Is ProRes Raw worth it? Atomos Ninja V ProRes RAW VS Internal Recording on the Sony a7s III

what’s excellent men my name is alek nikiti and also you’re viewing now limits on as well as today we evaluate as well as contrast the inside tape-recorded footage of the a7s 3 with apple prores 422 as well as apple prores raw 12 bit to the atomos ninja 5. i’ll show you the side by sides outline the advantages of using prores codec and quirks and advantages of making use of the raw due to the fact that youtube’s compression is really solid i uploaded this 4k video data to the cloud service so after you watch this video clip right here you can download and install the file and likewise some example video footage making use of the web link in the description listed below allowed’s begin with internal 10 bit 42 video footage compared with prores 422 from atomos ninja 5 recorder by the method i have two thorough videos regarding this recorder as well as screen on my network examine him out if you have an interest in it the video clips were recorded concurrently onto the sd uhs 2 card as well as to the atomos so at the left you see the ungraded internally recorded video on the best prores 42 and down listed below the luma scope so you can see the exposure values immediately after applying this exact same precise shade modifications we see that the prores footage is a little much less flat and also has some more comparison as well as saturation which is great in my opinion due to the fact that we maintain the dynamic range however we need to put less stress and anxiety and also pressure by pressing and also drawing the photo less right here is the distinction in the setups to match out the images fairly very closely do not hesitate to pause the video to pixel peep or to review the setups carefully allow’s see the difference in intensity by focusing to 2 thousand percent

feels like inner recording has a little even more noise reduction used yet the distinction is minimal to make the lighting scenario a bit tougher let’s throw in a red and also blue led lights directed at the wall surface so they will light the white wall erratically and also after using a severe grate yeah maybe no one does this this far yet i see no difference in colors or any type of bending problems now allow’s adjustment the white equilibrium for hot 9000 kelvins and also repair it in both pictures to my eyes there is no difference i made inner video footage a touch darker so you can see the distinction in gliding contrast the same benefit 3000 kelvin really great white equilibrium it corrects completely fine on both keystone iso 12 800 looks quite great to me no concerns there the image is extremely clean however the professional res is a touch sharper and also a little noisier as well 3200 iso rests in between 2 indigenous iso 640 and also 12800 but looks extremely usable sound is fine and also practically filmic like i’m alright to utilize 3200 yet after that i’ll change to keystone iso 12800 keeping the isos in between and now the fun component checking out the 8 bit 4 to 0 in video camera versus 10 little bit 42 progression video straightly we see the solid color bending and if we consider the rgb parade extent we’ll see the steps in the rgb networks certainly nobody qualities such as this but i made it to make the difference extra obvious the eco-friendly fallen leaves are struggling as well as we see the blocks of color dance all around so allow’s speak about raw yes it’s a 16 little bit raw linear signal which is

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transformed to 12 bit port 3 as gamma 3 cine without shedding quality as well as it’s essentially the same thing i’ll leave a link in the description listed below for my fellow youtube maker where he is describing this thing carefully you have 2425 3050 and 60p as framework rate options no 100p or 120p or any kind of smq modes though you need to pick the framework rate in a separate food selection for raw outcome setups not in the typical food selection the top quality will certainly be 4.2 k which is 2 million pixels greater than the normal uhd yet i can barely see the difference to be honest also in the 4.2 custom timeline among the largest traits is that the staying time is revealed improperly below are the numbers for various compression prices in regular prores for one terabyte spare ssd as well as the prores raw has virtually the very same bitrate as prores hq yet it reveals a lot less and when you videotape it really counts the secs around 3 times slower so anticipate around 2 as well as a half hrs from one terabyte ssd ideally atoms will fix this in the future firmware a few other cautions you can not change the illumination of your video camera screen or viewfinder or alter the color of it steadyshot energetic will be unavailable as well as additionally the raw clip does not include the gyroscopic data for stimulant browse software program stablizing you can still pick whether you record 10-bit or 8-bit internal back-up video but it can be tape-recorded only in s-log 3 so adhere to the 10-bit please when raw recording is on you can tape-record inside only in x-abc as 4k or xavc-si 4k codex as i claimed the smq is inaccessible and also you’ll see the indicator not raw input on your ninja 5. The electronic camera will certainly show that you shoot in photo profile off and the photo profile setting and also the creative appearance setup are not available however you must know that you’ll be still tape-recording just in s log 3 whatever’s created on the screen now let’s delve into final cut as well as go to extensive settings right below after that click raw to secure conversion and also pick the recognized criterion additionally you can select a whole lot to be used yet if you are overexposing a picture for 1 or 2 stops for far better noise performance the picture will be blown out so i set it to none and job like if it was a regular s-lock 3 footage if you leave the raw conversion at none you’ll obtain extremely blown out photo but when you draw it down with your shade improvement devices you bring the exposure back it looks nice and vibrant and not overexposed whatsoever as well as some people on the net claim that the raw is that effective that it can recover that several emphasize details however it’s not true they simply do not convert the raw signal effectively as well as they assume that it’s some sort of magic raw has exactly the exact same vibrant range as the inner aslock 3 recording it’s a restriction of a camera and a sensing unit not the format and i’ll show you that in a little bit in my too much exposure test yet the real advantage of raw is the amount of color details take a look at the steps in the blue channel in 10-bit footage on the scope and the even and also smooth color slope in 12-bit raw below is what i was speaking about when said concerning precisely the exact same vibrant variety it’s identical with the interior recording but raw has no in-camera noise decrease applied that is why the photo is much noisier and a little bit sharper also the very same makes an application for in-camera lens distortion control in raw it’s gone what i see is that the raw has much better gradients yet a lot more noise the 4.2 k resolution shows very tiny

