Does anyone really see any significant difference?
Seeing the difference is not the point when you shoot RAW. There is almost no difference visually. RAW has in some times more noice then the internal files. The benefit off shooting RAW is the flexibility to change ISO , WB etc in post before you start color correcting and then color grading.
I've ways hated the fact that all you were a le to get is prores raw as its pretty much useless if you seriously want to grade. BRAW is a much welcome edition.
I dont see the benfit of braw on sony when u have pro res raw with atomas V and convert pro res raw to dng
So does that mean DaVinci resolve will handle ProRes?
Will this be external recording or internal recording (BRAW)?
Nikon did it in 2019
Honestly the firmware update 5.0 on the FX30 has been such a sh!t show I don't know if I'll ever buy another Sony camera... and I love Sony cameras
braw to much space hungry codec i would prefer proress raw insted
It is still sony sensor, so domt expect so much
This is HUUUUUGE!!! internal???
So the atomos Ninja...
I got tired of sony artificially crippling their bodies and left.
You Sony fanboys lol
They will never leave their training wheels behind, lol
@@Fedorevsky weird take when sony makes the venice
Only thing that is Good in Black Magic cameras is BRAW , I am Glad its coming to sony , can't wait to switch from black magic , a terrible camera i ever bought , gets corrosion after an year , no autofocus , terrible battery , Not portable , and terrible service
NOT IN INTERNAL
Ridiculous
really, who the heck needs braw? In the end are you all people high paid color graders who push your files to the limit and you need raw so much really? Or are you amateur shooters who need to color correct your shooting mistakes or what? Are you getting paid so much to really justify the RAW existence?
Anyway i will only consider "playing" with raw if Sony implements the codec internally which they should already have done. I'm a geek and i really like having these extra tools even if i don't need them.
I n never buying sony ever again after qhat they did to a7s3 n then firmware update 3.02 frying components on the camera. If braw comes then better, if not i m never using sony anymore
Good
THE A7SIII WAS A BAIT AND SWITCH. NEVER BUYING ANOTHER SONY CAMERA EVER AGAIN
It's annoying but all these manufactures do it. Canon putting the C300 sensor in the C70. Red dropping their prices, Blackmagic repeatedly realising a camera then an improved version a year later.
How so?