I know this video is old, but small correction: Blackmagic raw is 12bit LOG raw, when you transfer the footage into your NLE, the data is reprocessed into 16bit LINEAR, which is the same amount of color data that RED and Sony provide. Blackmagic raw is both 12bit log AND 16bit linear.
The reason it is 12bit is because Blackmagic sensors are 12bit sensors. Its not that they cant add in 14bit into Blackmagic raw if the camera has a 14bit sensor, Blackmagic raw is designed specifically for each camera, so its not the same settings for every camera type. Blackmagic raw leverages the most amount of data from each camera sensor. As mentioned, if they have a different sensor, the bit colour would suit the sensor's bit colour....alot of sensors have a 16bit linear colour depth, but a 12bit LOG curve is much more useful :)
@@lkoljanych How does the curve reduce the bit depth? If it's RAW, it's first linear, then you can interpret into any gamma curve you want via CST node in Davinci.
@@DevonStanczykSensor is 16 bit linear, camera output is a 12 bit BMD log (for old BM cameras). The logarithmic curve does not decrease the bit depth. Logarithmic curve allows for reduced bit depth to preserve more visual quality for human vision compared to linear. BM RAW is not linear. Moreover, ProRes RAW is "parially de-bayered". Some would like to call it "pseudo RAW"
@@lkoljanych So if BM RAW is partially debayered, that means it’s gone through an in-camera pipeline that demosaics the batmyer data, then downscales the bit depth from 16 to 12, and then applies BM Film log gamma? So (loosely speaking) BM RAW is a container that holds a 12 bit TIFF image sequence?
I know I am late to the show, but I have been using BRAW since I got my URSA G2 the day it arrived in Vancouver and I can say it is FANTASTIC. The 12:1 is such a bliss to use! I shot a couple of training videos that were meant to be played in 1080p on a cheap computer screen and I really liked the fact that I could film almost 6 hours of footage on inexpensive SD Cards! I also worked on some social media campaign that was meant for TH-cam and IG so there was no need for more than 8:1 (Even 12:1 would have been perfectly fine). Once again shot with inexpensive Sandisk Extreme PRO 128GB (I bought 5 of these and they work amazingly well in the URSA). And lately, I shot a short film for a friend and it was meant for festivals so we rented a couple of CFast Cards and shot in Q0 and that was actually the only time I "needed" to shot in Q0 (Even 5:1 would have been just fine but the director said Q0 so...) To summarize, BlackMagic RAW is the perfect codec to suit Blackmagic's cameras I think. If you want better quality then you probably have a bigger budget that allows shooting and editing RED or ARRI. Plus, the 16bit of RED and ARRI are not real 16bit. CMOS sensors only output 14bit of information and they fill the rest with zeros. Don't quote me on that since I am not 100% certain, but I remember it being a thing back when we were shooting Medium Format with a CCD sensor and CMOS came to be. I don't know if this information still holds tho. Great video and thanks!
I don't think they ever said the Blackmagic RAW is limited to 12-bit. I think that's just a limitation of the camera. The metadata from the sample files even says 16-bit. Also a suppose the question of whether or not it's still RAW depends on what process in the debayering is done in camera. Lets say, for example, that it doesn't treat the image as one channel and instead sorts them into 3 channels because grouping more similar data spatially allows it to compress better and the actual pixel pattern is saved as metadata for computer to use afterwards (I don't know if any of that's actually true) then nothing would stop it from taking advantage of future debayering algorithms. I'll have to familiarize myself with what's going on behind the scenes though.
I learned this today: it is 12-bit log color, but Resolve treats is as 16-bit linear color space (I saw the same thing on Friday). But I'm sure BMD future-proofed Braw to allow for 16+ bits of data.
@@MichaelDHead They mentioned the other day in their G2 update about how they make their cameras upgradable with the chip they use so I'm sure they can up that limit in the future. They seem very conscious about making sure their cameras have a decent lifespan
@@MichaelDHead 16 bit linear raw with sony and red is the same as 12 bit log raw btw. IF u remap linear to log thats what happens. Arri is like this also, 12 bit log encoded raw. People confuse this.
The new G2 has me thinking about going to Blackmagic again. I was considering the C200 for a while with the 12/14-bit RAW recording internally, but the others codecs could potentially be a big downside for an €8k camera. Apart from Dual-Pixel AF (which might come in handy for solo shooting interviews but might not), the G2 seems to do most things better and has far more variety and flexibility when it comes to what and how to shoot
I have both the c200 and the pocket 4k and shot alot with the UMP. It comes down to the type of shooter you are. If you do alot of run amd gun, the c200 is still the better option Imo. The autofocus alone saves you so much time in production and is the best in the business for cinema cameras. Even if your not big on autofocus, the manual focus assist feature in the C200 is much better than trying to follow the peaking on the UMP. Also the WiFi ability allows you to visually see your shot and make changes away from the camera. The blackmagic Bluetooth is good for changes but you can't visually see what your shooting. I also feel the c200 raw gives you much more flexibility than the current iteration of BRaw since CDNG is removed now in camera. But the UMP has the overall slightly better image quality and codecs. If you can bring a crew the UMP is great. I love my pocket 4k but the c200 has too many project saving features to make me give it up. Hope that helps
Great vid. Hopefully the P4K gets it soon. And the fact you published in the ratio you wanted and not 16:9 with baked in bars means I now love you! ha!