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differences in my opinion it’s simply a little larger as well as possibly a tad sharper yet it’s because of the lack of denoising i hunch in severe grading checks the red as well as blue slopes are practically identical with in-camera 10-bit video footage yet raw has tons much more sound and colorful or chroma sound when you expose correctly at plus 1.7 or 2 ev the iso 25600 is rather tidy on both photos as well as sorry for a piece of dust on the lens as well as the noise in raw when subjected effectively is not a concern however when you underexpose it’s a different tale the tinted noise of raw is simply unusable when underexposing as well as when you do overexpose entirely the data is unrecoverable for sure so keep your highlights around 95 wrath as well as make use of the false color on your ninja v to monitor it so let’s conclude guys the reality that we have a lot of different options starting from three various codecs with different compressions inside prores alternatives with ninja 5 and even prores raw it’s awesome due to the fact that everyone will certainly pick the option for his/her demands or will blend as well as match various choices like i will certainly prores raw is still being established we still do not have correct controls for white equilibrium and iso to pick after the video footage is being aimed for currently it’s even more of a really versatile and rather loud aslock 3 12 little bit video footage yet it absolutely will create in time and maybe we’ll see some major renovations i was amazed by the work of in-camera genoise system it shows piece de resistance taking care of the chroma sound however keeping good detail and also intensity so below are my ideas on whether you should utilize prores or professional as well with the sony a7s 3. You can absolutely live without the ninja 5 as well as obtain superior 10 little bit performance even utilizing sduhs 2 card in 95 percent of shooting circumstances yet atomos ninja 5 is not just a recorder but additionally a terrific display as well as an assistant with lots of excellent features as well as making use of ssd media is in fact less expensive than acquiring v90 sd cards for the same capability additionally professional res modifies like butter on practically any kind of computer as well as also xav csi megabits a 2nd 4k 60 is a hard thing to collaborate with for some equipments so for backup you can utilize the interior memory card and also for very easy and also much faster workflow you simply plug right into your computer system the ssd from ninja and also promptly work off of it with prores documents i would certainly use prores lt or progress 42 for many of my shoots and if i require to pack light as well as compact i’m perfectly fine with shooting inside plus proxies and for well-lit as well as hard in terms of color and slopes setting prores raw might be an excellent option as well as the good idea is that you can constantly have backup interior recording with the in-camera noise decrease applied so you’ll have two choices in post when shooting raw and internally simultaneously so it depends on you individuals which style will certainly be working wonderful for you and we’re relocating on to the quote of the episode every choice you make has an end result zig ziglar it’s fantastic that we do have this choice right here and the concern of the episode will you be shooting in raw with your sony a7s3 share your ideas in the comment area below as well as if you did like what you simply saw please register for the network as well as struck the notices bell and also likes most likely i’ll be very appreciating these guys many thanks a lot for viewing as well as see you in the following take care bye

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