Well, maybe not in addition. That would make for a very expensive, if awesome, dual-wielding setup. But you now have a choice of mounts! Note that these cameras are exactly the same — the only difference is the mount.
So keep that in mind! Something that is different about these cameras, though, is their firmware. Like the finer prints of life? And speaking of fine print, there is a caveat to these announcements…. Still pretty great, just not the full compatibility we were expecting. Atomos says to expect full compatibility in a future firmware release.
Taking in 5. However, this has been slowly spreading throughout the industry. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Our mission at BorrowLenses is to advance the photographic and cinematic dreams of pros and novices by providing superior, cutting-edge gear in an affordable way.
Rent, shoot, return. You choose what you want, when you want it, and for how long you want to rent it for. Gear arrives fully tested and cleaned in laser-cut foam with a return label for an easy experience. Welcome to our blog! And speaking of fine print, there is a caveat to these announcements… Atomos 5. Since we had such a short amount of time to write, shoot, edit, and deliver the film, the shoot was very run-and-gun and the camera was shoulder-mounted the entire shoot.
The new All-I codec definitely helped make the image cleaner in shots with lots of hand-held camera movement. The following two tabs change content below.
Bio Latest Posts. Alexandria Huff. Alexandria Huff's photography and lighting tutorials can be found on px and her blog. See her lighting tutorials here. She learned about lighting and teaching while modeling for photographers such as Joe McNally and has since gone on to teach lighting workshops of her own in San Francisco.
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Who We Are Our mission at BorrowLenses is to advance the photographic and cinematic dreams of pros and novices by providing superior, cutting-edge gear in an affordable way.A decade or so ago when ProRes first hit the scene, it was big news. Post-houses that were used to working with cumbersome Uncompressed HD files were now able to work with a format that was visually identical, but offered smaller file sizes and far more efficient editing.
Things have changed over the years though, and RAW recording — which was once a luxury reserved only for the highest end productions — is now common even on prosumer level gear. RAW poses many of the same issues that Uncompressed HD did all those years ago — namely huge files and clunky post-production workflows. The basic idea behind the format is to allow filmmakers to maintain small file sizes without having to sacrifice the ability to color grade using RAW.
This is truly a win-win, as many filmmakers have reverted back to shooting compressed formats on many projects, as RAW can often be overkill for smaller jobs. But ProRes RAW will allow filmmakers to keep their workflow exactly the same as if they were shooting compressed, but will open the door for the extremely flexible color grading RAW is known for. When you look at the graph below, which shows relative file sizes next to Uncompressed bit and classic ProRes flavors, things start to look really impressive —.
The reason being, Apple has the ability and I would assume the intention to standardize ProRes RAW across many camera and editing platforms. So if ProRes RAW takes off the same way that the original ProRes lineup did, it will make a huge impact on both the production and post sides of the industry.
For one, it may be the thing that finally brings RAW recording to DSLRs and other small form factor cameras, which is something many filmmakers would flip out over. After all these years though, no one ever really came out on top.
At least in my opinion…. The high end pros reverted back to Avid, unsurprisingly, and then Blackmagic came along with DaVinci Resolve for free, which shook things up even more. Ultimately, this left the market very fragmented. From my vantage point, more and more filmmakers have been coming over to team FCP X over the years, often after feeling frustrated with Premiere Pro.
Many of them end up sticking with FCP X after spending some time with it, and seeing just how robust, stable, and efficient Final Cut has actually become. But FCP X could still benefit massively for two reasons —.
For years people were afraid to touch Apple with a ten foot pole as it felt they had abandoned the pro market and were simply going after iPhone sales. I think Apple simply had a different vision for where the pro market was heading smaller productions, fewer traditional post-housesand wanted to make things more accessible. I believe this will be a sign — along with all the incredible FCP X updates over the past year or two — that they mean business.
My playback speed on an identical. How could it not? Really what this means, potentially, is trouble for Adobe. Yes, it picked up a ton of ex-FCP 7 users, but for the reasons already stated, it never fully took over. Maybe that will never happen again.
We may never see another time where a singular editing platform dominates the market like Final Cut Classic once did. What do you think? Noam Kroll is an award-winning Los Angeles based filmmaker, and the founder of the boutique production house, Creative Rebellion. His work can be seen at international film festivals, on network television, and in various publications across the globe.
