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① Blackmagic Raw, Prores Raw (without eating)

PRORES RAW was skeptical from the development and announcement for that reason.A few years later, as the color grading work in Davinci Resolve became universal, Blackmagic Raw (BRAW) appeared, and I learned that Prores Raw's dislikes and dislikes increased, and I handled it properly.I'm a king who doesn't like eating an anti -Prores Raw and a hated king without eating (laughs).

It looks like you're skipping from the start, but there is at least no information in Japan to explain and propose the advantage of Prores Raw at the practical level.My friendship may be narrow, but I have never met someone who is actually using it.After all, the information that appears in magazines and the web is convenient because it is possible to change the color temperature and exposure, change the gamma and color space.The benefits of using this codecs have not been conveyed.Who is actually using it?Is it really good?Why can camera manufacturers say that they are PRORES RAW with a grinning face?The codec where the mystery calls a mystery is Prores Raw.

The reason why you don't support Davinci Resolve and hate the hair is the primary (basic color correction) on the premise of performing "color" work to create a rich video look in the first place.You can do it with other apps, but other apps can't be as small as Davinci Resolve.

In the first place, the appeal of Prores Raw is that even after shooting on the PRORES base, which is easy to edit, the exposure, color temperature, gamma (LUT selection), and color gamuts described above can be changed.The biggest advantage of PRORES RAW is that it can be recorded at 12 -bit color depth, like 4444.

Now that the 10 -bit internal camera is a standard, it is wonderful that 12 -bit data can be obtained with external output.However, even if you play with the data with 12 -bit color depth information in an application other than Davinci Resolve, it is difficult to feel the benefits if you can not make some of the quartifier to separate and specify (in Final Cut Pro).Whether you can play with PRO or EDIUS to some extent).

Of course, the more color depth information, the more gradation information of the color change, so the color of the gradation that can express the dynamic range defined by the camera without failure when taking a backlight or empty gradation.There is a primary advantage of becoming beautiful, but I think it is desirable that there are many margins that can be done in secondary.

It's bad, but if you make a painting on site, you don't have to change the metadata with RAW control, and if you don't do secondary, 10bit is enough.And if you don't have a secondary, the advantage of Prores Raw will be the only compensation for the failure at the time of shooting.So do you really need such a thing?In addition, in Final Cut Pro, Sony's Prores Raw data cannot change the color temperature and ISO.* Not possible at the time of test shooting.The latest updates announced at the end of May have made color temperature and ISO adjustment.

In the end, the fact that only a grading -resistant data can be manipulated with an application that cannot be graded has not felt the significance of Prores Raw.

In return, many of you may know the ease of handling of BRAW.As mentioned above, it is excellent in secondary work in Davinci Resolve, and the data is relatively light, so the load on the PC is small.It is difficult to feel the benefits of using Prores Raw again.

This time, I took the courage and recorded the first Prores Raw in my life.My answer is that "Prores Raw doesn't feel attractive, but it's good to get a 12 -bit Prores material."

▲ At Sony FX3

② Prores Raw because using Sony

▲ Can Prores Raw increase the value of FX3 and α7SⅢ?

Recently, Panasonic, Sigma, Nikon, etc. are also happy to have started BraW's support, but some manufacturers have no signs of stubborn response.Yes, Sony.Sony, who was unable to respond to the trend of compact cinema cameras and RAW videos, and once lost its shine, announced FX6 and FX3 starting with α7SⅢ.Although the resolution has settled to 4K, it specializes in AF performance and high sensitivity resistance, and it is a new place to remember that Sony was alive as an aged camera.

I also use cinema cameras such as BMPCC4K/6K, but I feel that Sony's autofocus and darkness performance are useful again.You may know some readers, but now the second Sony boom has arrived, and I love Sony's FX6 and FX3 in addition to the main machine RED, BMPCC 4K/6K.There is.

It is a theory that the camera is used properly, but I think it would be better if the performance of the cinema camera mentioned above was added to the useful function of Sony's camera.Many people may dream that Sony's camera can record BRAW, but the sign is not felt so far.Probably, as long as Blackmagic Design (hereinafter, Black Magic Design) is developing a camera, Sony will not handle BRAW.After all, if you use RAW with a Sony camera, you have to understand Prores Raw and use it.