16 bit linear raw with sony and red is the same as 12 bit log raw btw. IF u remap linear to log thats what happens. Arri is like this also, 12 bit log encoded raw
@@DevonStanczyk No, there is a such thing as linear Raw and log raw. Red uses 16 bit linear. Arri uses 12 bit log raw. The log curve determines where the data is in the image. 16 bits is not evenly distributed across the image because the highlights has most of the information. 16 bit linear is transformed into 12 log raw which distributes the data across the image evenly. There are charts and better information on the Internet. All the bit depth is there just because it says 12 bits does not mean it’s less. The equivalent to 12 bit linear Raw is 10 bit log pro res. That’s why I would never use zcam or Sony’s 12 bit linear. Not a enough bits to cover the entire image so the shadows become noisy. That’s why am most professional cameras will use 16 bit linear versus 12 bit linear. You are better off using 10 bit prores Because the Log curve will distribute the data properly.
Have you guys ever had problem with the BMPCC 4K and 6K HDMI out? Some people have had it broken here in Jakarta (and some uploaded video about this on youtube as well). Some rentals said they even had their cameras (more than one) fixed and then it happened again. I've emailed Blackmagic but there's no firm answers about whether they will redesign or fix it via firmware update or else. They email response just stopped somehow.
ProRes RAW seems like a misnomer. Changing exposure and color balance in metadata is one of the more important parts of shooting RAW in the first place.
The post-raster adjustment tools we have now are so much more capable than even 10-12 years ago that some of the original reasons to shoot raw may be less of a factor now, but metadata adjustment is certainly helpful if you can get a workflow where the 'best light' metadata grade is not an awkward extra step introduced too early in post.
@@LumaForge ...with the caveat that doing that initial 'sketch' grade shot by shot prior to edit makes a lot of potentially wasted grade on unused footage. One of those places where some kind of a camera LUT on the footage from the DP's perspective can help the process move forward a bit smoother...
Hello, can you make a video tutorial with how to install in the camera this raw update? I sow many video tutorials on TH-cam, but nobody's show how to install it... I'M new user with ursa mini pro and I try to learn how to manage this camere... Thanks in advance!, wait for your response!
What bit depth is black magic raw? (I can't find an answer to that anywhere) Or is bit depth irrelevant for raw codecs? (But like it can't be, especially because cdng has a corresponding but depth, 12 bit for the bmpcc4k)
Cinema cameras and cameras with a higher dynamic range often produce images that look under-saturated before processing and grading. i know why but cant think of the right words to explain why this is
I just downloaded some braw files from BM website. But it does be dragged to my FCPX ? How do I directly start working on FCPX for the braw files ? I dont want to learn resolve da vinci now.
Yes, a BMPC4k. File sizes for RAW are just too massive to be useful (there are no compressed RAW options like on the Ursa cameras). So this would enable 12bit capture and would help with DR as well. The BMPC4k just cuts off all information above 87 ire. This result is a very harsh highlight roll off and quite a limited DR. In RAW you can recover the lost detail with the highlight recovery tool, which hopefully will be available for braw soon as well. This would be a better companion and b cam to my preordered bmpcc4k, which will be unstoppable with this implemented.
Actually, I haven't! Thanks so much for the tip! Just played around with it and it is quite a neat way of controlling highlight compression! I used to fiddle around doing luma keys and pulling around the blown out parts, but this way is far more efficient and delivers more pleasing results!
So, if I want to shoot a green screen shot, I should use Q0 in Constant Quality? Just curious, because I heard someone say they used 3:1 in Constant Bitrate for green screen work. Which do you think would be better?
Do you think they will allow for the use of Blackmagic RAW as optimized media? I've noticed that it seems to offer better playback than their current options.
just learning BMPcC4k -- what aspect did you shoot THIS in? 2:??:?? idk which is permanent on the clip captured or whats a 'guide' that will be invisible once footage is uploaded to computer..
Any ideas if/when BlackMagic will launch a monitor/recorder capable of capturing in BlackMagic raw? The video assists are looking pretty dated now in terms of codecs, frame rates etc, but would they be undercutting camera sales if anyone with a $1000 monitor/recorder could capture in BM raw?
Prores always uses the full sensor and gets downsized. BRAW will crop in if the resolution is lower than the full sensor. As an example. Shooting Full HD Braw will lead to capturing a 1080p cut out from the sensor while shooting prores uses the full 4.6k sensor and downsizes the footage.