Follow Noam on TwitterInstagram and Facebook for more content like this! Definitely — RAW is something that is often missed when switching back to compressed formats, but hopefully ProRes RAW will help bring it back into your pipeline! Interesting point of view! I would love that.Good news - the GH5s already gives you an option to shoot megabit all-I in bit with vlog-l.
The real solution is to buy the Blackmagic 4k Pocket camera when it comes out hopefully in September. Kinefity, blackmagic, Panasonic, z cam. All using the same Sony starvis sensor. Spect nothing from Panasonic.
Apple brings ProRes RAW support to Windows video editors
It is what it is. I'll look forward to seeing the results of your testing of vlog all-i vs kinefinity raw! I will be happy to be proven wrong if kinefinity raw is of much higher quality than panasonic's all-i! Additionally BMD has in recent years done much much better at getting closer to hitting their target shipment dates for new cameras. What do we know about the color gamut of these two forthcoming cameras?
Is it strictly REC? If so, no way to produce HDR videos? IronFilm - after a few minutes further searching, this was all i could come up with: 11 seconds and running at 12fps. I already put my pre-order in.
I don't think anybody is going to be disappointed with the picture quality. The above clip seems a little soft compared to what I saw. If you find the internal codec s on the camera insufficient for color keying, you might want to experiment with external output to a ninja inferno.
IMHO, either GH6 is going to be the next intermediate like a GH3 between real models, or it is going to be a big surprise for everyone. There is some interesting behavior around the camera scene in Tokyo at the moment.
I think each company has it's eyes on the prize for the next big round. Will be very interesting to see how close in step they are with each other. Curious what added benefit you get from going to an external recorder with GH5? Doesn't it already offer 10bit internally? Is more really needed to pull a clean key? Seems like lighting would make a bigger difference than 12bit RAW.
Depending on the external recorder you use, you could record with a lossless codec cinemadng or prores probably not a huge difference from the internal all-i, but I don't do a lot of keying so maybe it's a bigger difference than I expectbut also 4kp60 is only 8-bit internally and you can record it as bit with an external recorder. Sign In Register as New User. Make sure to join PV on Telegram or Facebook!
Perfect to keep up with community on your smartphone. Sensor has little to do with it. IronFilm June Apple states the beta software will playback in Compatible Applications, listing the below Adobe programs:. Apple announced ProRes RAW some two years ago now, with the roll-out for compatibility being a little…. Aside from the odd DJI drone, little other camera manufacture has natively taken the workflow on. Atomos has been the frontier for the format, offering a handful of recorders compatible with the ProRes RAW.
But what it does do store metadata of camera information whilst expand the bandwidth of your recording. Tim Fok.
Author of this post: Tim Fok. This is merely citing what Apple is reporting, playback is now in beta, for Windows compatible with the listed applications. Oh please. Please remove this glaringly false assertion. Are you confusing the two? So its not possible to change values of white balance and exposure index? At least from the information I have gathered. You can adjust all the parameters they are just laid out in the way that Final Cut Pro has it laid out. Who knows how adobe will incorporate it into Premiere Pro.
Even though am happy with BRAW, it would be really nice if Prores Raw has the same flexibilty also for those that are going to be using it. The article is wrong. The sentence is just a small insert explaining the implementation of ProRes RAW is currently different to other raw workflows. Apologies for lack of clarity. The sentence you seem to be getting very worked up about is merely explaining that users that are familiar with a particular raw workflow will have a different experience with ProRes RAW.
What more can one ask for? Also the metadata part, FCPX is not showing any info fields in their info tab that has teh lens info. Even though the info is there.
Not true either. Atomos and the camera manufacturers have established a raw data pipeline over HDMI. Nothing is baked in. The only thing coming over with pixel data is metadata. ProRes Raw has no separate metadata controls at this point. That does not mean the metadata is not there.
Apple ProRes RAW Beta Release For Windows
Separate controls might be coming in the future. In FCPX, wb and level adjustments are done with the normal color controls. But you do notice there is much more information to play with vs a codec. As for Braw. It looks nice, performs on par with ProRes Raw and works great.Thanks to a combination of more affordable cinema cameras and increasingly powerful software, professional video producers are able to net some impressive results.
One major part of the equation for achieving high-quality footage is shooting in a RAW codec, which creates lossless files that are suitable for color correction and other enhancements. Apple's ProRes RAW codec isn't a very popular choice among shooters, but that may change now that the format isn't exclusive to Apple's computers. This means they won't have to devote time or computing power to transcoding the files -- they can simply load them into their editing suite and get to work.