So I decided to think positively.Prores Raw can be handled with Davinci with Prores 4444, even if it cannot be handled in Davinci.PRORES 4444 can hold 12 -bit data like Prores Raw.If it is a conversion from Prores Raw to 4444, but if there is a lot of requests during color grading in a client work, the camera can be recorded in 12bit or 16bit, but the inconvenience was around the focus.That means that by choosing Prores Raw, you can get a 12 -bit material with color grading resistance while benefiting from Sony's convenient AF.In other words, FX3 and α7SⅢ can be sublimated into cinema cameras properly.

③ About Prores Raw recording in FX3/α7SⅢ

Now, there are three things you need to record Prores Raw.Supported atomos (hereinafter referred to as Atmos) monitor recorders (Ninja V, SHOGUN, etc.), corresponding SSDs, and HDMI cables.The PRORES RAW is recommended to use an SSD with a tight transfer speed and a HDMI cable with a proper transfer speed due to the specification of the variable (variable) bit rate, although the required transfer speed is not so high.。Atmos recommends Samsung 860 Pro 1TB/2TB in terms of transfer speed, but I will tell you earlier that the 870 EVO, which was used this time, was able to shoot without any inferiority and trouble.。By the way, the cable was a genuine Atomos one and the 18Gbps was guaranteed.

In addition, there are two types of PRORES RAW, but there are two types, normal (Prores Raw) and HQ, but when photographed and compared, the amount of data increases a little, but it is an impression that the image quality does not change honestly, so it is normal.I don't think there is any problem with PRORES RAW (this time I took it with Prores Raw HQ).Also, considering that the data capacity of Prores Raw with 10bit 4: 2: 2 Prores 422HQ and 12 -bit RGB information is almost the same, Prores Raw may be a cospa excellent codec.

The recording time is a guide due to the variable bit rate as described above, but if it is a 4K/60p Prores Raw setting, it is possible to shoot with a 2TB SSD for about an hour and a half.Depending on what you shoot, the shooting time will change, but it will be a guide.FX3 and α7SⅢ can shoot 4K/60p in all-intra for a long time, and SSDs are cheaper than CFEXPRESS TYPEA required for internal recording, so Prores Raw cannot be said unconditionally.Cospa may be good in recording.

This time, I performed a test shot in the form of Ninja V in FX3.* Ninja V performs Prores Raw activation (input from HDMI free, add -on when using SDI) and updates the latest firmware (when shooting).

今回収録に使用したサムスンの870 EVO ２TB

To output the RAW signal in FX3 and α7SⅢ, setting is required on the camera side.Menu → Setup → external output → HDMI output setting, and "RAW output" in the HDMI output setting item is possible.In order to synchronize the REC button on the camera side and the REC on the Ninja side, the TimeCode output is also "in" and the HDMI control should be "in".By the way, the advantage of PRORES RAW recording in Sony's camera is that internal recording is possible at the same time.Similarly, if the "media record at the time of HDMI output" in the HDMI output setting is set to "enter", internal recording is possible.(In that case, the internal recording codecs are XAVC-S or XAVC-I).

And the gamma and color gamut when output RAW are S-LOG3/S-GAMUT3.Since it is a two-choice of CINE or S-LOG3/S-GAMUT3, you can't set a picture profile, but don't panic.The output frame rate is 24, 30, 60.By the way, it is important to note that the active hand blurring correction is invalid.

By the way, Sony's camera claims RAW output in 16bit, but Prores Raw is a 12 -bit codec, so it is only 12bit.

For FX3, a NATO rail is attached to the top without using a cage, and a top handle and monitor are attached to it.By using the NATO side handle, it is convenient to protect the HDMI port on the camera side.Furthermore, this is a recommended setup, as it is possible to focus on the side handle while holding the side handle and touch the horizontal LCD screen by touching it.

▲ FX3 and α7SⅢ are also available in internal media when output

▲ Double choice for color gamuts and gamma

▲ The output frame rate is one of 24, 30, 60 frames

▲ If it is a RAW output, read the sensor 4.2K recorded

▲ As a guide, Prores Raw can be recorded for 1.5 hours with 2TB SSD.