@@thetys4659 In other words, no matter what size sensor you select, prores will always utilize the full 4.6k sensor then SCALE down to the resolution size we select, correct? Might you know WHY BRAW acts differently than prores in that regard? I still don't understand why BRAW is unable to downscale from the full sensor though. The windowed option matches them up, but at the cost of cropping.
Thanks for this great video!! I'm yet questioning the downsides you're pointing about ProRes Raw: that you can't change ISO, Tint and color temperature "in post production". But, actually, you mean "in FCPX", right? Since it's the only software that runs ProRes RAW. (By the way, the UI of Final Cut doesn't allow to change ISO but you can change tint and temperature... But these are very basic "tools") My question is, do you have infos coming from Apple acknowledging that these limitations are in the format and not just FCPX's UI limitations?
Oh, ok, my bad, I misheard the nuance in the video. So, actually, in terms of modifying metadatas, a single Blackmagic RAW file has the same inherent limitations than a ProRes RAW file BUT the alongside .sidecare file is there to fix that issue and store all the changes. Clever! Thanks for your answer!
Is there any news on which cameras will receive this firmware update? So far it seems like it's the new pocket and Ursa Mini Pro... but nothing about 4k or 4.6k models that I have heard of. Does any one have a source that indicates this?
This presents incorrect assertions. At 3:04 you claim that you can't change ProRes Raw's ISO, color temperature, and so forth in post. That is absolutely wrong. ProRes Raw is a legitimate raw codec, and NOT baking those choices into the data is the main point of using it. On the other hand, BlackMagic "raw" is not actually raw; they admit this in their description of the codec on their Web site: "Blackmagic Design engineers have spent years solving these problems and have created a new RAW codec that moves part of the de-mosaic processing from the computer’s CPU into the camera itself..." Once you de-mosaic the sensor data, it's not raw anymore. It may be a perfectly good codec; but your comments in regard to ProRes Raw are not only wrong, but appear to confuse the two codecs.
@@SouthernsBBQ Fair enough; it's unfortunate that some oversight occurred during development of the raw pipeline to ProRes Raw that allowed this nonsense to happen.
Thanks so much for this explanation! Very helpful. I'm happy to see a company like black magic standing up to Apple :) do you have any info on if the pocket cinema 4k is shipping with it or will it be an update a month or two down the line?
Great video and channel guys! Trying to understand my BR Speed Test results that came with my Davinci Resolve 17. Have looked into Udemy for a course on the software can you recommend one as well? Thank you.
Hi! Could you tell how much disk space is needed for each compression footage? Like for example 1h of footage. I couldn't find any information about that. Thanks
The highlight recovery option hasn't been implemented yet. It's a beta test and it will eventually be there. This was mentioned by a BMD employee on another message board.
Hi, Im questioning the quality. What compression did you shoot this video on, because I can see nasty banding in the grey background screen left, the kind typical of an 8bit capture on banding blue skies. Can you check on the original, do you see banding there? Actually banding also appears screen right too as well as on the computer screen, grey pixelated all over. Im on a 2016 27" imac.
By definition Raw is not processed. Yet some companies try to make us believe that in camera partial de-bayering that is “ Baked In” is is an added feature. This array averaging is nothing more than a form of compression which hurts the fidelity of the original source signal. Let me quote part of the definition of Demosaicing on Wikipedia “Many modern digital cameras can save images in a raw format allowing the user to the demosaic them using software rather than using the cameras built-in firmware” some companies are trying to say that their 12 bit HDR compressed video is Raw but by definition it is not. Why does this bother me so much, because the whole reason why we have Raw in still photography and video production is that as the technology improves (with new de-bayering algorithms) we can later revisit these raw source files and use better algorithms to get more out of these files years later thus future proofing the content. In stark contrast, ProRes RAW directly encodes (retains) the complete Bayer pattern image. Demosaicing and processing are deferred to the time of playback and are performed by application software (Futureproof, Yes). ProRes RAW White Paper www.apple.com/final-cut-pro/docs/Apple_ProRes_RAW_White_Paper.pdf
Q0 on an SSD is hard. You need an external NVMe SSD (about 10x faster than a normal SATA SSD like the T5), and even then it isn't guaranteed to never drop frames. The only perfect solution is CFAST 2.0 cards, which are obscenely expensive at $2000USD/TB as opposed to $100-150/TB for a normal SATA/NVMe SSD. The T5 is also overpriced by about 200% because everyone buys them for the BMPCC despite them performing worse than dramatically cheaper NVMe drives. In the server/PC world (where I worked before film), the T5 is a joke on both price and performance. 500gb at 500MBps for the same or sometimes double the price of 1TB at 2000MBps.
RAW is not an image. It is just data, UNTIL you demosaic (assuming it's from a Bayer sensor) the RAW sensor data into RGB pixels. - A lot of camera manufacturers that implement lossy compression in their RAW files, are actually demosaicing the sensor data in-camera, and then storing Linear (Not gamma encoded) RGB data. - So is this what Blackmagic RAW is doing?
