Raw vs ProRes: Can You Tell the Difference?
ฝัง
- เผยแพร่เมื่อ 24 ส.ค. 2020
- Do you need to shoot raw? Is ProRes proxy awful? Let's find out.
I'm a hybrid-style shooter with a love of photography but a heavy emphasis on cinematic video. My opinions are based on a 10+ year career of producing video content professionally but that doesn't mean my suggestions are always right for every production or individual. There's plenty of room to disagree and approach projects from a variety of different perspectives.
My Current Gear Picks:
LUMIX S1H: amzn.to/30IlqYY
SONY A7S III: amzn.to/2DCSf0I
APUTURE 300D MKII: amzn.to/2DUqX5H
GODOX VL300: amzn.to/2DN8k3M
CAMLINK: amzn.to/2XK88t1
If you're curious about new gear, I recommend using Lensrentals to try before you buy. If you use my affiliate link, it's a free and easy way to help support my channel: bit.ly/3gMNBeW
Click here to subscribe to the channel: th-cam.com/users/StronzVa...
If you enjoyed the video and would like to help support the channel, please consider subscribing at SubscribeStar: www.subscribestar.com/stronz-... - วิทยาศาสตร์และเทคโนโลยี
Hey Stronz! Thanks a lot for the great video and all the info you give us. Just a brief question. In case of greenscreen and Ultakeying, would you also use whichever codec too?
Great stuff bro I find myself using braw 12:1 more often, can you tell us which LUT did you use ? Or did you apply a REC 709 then a Creative LUT
In my experience Proxy just falls apart the minute you push anything in color correction. Of course properly exposed and lit footage are practically indistinguishable. But if you're trying to craft a look for your film, you might want more room to play. Please don't shoot in proxy, and though I don't have much experience with grading BRAW, I'd always recommend getting as much data as possible.
If this video wasnt inside edit preview and showing in 1080 would see more difference as footage of 4K have much more difference and seen in other people who have done comparisons between the different Prores sizes.
i love 12:1braw but i do notice a difference in motion and details in motion like trees against a sky or water in 3:1 vs 12:1
I can't decide between the bmpcc 6k and the new Fujifilm x-h2s
can u help me? will the pores 422 on the fuji be good enough for me when I wanna color grade? or will there be a big difference between a cinema camera and a hybrid? I like that I get image stabilization and autofocus with the fuji. I like a compact size, perhaps I wanna travel with the camera.
fuji has:
better battery life, image stabilization, autofocus, prores HQ ?,
black magic:
Braw, ND-Filters...
Not sure wich camera has the higher bitrate/quality...
very interesing video. Work in prores on premiere need less powerful hardware respect to work on braw on davinci?
Exactly what I needed to hear. Thank you
I use BRAW because I can recover my highlights
Great job very detailed explanation
Really Informative, Thanx!
How about when it comes to landscape or city work? These shots were pretty neutral color wise from jump.
Awesome! Thanks for the info
Super helpful! Thank you! Been shooting BRAW because that's what was done before me, but don't have the budget to buy more harddrives and am looking for the right solution without sacrificing quality. Love this test video!
thanks for clearing this up for us :)
Wow
I have watched lots of videos to be able to actually determine the difference and which works best for our situation. But your video is the best, well articulated and explained in direct simple terms.
Thank you.
So good ! THANKS !
I've always used Prores cause my editing software took forever to do BRAW.
I own the BMPCC 4K and my Q0 BRAW is very soft when compared to any ProRes, even PXY. And by the way, ProRes PXY blows out of the water BRAW 12:1 in terms of sharpness and it's even smaller in size.
did you have detail sharpening on/off?
Where did you get the lut from?
Great topic, and education
If it raw plays just fine in Premiere how come it is not playing back very well when you press the space bar
In this setup, I probably would've had trouble identifying an iphone 5 from an arri Alexa.
I need to know how much I can rescue a poorly lit shot.
Hi I watched only half way. I noticed a rather small difference in smoothness of light merging to shades on your son’s face. The face angle was slightly different so it’s hard to say. I thing BRAW 3:1 was smoother at around 6:40 point (right by the nose). The 12:1 had sort of abrupt tone change.
very good, thanks
Very good point. Would have also been interesting to see how 100Mbps H.264 would compare as well. Not sure I would be able to see much difference on that either. This type of comparison is why those who support Micro Four Thirds say the smaller format is "good enough" for what they do. Of course, as you say, RAW gives you more options for changing white balance, ISO, and so on.