④ Handling in the PRORES RAW Final Cut Pro

Well, here is the main subject.Final Cut Pro and Premiere have an editing app that can handle Prores Raw, but Adobe software is rarely used except for receiving edit data from the outside, so I used Final Cut Pro this time.。For the time being, opened with Final Cut Pro, the purpose is to correct color corrections if necessary, and write it out to Prores 4444, but I tried to handle it on FINAL CUT PRO.There is a little habit, so please refer to it.

１：ライブラリの設定で色空間を「Standard」プロジェクトの設定を「Rec.709」に設定

I think that the first thing that gets caught is the color space setting to handle Prores Raw in Final Cut Pro.If you do a complete package with HDR, set it with Wide Gamut, but probably few people use HDR monitors for both master monitors and work monitors.SDR settings for both libraries and projects (Standard/REC).709 base).

２：クリップを選択し「一般」項目でLogの状態にする

The project and timeline settings are over, and when you arrange the clips, you'll be surprised that the highlights are flipping on your own.This is an automatically applied S-LOG3's log curve as a Final Cut Pro that automatically converts RAW to Log (this is difficult to understand, but converted from linear → log) to refer to the metadata at the time of shooting.This is because the S-Log3/S-GAMUT LUT is applied to the color gamut set as the camera LUT.

If the data is not clipped at the time of recording (in short, if you can shoot properly), the highlights and shadows will return even if you play with the color wheels etc.This is the display of the familiar S-LOG3/S-GAMUT3.

▲ By conversion from RAW to Log, select any one (here is S-LOG3/S-GAMUT3) and the camera LUT is used to "None"..It is a picture of S-LOG3 / S-GAMUT3 seen in 709.

By the way, if the conversion to log is "none", it will be in a linear state and the highlight side will clip violently, but this is only displayed as a linear information, so the colored wheel highlight parameter.If you lower it, the highlights will return properly.It would be interesting to create contrast from a linear state.If you add a supplement, the item of RAW → Log can also apply a gamma other than S-Log.

Previously, Prores Raw data (metadata at the time of shooting) taken with a Sony camera (metadata at the time of shooting) could not change metadata in Final Cut Pro, and what is the meaning of RAW?When I thought, the firmware update was issued at the end of May, and the color temperature could be changed from ISO.Finally, I was able to find the meaning of Prores Raw.

▲ Until now, Prores Raw, which was taken in Sony, could not change the color temperature from ISO, but atomos 10.The 65 can change the color temperature with ISO on Final Cut Pro.Select a clip and select "Settings" from the inspector information.

▲ Ninja V will update to the latest farm

https: // www.atomos.Com/Product-Support? Product = Ninja-V#fw1064ninjavtw

Try changing ISO (ISO12800, which is the base sensitivity on the high sensitivity side of the base sensitivity on the low sensitivity side)

The sensitivity rises and jumps in white

It's RAW, so if you get rid of it, the information will come back

Since RAW control can be done, I changed ISO with Raw control and checked how to get noise.The FX3 and α7SⅢ are set to 640, low-sensitivity side, 12800, which to secure a dynamic range of 15STOP + when shooting S-LOG3.In the case of internal recording, ISO10000, which switches from low sensitivity to high sensitivity side, is the most noise ISO on the low sensitivity side, but what about that?

Compared to ISO640, ISO12800, ISO10000, and RAW control, the highest value of ISO25600, but the noise pattern remains the same.I knew how noise reduction was being done in the camera.I don't know the detailed changes in the dynamic range because I have not been able to verify it honestly, but I couldn't feel that change so much.

One thing that can be said is that if the ISO6400, 8000, 10000, etc., which were difficult to use in the camera internal recording, are Prores Raw, will it be an option?That is (in the case of internal recording, changing to ISO12800 and using ND etc. will reduce noise than ISO6400 or 10000).I was able to realize that the camera sensor was output as it was.

▲ From left, ISO640, ISO12800, ISO10000, ISO25600 noise is the same.

Next, I decided to play with the color temperature.In particular, the choice at the time of shooting was not wrong, but I personally think that S-LOG3/S-GAMUT3 seems to be beautiful for Asians around 4200 to 4500 Kelvin, so I took it with 5000 kerubin.I changed it to 4500 Kelvin with RAW control and compared it with the one that was changed with Karakore.

撮影時5000ケルビンで撮影したものを4500ケルビンに変更させてみる

▲ What was tweaked with RAW

▲ What was tweaked with Karakore (item of color temperature in the wheel here)

▲ By comparison, the impression that the color temperature was changed slightly (left side) in the RAW state is refreshing.