Sounds great. Hopefully, they'll put out tutorials on working with Blackmagic RAW. As someone who's considering getting the BMPCC4K, this would be great to have.
Honestly, prores raw seems like a gimmick. I am very disappointing with Panasonic. I was very close to buying their Eva 1, but now that BM raw has been brought to my attention anhd I have taken a close look at the Mini Pro, blackmagic will most likely get my money. Thanks for the great video!
They said that they are working on it. That DOES NOT mean that it's officially coming. If you've owned a BMD camera and have dealt with them in the past...until it's shipping or available, it may very well never happen ;)
Awesome video! Super informative. I'm gonna chime in on the aspect ratio too - I think 2.35 looks better but I prefer slapping black bars on a 16x9 image. All the reframing and none of TH-cam's weird layout!
@@LumaForge yes , saw an interview today , they are ready if other manufacturers are interested . one big main point you forgot to mentioned in this video which i heard in interview . it was about size of the files and easy workflow compared to pro res files . this is the link of interview th-cam.com/video/AYswt0WM7gU/w-d-xo.html
I don’t care if it’s debayered in camera, it’s much much much MUCH faster than any raw codec I used. Red raw a too damn laggy and canon raw lite is too damn laggy. I still count this as raw because of the controls I get
LumaForge we still have raw controls like iso, white balance, changing the color space, gamut, we are still changing information from the sensor. But I wouldn’t put denoising for one of the abilities. That’s not naturally found in the raw sensor, camera companies add that themselves in camera
i mean honestly what more infmromation do you need to change out of the sensor lol. We have a condec that's really amazing. Have all the benefits of raw, at least the ones that matter, plus the speed of a conventional non-raw codec. At the end of the day this is a game changer. Not even prores is this fast on my computer.
I know this video is old, but small correction: Blackmagic raw is 12bit LOG raw, when you transfer the footage into your NLE, the data is reprocessed into 16bit LINEAR, which is the same amount of color data that RED and Sony provide. Blackmagic raw is both 12bit log AND 16bit linear.
Old video, but refreshing to see someone who actually knows what they're talking about and doesn't just say "Cinematic footage" repeatedly. Thank you!
2021... and still pure gold!
I edit on a Linux PC with DaVinci Resolve Studio and absolutely love it!! ALSO: The Blackmagic RAW player is now on Linux.
A very good explanation of BRAW. Concise, and good examples of the technical parts. Thank you!
Closed my eyes when it started and you sound exactly like Tony Stark
Only 25%
Just a pinch off. But WOW! Good catch. Lol I’m picturing his shoulders swaying sassily like in the first iron man lol
This is the first time I’ve heard someone compare me to Tony Stark. Thank you, CJ!
The reason it is 12bit is because Blackmagic sensors are 12bit sensors. Its not that they cant add in 14bit into Blackmagic raw if the camera has a 14bit sensor, Blackmagic raw is designed specifically for each camera, so its not the same settings for every camera type. Blackmagic raw leverages the most amount of data from each camera sensor. As mentioned, if they have a different sensor, the bit colour would suit the sensor's bit colour....alot of sensors have a 16bit linear colour depth, but a 12bit LOG curve is much more useful :)
Blackmagic camera has 16 bit sensor information from which only stores 12-bit with a curve
I believe its 16bit linear, but the output is a 12bit LOG curve.
@@lkoljanych How does the curve reduce the bit depth? If it's RAW, it's first linear, then you can interpret into any gamma curve you want via CST node in Davinci.
@@DevonStanczykSensor is 16 bit linear, camera output is a 12 bit BMD log (for old BM cameras).
The logarithmic curve does not decrease the bit depth. Logarithmic curve allows for reduced bit depth to preserve more visual quality for human vision compared to linear.
BM RAW is not linear. Moreover, ProRes RAW is "parially de-bayered". Some would like to call it "pseudo RAW"
@@lkoljanych So if BM RAW is partially debayered, that means it’s gone through an in-camera pipeline that demosaics the batmyer data, then downscales the bit depth from 16 to 12, and then applies BM Film log gamma? So (loosely speaking) BM RAW is a container that holds a 12 bit TIFF image sequence?
I know I am late to the show, but I have been using BRAW since I got my URSA G2 the day it arrived in Vancouver and I can say it is FANTASTIC.
The 12:1 is such a bliss to use! I shot a couple of training videos that were meant to be played in 1080p on a cheap computer screen and I really liked the fact that I could film almost 6 hours of footage on inexpensive SD Cards!
I also worked on some social media campaign that was meant for TH-cam and IG so there was no need for more than 8:1 (Even 12:1 would have been perfectly fine). Once again shot with inexpensive Sandisk Extreme PRO 128GB (I bought 5 of these and they work amazingly well in the URSA).