Transcoding media -- especially big files like those that use RAW codecs -- can take a lot of time and resources. When a videographer shoots in one format, but the editor has to convert the footage to another, the workflow screeches to a halt. Apple's new software will hopefully provide a fast track for teams that use both Macs and PCs.
That said, pros -- who work on short deadlines and are thus rather cautious about changing their workflows -- may shy away from using it until it's proven to be reliable. Cinema cameras and typically provide several RAW codec options, including first-party options. These files are then sent to a color corrector or editor for refinements and assembly.
ProRes RAW was off to a rough start when it launched a few years ago. It wasn't supported by many cameras, capture devices or editing suites. However, that seems to be changing slowly. Buyer's Guide. Log in. Sign up. The best universal remote control. Stadia update adds 5. The Camera Guide. What to buy, and how to get the most from it. See all articles. Latest in Gear. Image credit:. Sponsored Links. Artal85 via Getty Images.
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All products recommended by Engadget are selected by our editorial team, independent of our parent company. Some of our stories include affiliate links. If you buy something through one of these links, we may earn an affiliate commission. Riot responds to concerns about 'Valorant's' new anti-cheat driver. From around the web. Page 1 Page 1 ear icon eye icon Fill 23 text file vr.By interceptorAugust 13, In: Cameras. I have spent some time decomposing the codecs and I have had a real bad surprise with the Mbps 10 bit codec.
I was hoping this to be an equivalent to Prores but it is really a poor codec implementation and I am not sure the mbps all intra is good enough. I am not suggesting anything however the FHD formats are all almost equivalent in terms of image quality and mbps is higher than Prores HQ so if you wanted to shoot LOG and do serious grading this codec will hold a lot of beating before breaking down.
Having said that Sony codecs are the same with only I and P frames I was expecting more from Panasonic. Yet when he made a video about the GH5 after firmware update v2.
Despite the poor specs of the mbps LongGOP codec it does hold up very well in grading. Mainly I think due to it's 10bits which make the luma channel near immune to banding unless you apply insane curves or tonal shifts and bends. Given that most people will expose and color balance near optimally and not treat it as RAW the inadequacies you describe are purely academic and do not translate into real world problems.
Until other mainstream manufacturers adopt 10bit 4. I have read that blog and the assumptions are totally incorrect the guys does not understand the difference between all intra and motion interpolation it is just a coincidence he is correct.
I've heard many dispute his claims as well. Like I said, that technical stuff's way over my head! Nice analysis. I'm glad you actually delve into the numbers and explain the different types of encoding! However, it would be better if you included files straight out of camera and ran analysis on them, both qualitative and quantitative. Since Prores and AVC intra use different algorithms, simply comparing data rates is not an accurate representation of their fidelity.
Also, your title is meaningless unless you specify what the 10 bit internal is not good enough for. Is the 10 bit theoretically as good as Prores? Maybe--let's run some tests and see. We need real world tests again. Almost certainly.
Is it good enough for anything that we used to use GH3 and GH4's for? Of course! Prores avid avc intra xavc intra are pretty much the same. The difference comes from spatial compressions in the specific the 10 bit codecs of the GH5 at 4K are weak. Do you have actual footage to share shot with the GH5, interceptor?Blackmagic have released the first files straight off the Pocket Cinema Camera 4K, for grading and evaluation.
Head over to the Blackmagic website here to download material from six different shoots by four professional DPs.
This is going to be an extremely popular camera. By comparison the largest Panasonic GH5 topic has k after 1 year, 9 months. Larger screen to focus off. I hope however to see compatibility with Super 16mm lenses maintained in a crop mode of some kind, once the final camera is released and an anamorphic mode.
Internal media is CFast 2. Motion cadence appears to be very filmic. I like how the camera moves in 24p. I cannot see myself using the 60p for anything other than lovely 4K slow-mo, but it will be a good fit for broadcast. Detail in 4K appears excellent.
The camera will not need a third party moire filter. The demo clips show incredible levels of detail and a robustness in the shadows both in ProRes as well as raw that reminds me of why I loved the old BMCC and Pocket Cinema Camera so much in low light. This time you still get the creamy shadows without macro blocking or a hint of compression, but you can push the ISO far more this time. Unlike H. The transition to the blacks is silky smooth, as is the highlight roll off.
Comment on the forum Blackmagic have released the first files straight off the Pocket Cinema Camera 4K, for grading and evaluation. How does the image stack up? I really do want to get my hands on one to try out. Anyone got a spare?