As a result, it can do similar things even if it corresponds with Karakore, but the change in RAW data is the image data itself for the image of the image that repeats the filter that has been changed to the image.It is an impression that it will be better than adjusting it by adding it because it can be changed directly.In any case, it can be compensated if the color temperature setting failed at the time of shooting (although it may not be much).

Directly from the LOG state, adjust the contrast and saturation with the color wheel and adjust the saturation.

As a secondary, change the hue and saturation with the Hugh Saturation Curve

Furthermore, after adding a color wheel, specify a part of the color (here, the skin here) to change it, and limit the location with a shape mask so that the extra place is not selected.

I raised the gamma (middle) of the skin part and brighter

In addition, a color wheel was added, the shape was selected with the shape, the brightness was reduced, and the peripheral lighting was applied.

Log

NORMAL

Graded

In Final Cut Pro, I was able to make a look with the same approach as Davinci Resolve.To be honest, I thought, "What can you do with FINAL CUT PRO?" But it's hard to understand what the correction is affecting from here, so it's hard to understand what the correction is affected.It is the impression that it is the limit.While reviewing the Final Cut Pro, I realized that if I drove the color, it would be Davinci Resolve (both could be used).

Nevertheless, when you experience the PRORES RAW moving lightly with Final Cut Pro, Prores Raw in Final Cut Pro is like a BRAW in Davinci Resolve, and if you are a Final Cut Pro user, there are many options for Prores Raw.I feel like that.In addition, the operation was lighter and easier than editing Sony's XAVC natively.

⑤Prores Raw and XAVC-I comparison

By the way, the handling of Prores Raw in Final Cut Pro is so much that it is a FX3 (α7SⅢ) that can record simultaneously outside and internally, so let's compare the internal recording and external recorded data.

１：大きな違いは解像度とノイズ

▲ Prores Raw is sharper

▲ I expanded it to about 3 times on the 4K timeline.Prores Raw keeps details, but you can see more noise patterns in the dark.

２：外部収録と内部収録では発色が変わる

If you add the same content, the color will change between Prores Raw and XAVC-I.The contrast is that you can see the difference between the sky and the sea when you look at the skin and straw hats.Prores Raw has the impression that the contrast is slightly higher and the green is stronger.

I don't know which is correct, but is the RAW signal as accurate information?It turned out that the color match between Prores Raw and XAVC-I requires some colorkore in both rabbits and horns.

３：12bit 素材としてDaVinciで扱う

If you want to compare 12bit and 10bit, is it the contrast resistance in the quotelifier results and backlight?To test the area, I converted Prores Raw to Prores 4444, and tested it with Davinci Resolve as a 12 -bit material, not RAW.

First, conversion from Prores Raw to 4444 is performed, but since it is not cut even if it is written out one by one on the Final Cut Pro, we tried to convert it to the whole.

▲ Since RAW → Log and camera LUT can be set in the same setting as Final Cut Pro in the configuration item of Compressor, Log from RAW is set to "S-LOG3/S-GAMUT3" and the camera LUT is "None".

▲ The codec is PRORES 4444 HQ (here, HQ)

With this, you can convert multiple Prores Raw clips to Prores 4444.Since it is a premise that the RAW parameters are not controlled, the minimum condition is that they can be taken with the appropriate exposure of S-LOG3 properly.

If you have any uneasy clips, you can control RAW on Final Cut Pro and write out alone.

PRORES RAW HQ → Prores 4444 The data capacity increases more than twice

❶コントラスト調整比較

Even if the same contrast adjustment is applied, Prores 4444 HQ has a stronger contrast and slightly stronger red and green.

Prores 4444 HQ

XAVC-I

❷クオリファイアで肌の部分を選択比較

HSLキーヤーで頬の部分を選択、パラメーターを調整し、Prores 4444 HQ（12bit）、XAVC-I（10bit）両方で同じ範囲を選択できるように調整した。

Prores 4444 HQ

XAVC-I

If you drive it, you can get closer to the same result, but if you look at the parameter selection, the internal recorded 10bit is selected with a fairly smaller range, but the 12 -bit can obtain the same result by selecting a wider focus (adjustment (adjustment)).Is easy).