And lately, I shot a short film for a friend and it was meant for festivals so we rented a couple of CFast Cards and shot in Q0 and that was actually the only time I "needed" to shot in Q0 (Even 5:1 would have been just fine but the director said Q0 so...)
To summarize, BlackMagic RAW is the perfect codec to suit Blackmagic's cameras I think. If you want better quality then you probably have a bigger budget that allows shooting and editing RED or ARRI.
Plus, the 16bit of RED and ARRI are not real 16bit. CMOS sensors only output 14bit of information and they fill the rest with zeros. Don't quote me on that since I am not 100% certain, but I remember it being a thing back when we were shooting Medium Format with a CCD sensor and CMOS came to be. I don't know if this information still holds tho.
Great video and thanks!
This is a great clip that clearly explains some really useful information about BRAW. Thanks
I don't think they ever said the Blackmagic RAW is limited to 12-bit. I think that's just a limitation of the camera. The metadata from the sample files even says 16-bit.
Also a suppose the question of whether or not it's still RAW depends on what process in the debayering is done in camera. Lets say, for example, that it doesn't treat the image as one channel and instead sorts them into 3 channels because grouping more similar data spatially allows it to compress better and the actual pixel pattern is saved as metadata for computer to use afterwards (I don't know if any of that's actually true) then nothing would stop it from taking advantage of future debayering algorithms.
I'll have to familiarize myself with what's going on behind the scenes though.
I learned this today: it is 12-bit log color, but Resolve treats is as 16-bit linear color space (I saw the same thing on Friday). But I'm sure BMD future-proofed Braw to allow for 16+ bits of data.
@@MichaelDHead They mentioned the other day in their G2 update about how they make their cameras upgradable with the chip they use so I'm sure they can up that limit in the future. They seem very conscious about making sure their cameras have a decent lifespan
@@MichaelDHead 16 bit linear raw with sony and red is the same as 12 bit log raw btw. IF u remap linear to log thats what happens. Arri is like this also, 12 bit log encoded raw. People confuse this.
The new G2 has me thinking about going to Blackmagic again. I was considering the C200 for a while with the 12/14-bit RAW recording internally, but the others codecs could potentially be a big downside for an €8k camera. Apart from Dual-Pixel AF (which might come in handy for solo shooting interviews but might not), the G2 seems to do most things better and has far more variety and flexibility when it comes to what and how to shoot
I have both the c200 and the pocket 4k and shot alot with the UMP. It comes down to the type of shooter you are. If you do alot of run amd gun, the c200 is still the better option Imo.
The autofocus alone saves you so much time in production and is the best in the business for cinema cameras. Even if your not big on autofocus, the manual focus assist feature in the C200 is much better than trying to follow the peaking on the UMP. Also the WiFi ability allows you to visually see your shot and make changes away from the camera. The blackmagic Bluetooth is good for changes but you can't visually see what your shooting.
I also feel the c200 raw gives you much more flexibility than the current iteration of BRaw since CDNG is removed now in camera.
But the UMP has the overall slightly better image quality and codecs. If you can bring a crew the UMP is great. I love my pocket 4k but the c200 has too many project saving features to make me give it up.
Hope that helps
Great vid. Hopefully the P4K gets it soon. And the fact you published in the ratio you wanted and not 16:9 with baked in bars means I now love you! ha!
Hello very noce tutorial. I recently bought a BMPCC 4K but Cinema DNG isn't available on setup.Tks
you need to use remote app on your mobile phone to enable Cinema DNG
@@sounvac6263 thanks for answer what is the app for iPhone ? I found only for tablet
That's really cool but can someone explain why do I have it? BlackMagic Raw Speed Test and BlackMagic Raw Player
bro lmfao thats why im here. decided to clean out my pc. wtf
@@loolcrazy hahaha, yeah the same story 😂😂😂
Same here
I slick want to buy a URSA mini 4.6k just for the metadata control
One question can I delete from my computer only the black magic raw because it does take a lot of storage.
16 bit linear raw with sony and red is the same as 12 bit log raw btw. IF u remap linear to log thats what happens. Arri is like this also, 12 bit log encoded raw
What happens to the other 4bits of depth? RAW is not LOG until you demosaiced the image in to a LOG gamma. Which once its gamma encoded, it's now RGB.
@@DevonStanczyk No, there is a such thing as linear Raw and log raw. Red uses 16 bit linear. Arri uses 12 bit log raw. The log curve determines where the data is in the image. 16 bits is not evenly distributed across the image because the highlights has most of the information. 16 bit linear is transformed into 12 log raw which distributes the data across the image evenly. There are charts and better information on the Internet. All the bit depth is there just because it says 12 bits does not mean it’s less. The equivalent to 12 bit linear Raw is 10 bit log pro res. That’s why I would never use zcam or Sony’s 12 bit linear. Not a enough bits to cover the entire image so the shadows become noisy. That’s why am most professional cameras will use 16 bit linear versus 12 bit linear. You are better off using 10 bit prores Because the Log curve will distribute the data properly.