Definitely. It all depends on your project and budget but a lot of people talk about these differences as if they are huge variations when in reality, it’s minor differences that may or may not matter to you. When the difference may be $$$$, you have to be smart about what you prioritize.
thanks good video
So I’ve always assumed the braw is what made the color so good. However, looks like all of those codecs get the great color science?
Lighting is king.
Color space/science is separate, yes!
me watchin a 12 bit sample, on an 8 bit platform, on a 10 bit screen... where's the problem?
Exactly!
Any thoughts on the Camera RED Komodo? My thoughts from what I’ve gathered; Retarded file format but allegedly very impressive raw and global shutter working well. The camera body looks so great.
I’ve never gotten to work with any BMD global shutter, but my impression was BMD never got GS working great (fixed pattern noise).
I don’t think GS is as important as maybe it once was. It’s helpful but the RS on the BMD cams isn’t that bad. Obviously the bigger the sensor, the more prominent the issue can be but many cameras have gotten the read speeds fast enough to mitigate the problem. You even see RS artifacts in feature films so while it may not be “perfect” it’s not a significant limitation. I haven’t used the Komodo personally but it looks decent and for a fairly attractive price although that will go up with the necessary accessories. I think RED has always struggled with the low-end market (Raven) and I’m not sure the Komodo will capture those customers currently happy with their BMD products.
Unless you are capturing shots with fast paced movement or high velocity environment's global shutter isn't needed. example of situation where gs is used is crash cam work, car scenes and stunt, you where people are literally throwing the camera.
The Komodo will work well on high end gimbals and rig's, and it looks strong enough to take a beating, we destroyed countless 5dm3s trying to get shots for stunts, but failed due to the rolling shutter.
In the past we never had the technology to create a cheap CCD image sensor with Great dynamic range and energy efficiency, however dude to the breakthrough in technology we can create stacked CMOS sensors with both a RS and GS mode.
So 96% of production work it would be better to use a BMPCC6K due to it being cheaper and BM having a better workflow. however if you need a workhorse and are getting the footage you shoot edited by someone else or a professional editing studio Get the Red Komodo.
Hope this helps.
Kallus Garnet yes! Stacked GS ought to be able to get rid of SNR ruined by control logic interference.
A great GS camera without downsides, it would just bring some additional quality and assurance.
I don’t shoot exotic things, certainly no crash cam. But GH5 was very disappointing shooting out of the window of a high speed train in japan. Just a silly tourist shot for myself, but I would have liked to be happy when I looked at it on the computer back home. Not 100% ruined but so far from great.
On the original bmpcc there was much more problems. With GH5 having stabilization and maybe faster readout, it’s so much less common that RS impacts your shot negatively. But occasionally you still find yourself with RS degrading your shots.
Nice vibes
Playback with Raw is as slow as molasses. Better to make proxies. I have a Midtier 2019 iMac and it is painfully slow. I figure the new M1 Macs will be much much better.
What a handsome son you have
Dude...you're a Young Liam Neeson
You have a wonderful family 😊❣️
I never liked Prores due to it being an Apple format/codec and i Use 64bit Windows, when braw was announced i was extremely happy. since then i have switched to a Braw workflow completely.
Thanks for the video.
I love how you say it plays without any hiccups and then you can literally see the playback lag. lol
It might be because he's recording on the same computer, it could be setting his CPU at 100% and forcing OBS to lag the recording.
@@KurruptedDataYouT None of what you said has an impact of my original statement. He claimed it played smoothly which is didn't.
@@MediaBuster I'm explaining why it may LOOK like it's lagging to the recorder but real time on his screen it can be smoothly playing back. Obviously if he sees his timeline skipping in real time he wouldn't say it's perfect.
@@KurruptedDataYouT Then he should have said something about it.
@@MediaBuster He can't see it lagging until he's editing it afterwords. If he said it plays back smooth then just take his word for it lol.
Pro res hq is nicer.
Prores Raw is Real Raw however it's not efficient because it's Lossless.
Braw is still Compressed however the data loss isn't an issue since the compression format is Lossy.
thank you, mrs androgyny 2021
Eh I'm pretty sure ProRes RAW still isn't true RAW
I can tell videography is your life and you get high off the action