Prores 4444 HQ

XAVC-I

❸クオリファイアで選択比較（その２）

The same result in skin extraction due to the flat light under cloudy weather, so I will try to finish the gradation in a picture with a gradation.Select the blue gradation in the sky of this one piece, the sandy beach, the brown gradation part over the sea, and the green part of the sea (picked in the red circle).

Prores 4444 HQ（左）、XAVC-I（右）

Despite some errors, pick in the same part and do not adjust the parameters.Will the difference between the precision of the selected HSL selection and the level of gradation information be noticeable?Just like the difference between 8bit and 10bit, 10bit is said to be the bottom line of color work.Of course, adjustments can be approached without an error, but when considering the amount of work and effort, there is no more information.

Log

NORMAL

Graded

▲ I tried to play with it on purpose, but it was reasonable.

Log

NORMAL

Graded

Anyway, the 12 -bit material is easy for quorifier.Even though it is a material of Sony, you can work in color as if touching the black magic pokecine material.And because it is PRORES 4444, the decode does not put a load on the CPU, so Davinci Resolve moves more crisp than XAVC.

Thanks to the 12 -bit material, you can select the color you want to choose comfortably, and you can create your favorite look without failing.It is no exaggeration to say that using Prores Raw will increase the value of FX3 and α7SⅢ sharply.

４：まとめ

The conclusion is, as I mentioned at the beginning, "I don't find PRORES RAW attractive, but it's good to get a 12 -bit Prores material."

Honestly, I have reviewed a little bit of the native movement of Prores Raw in Final Cut Pro and a certain degree of color work, but I think it is a 12 -bit material for color work, so then I still use it with Davinci Resolve.sea ​​bream.In that case, it will not be RAW, but the conversion to Prores 4444 will be realistic.

Even if you deduct that effort, it is an advantage that "Sony's AF performance can get 12 -bit materials such as Pokecine 4K/6K".Currently, it can only be taken up to 4K/60p, but Ninja V +, which is scheduled to be released in 2021, seems to be able to record 8k/30p and 4K/120p.I don't know if Sony's camera will respond right away, but for those who have FX3 and α7SⅢ, it can be said that a small investment will get one more footage.

If you notice, I often use RED, Sony, and sometimes FUJIFILM, so can I get along with Atmos a little more?I started thinking.When I actually touched the Prores Raw and wrote this report, I felt like I liked Prores Raw a little.Finally, I want to tighten the main points together.

I hope this report helps someone.

▷ Precautions when shooting Prores Raw in Ninja V + FX3/α7SⅢ

・ Make the ninja v firmware up to date (10).After 65, the color temperature and ISO parameters can be changed in Final Cut Pro), use high -speed SSDs (there is no doubt in 870 EVO), and use an HDMI cable that can maintain 18Gbps (signal is the signal. It is not interrupted) ・ The RAW signal is output for the first time by setting the RAW output to the external output setting. The color space is S-GAMUT, the gamma is limited to S-Log.-Activate transfusion correction is invalid, the frame rate that can be selected when output is available is 24/30/60, 120fps cannot be photographed (Ninja V + to be released in 2021). ) ・ Even if the camera claims to be 16 -bit output, Prores Raw is a 12 -bit codec, so the result is only 12 -bit (although 16 -bit linear RAW signals are converted to 12 -bit logfile. Because it is recorded, it seems that there is no inferiority to the 16 -bit linear record as long as the human can be visible).

▷ FX3/α7SⅢProres Raw's merit

・ It becomes a cinema camera that can be recorded by 12-bit that can be recorded by using Sony's AF performance.-The camera can be recorded simultaneously (XAVC-I or XAVC-S two-person choice) ・ 16: 9 sensor all pixels.It is recorded at 4264 × 2408 resolution, so the resolution is slightly higher than in the camera recorded (resolution of about 24%up) * The image resolution is set to turn on the recording settings on the Ninja V side.It is recorded in 16: 9, and it is possible to neatly down convert. ・ Prores Raw HQ is twice as much data amount as Prores Raw, but it looks good in Prores Raw because it does not change much.Also, the data capacity is not much different from PRORES 422HQ (10bit 4: 2: 2), so the 12 -bit full RGB Prores Raw may be good.

* The test is the result of my environment and does not guarantee the operation in all environments.

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