Great review but unfortunately it doesn't work in FCPX.....
Thank you for the explanation, it made much more sense to me than the video BMD released yesterday!
Can you import the BM RAW video file into Filmora 9?
Have you guys ever had problem with the BMPCC 4K and 6K HDMI out? Some people have had it broken here in Jakarta (and some uploaded video about this on youtube as well). Some rentals said they even had their cameras (more than one) fixed and then it happened again. I've emailed Blackmagic but there's no firm answers about whether they will redesign or fix it via firmware update or else. They email response just stopped somehow.
ProRes RAW seems like a misnomer.
Changing exposure and color balance in metadata is one of the more important parts of shooting RAW in the first place.
The post-raster adjustment tools we have now are so much more capable than even 10-12 years ago that some of the original reasons to shoot raw may be less of a factor now, but metadata adjustment is certainly helpful if you can get a workflow where the 'best light' metadata grade is not an awkward extra step introduced too early in post.
@@LumaForge ...with the caveat that doing that initial 'sketch' grade shot by shot prior to edit makes a lot of potentially wasted grade on unused footage. One of those places where some kind of a camera LUT on the footage from the DP's perspective can help the process move forward a bit smoother...
@@LumaForge I'm afraid I don't have enough experience using CDLs to have a meaningful opinion comparing them to LUTs.
Hello, can you make a video tutorial with how to install in the camera this raw update? I sow many video tutorials on TH-cam, but nobody's show how to install it... I'M new user with ursa mini pro and I try to learn how to manage this camere... Thanks in advance!, wait for your response!
what about 4.6K URSERS are we getting t Blackmagic RAW in future firmware?
Very precise but good explanatory video.
What bit depth is black magic raw? (I can't find an answer to that anywhere) Or is bit depth irrelevant for raw codecs? (But like it can't be, especially because cdng has a corresponding but depth, 12 bit for the bmpcc4k)
josh A. 12bit
How to Convert BRAW 6 K to BRAW 4K? without loosing quality ??
Nice overview as always Patrick! Also did you grow out that beard specifically to test out different RAW codec compressions?
Cinema cameras and cameras with a higher dynamic range often produce images that look under-saturated before processing and grading. i know why but cant think of the right words to explain why this is
can i delete it or....?
loving this aspect ratio
@@LumaForge what size is this?
so is this only available on the ursa mini pro?
Where is the BM BRAW player for Windows?
I just downloaded some braw files from BM website. But it does be dragged to my FCPX ? How do I directly start working on FCPX for the braw files ?
I dont want to learn resolve da vinci now.
LumaForge ok. Will transcode. But will we be still able to edit metadata ?
I am so excited about this! Also for potentially "upgrading" older BM Cameras.
Yes, a BMPC4k. File sizes for RAW are just too massive to be useful (there are no compressed RAW options like on the Ursa cameras). So this would enable 12bit capture and would help with DR as well. The BMPC4k just cuts off all information above 87 ire. This result is a very harsh highlight roll off and quite a limited DR. In RAW you can recover the lost detail with the highlight recovery tool, which hopefully will be available for braw soon as well. This would be a better companion and b cam to my preordered bmpcc4k, which will be unstoppable with this implemented.
Actually, I haven't! Thanks so much for the tip! Just played around with it and it is quite a neat way of controlling highlight compression! I used to fiddle around doing luma keys and pulling around the blown out parts, but this way is far more efficient and delivers more pleasing results!
So, if I want to shoot a green screen shot, I should use Q0 in Constant Quality? Just curious, because I heard someone say they used 3:1 in Constant Bitrate for green screen work. Which do you think would be better?
Do you think they will allow for the use of Blackmagic RAW as optimized media? I've noticed that it seems to offer better playback than their current options.
Is Blackmagic RAW Player available on windows? I only saw Mac.
The camera firmware updates would be responsible for the debayer update I'd imagine. The metadata would know how it should work on the computer end.
Sir IAM filmmaker .if I shot a film using bmpc 4k and can I project on big cinima screen like multiplex only please tell me
just learning BMPcC4k -- what aspect did you shoot THIS in? 2:??:?? idk which is permanent on the clip captured or whats a 'guide' that will be invisible once footage is uploaded to computer..
Thanks for the great presentation
hi! how do I delete the application on my Mac?
What PC do you recomend to work with 6K?
Any ideas if/when BlackMagic will launch a monitor/recorder capable of capturing in BlackMagic raw? The video assists are looking pretty dated now in terms of codecs, frame rates etc, but would they be undercutting camera sales if anyone with a $1000 monitor/recorder could capture in BM raw?
Might anyone know why when I switch from Prores 4444 UHD to BRAW UHD, the image gets cropped? What does a wrapper have to do with cropping?
Prores always uses the full sensor and gets downsized. BRAW will crop in if the resolution is lower than the full sensor.
As an example. Shooting Full HD Braw will lead to capturing a 1080p cut out from the sensor while shooting prores uses the full 4.6k sensor and downsizes the footage.
@@thetys4659 In other words, no matter what size sensor you select, prores will always utilize the full 4.6k sensor then SCALE down to the resolution size we select, correct? Might you know WHY BRAW acts differently than prores in that regard? I still don't understand why BRAW is unable to downscale from the full sensor though. The windowed option matches them up, but at the cost of cropping.
Thanks for this great video!!
I'm yet questioning the downsides you're pointing about ProRes Raw: that you can't change ISO, Tint and color temperature "in post production". But, actually, you mean "in FCPX", right? Since it's the only software that runs ProRes RAW.
(By the way, the UI of Final Cut doesn't allow to change ISO but you can change tint and temperature... But these are very basic "tools")
My question is, do you have infos coming from Apple acknowledging that these limitations are in the format and not just FCPX's UI limitations?
Oh, ok, my bad, I misheard the nuance in the video.
So, actually, in terms of modifying metadatas, a single Blackmagic RAW file has the same inherent limitations than a ProRes RAW file BUT the alongside .sidecare file is there to fix that issue and store all the changes. Clever!
Thanks for your answer!
Can I lose metadata while converting Blackmagic raw to 2K image quality?
2K is a size, not a quality.
Is there any news on which cameras will receive this firmware update? So far it seems like it's the new pocket and Ursa Mini Pro... but nothing about 4k or 4.6k models that I have heard of. Does any one have a source that indicates this?
This presents incorrect assertions. At 3:04 you claim that you can't change ProRes Raw's ISO, color temperature, and so forth in post. That is absolutely wrong. ProRes Raw is a legitimate raw codec, and NOT baking those choices into the data is the main point of using it. On the other hand, BlackMagic "raw" is not actually raw; they admit this in their description of the codec on their Web site: "Blackmagic Design engineers have spent years solving these problems and have created a new RAW codec that moves part of the de-mosaic processing from the computer’s CPU into the camera itself..." Once you de-mosaic the sensor data, it's not raw anymore. It may be a perfectly good codec; but your comments in regard to ProRes Raw are not only wrong, but appear to confuse the two codecs.
At the time the video was recorded, there were no ISO tools for ProRes RAW.
And I could have sworn I said that BRAW wasn’t raw at all.
Maybe that was the next video
@@SouthernsBBQ Fair enough; it's unfortunate that some oversight occurred during development of the raw pipeline to ProRes Raw that allowed this nonsense to happen.
@@stokestack indeed. It’s a great codec. I’m sad it hasn’t taken off as a format.
I am new to Blackmagic overall. I am trying to open b-raw files in davinci but couldn't find the way. Do I need to convert the files before? I'm lost.
no, but you need the most recent version of davinci
Do you recommend cfast or Samsung t5 2tb
Thanks so much for this explanation! Very helpful. I'm happy to see a company like black magic standing up to Apple :) do you have any info on if the pocket cinema 4k is shipping with it or will it be an update a month or two down the line?
Thanks so much! You guys rock
Great video and channel guys! Trying to understand my BR Speed Test results that came with my Davinci Resolve 17. Have looked into Udemy for a course on the software can you recommend one as well? Thank you.
Hi! Could you tell how much disk space is needed for each compression footage? Like for example 1h of footage. I couldn't find any information about that. Thanks
DNG has Highlight Recovery which I use all the time. Does the "Highlight Rolloff" and Shadow Rolloff" in the BMRAW metadata, replace this feature?
The highlight recovery option hasn't been implemented yet. It's a beta test and it will eventually be there. This was mentioned by a BMD employee on another message board.
12 bit linear or log?
Hi, Im questioning the quality. What compression did you shoot this video on, because I can see nasty banding in the grey background screen left, the kind typical of an 8bit capture on banding blue skies. Can you check on the original, do you see banding there? Actually banding also appears screen right too as well as on the computer screen, grey pixelated all over. Im on a 2016 27" imac.
Will the blackmagic raw files be editable in all editors besides Davinci? Like premiere or fcpx?
@@LumaForge thanks for the quick response, great stuff!
Give Adobe and Apple a month, Avid about 20-30 years. :)
By definition Raw is not processed. Yet some companies try to make us believe that in camera partial de-bayering that is “ Baked In” is is an added feature. This array averaging is nothing more than a form of compression which hurts the fidelity of the original source signal. Let me quote part of the definition of Demosaicing on Wikipedia “Many modern digital cameras can save images in a raw format allowing the user to the demosaic them using software rather than using the cameras built-in firmware” some companies are trying to say that their 12 bit HDR compressed video is Raw but by definition it is not.
Why does this bother me so much, because the whole reason why we have Raw in still photography and video production is that as the technology improves (with new de-bayering algorithms) we can later revisit these raw source files and use better algorithms to get more out of these files years later thus future proofing the content.
In stark contrast, ProRes RAW directly encodes (retains) the complete Bayer pattern image. Demosaicing and processing are deferred to the time of playback and are performed by application software (Futureproof, Yes).
ProRes RAW White Paper
www.apple.com/final-cut-pro/docs/Apple_ProRes_RAW_White_Paper.pdf
Thanks I’m being castigated on other forums trying to bring this to light
HELLO, Help me choose a card for recording in Q0 format, as the T5 SSD skips frames when recording 🙏🙏🙏🙏
Q0 on an SSD is hard. You need an external NVMe SSD (about 10x faster than a normal SATA SSD like the T5), and even then it isn't guaranteed to never drop frames. The only perfect solution is CFAST 2.0 cards, which are obscenely expensive at $2000USD/TB as opposed to $100-150/TB for a normal SATA/NVMe SSD. The T5 is also overpriced by about 200% because everyone buys them for the BMPCC despite them performing worse than dramatically cheaper NVMe drives. In the server/PC world (where I worked before film), the T5 is a joke on both price and performance. 500gb at 500MBps for the same or sometimes double the price of 1TB at 2000MBps.
Leo Thank you🙏🙏Do you think CFAST will pull QO? What is NVMe SSD? 🤷♂️🤷♂️🤷♂️
RAW is not an image. It is just data, UNTIL you demosaic (assuming it's from a Bayer sensor) the RAW sensor data into RGB pixels. - A lot of camera manufacturers that implement lossy compression in their RAW files, are actually demosaicing the sensor data in-camera, and then storing Linear (Not gamma encoded) RGB data. - So is this what Blackmagic RAW is doing?
Sounds great. Hopefully, they'll put out tutorials on working with Blackmagic RAW. As someone who's considering getting the BMPCC4K, this would be great to have.
@@LumaForge everything. I'm a photographer getting I to video and plan on getting. The bmpcc 4k. I need to learn everything cinema
Honestly, prores raw seems like a gimmick. I am very disappointing with Panasonic. I was very close to buying their Eva 1, but now that BM raw has been brought to my attention anhd I have taken a close look at the Mini Pro, blackmagic will most likely get my money. Thanks for the great video!
And it will be available on the pocket cinema camera 4k!
Where did you hear this? I thought it was the URSA minis for now only..
i just watched the interview on cinema 5D. The rep said that, while the ursa will get it first, the bmpcc4k will follow
Cool, good to know. Cheers
Miles M They mention i5 in the original presentation by Blackmagic.
They said that they are working on it. That DOES NOT mean that it's officially coming. If you've owned a BMD camera and have dealt with them in the past...until it's shipping or available, it may very well never happen ;)
fucking awesome
Wow!! Ur damn good at explaining this stuff
Thank you for a great overview.
Awesome video! Super informative. I'm gonna chime in on the aspect ratio too - I think 2.35 looks better but I prefer slapping black bars on a 16x9 image. All the reframing and none of TH-cam's weird layout!
@@LumaForge woah - do they not let you have end screens if you use a different aspect?
The new codec BRAW!
Superb video and looking forward to new videos (new subscriber)
Thank you.
16:9 looks better on You Tube, :-) to me of courses, thanks good analysis
this should be in mirrorless cameras too
Raw on A7iii. I'm ready.
@@LumaForge yes , saw an interview today , they are ready if other manufacturers are interested . one big main point you forgot to mentioned in this video which i heard in interview . it was about size of the files and easy workflow compared to pro res files .
this is the link of interview th-cam.com/video/AYswt0WM7gU/w-d-xo.html
The final question: Is it REAL RAW? Or not?
Good info to know.
Thanx.
D.
Thanks a lot dude
I don’t care if it’s debayered in camera, it’s much much much MUCH faster than any raw codec I used. Red raw a too damn laggy and canon raw lite is too damn laggy. I still count this as raw because of the controls I get
LumaForge we still have raw controls like iso, white balance, changing the color space, gamut, we are still changing information from the sensor. But I wouldn’t put denoising for one of the abilities. That’s not naturally found in the raw sensor, camera companies add that themselves in camera
i mean honestly what more infmromation do you need to change out of the sensor lol. We have a condec that's really amazing. Have all the benefits of raw, at least the ones that matter, plus the speed of a conventional non-raw codec. At the end of the day this is a game changer. Not even prores is this fast on my computer.
thank you for sharing
Thanks
Hope atomos adds bn_raw to inferno then my fs700 would be esternal
THANK YOU!!!!!
ProRes RAW is ProRes.
BRAW is RAW
@@LumaForge Then what is actually RAW? RAW doesnt exist since its the raw camera data, which is not digital.
you look like a youtuber i know who shoots weddings professionally
"Bruh"
You don’t need to explain it.. BM already have done.