Why Atomos ProRes RAW Recording for Nikon Z 7 and Z 6 Could Change our Industry

January 14th, 2019
Why Atomos ProRes RAW Recording for Nikon Z 7 and Z 6 Could Change our Industry

A seemingly small announcement by Atomos and Nikon during this years CES show could generate enough impact to affect future roadmaps of other mirrorless camera manufacturers: The Nikon Z 6 and Z 7 will be able to output a RAW video stream to the Atomos Ninja V which will record that stream as high-quality ProRes RAW.

ProRes RAW

That’s the news and the development is still in progress so it’s just that: an announcement. Time to move on then? Not so fast: This collaboration marks the point in time when RAW recording (internal or external) in a mirrorless camera has become a de facto standard! Filmmakers always strive for maximum quality. SD, HD, 4K.. 8K? 8-bit, 10-bit, 12-bit.. 16-bit? Sure, bigger is better. Why should one compromise on quality if the other make and model has it? Do you always need RAW? Of course not but isn’t it nice to have it handy if you need it? Yes, sir!

Atomos Ninja V & Nikon Z: ProRes RAW

The Blackmagic Design Pocket Cinema Camera 4k (BMPCC4K) does record RAW internally or externally already (cDNG now, Blackmagic RAW later). Even the original BMPCC did cDNG but both cameras sport comparably small sensors. The Nikon Z 6 and Z 7 feature full frame sensors. In order to accurately judge critical focus, an external monitor seems appropriate. If you happen to choose the Atomos Ninja V monitor/recorder you end up with this: A full-frame camera which records ProRes RAW, in a nearly pocket-sized package.

ProRes RAW

For Nikon this business move should have been relatively straightforward: They don’t have a cinema line of cameras they have to protect. They are free to boost the still fresh Z line of mirrorless cameras as far as possible. Things are different with Canon, Panasonic or Blackmagic. But since this Nikon/Atomos collaboration is happening, the other manufacturers will have to make a move. Let’s see what the upcoming Panasonic S1(R) has up its sleeve. The EVA1 does sport RAW recording for quite some time now so Panasonic knows how to do it. Canon has Cinema RAW light in their C200 cameras, so plenty of know-how there. Will they do it? That’s the big question here.

How Does it Work?

The Nikon Z 7 or Z 6 camera outputs a stream of RAW data to the Ninja V using a 4K HDMI cable. Since RAW data just contains the unprocessed sensor read out, it’s all about transfer speeds and not so much about processing horsepower. Incoming data is repacked into the ProRes RAW format by the Ninja V. From there the resulting video stream is recorded to the removable SSD drive just as any other video stream.

ProRes RAW

The heavy lifting of debayering and processing is outsourced to the editing computer, which usually has a lot of processing power both in terms of CPU and GPU. Furthermore, ProRes RAW helps to keep file sizes reasonable – uncompressed RAW results in lots of SSDs in no time.

What’s up, 2019?

A mirrorless camera with a full-frame sensor, recording RAW? Back in the days, Magic Lantern laid the foundation with their Canon 5D mk.II hack, enabling RAW recording. It wasn’t perfect but it worked (still does). Now, in 2019, RAW recording becomes mainstream. Other manufacturers will have a hard time explaining why any of their upcoming cameras won’t have RAW capabilities and as always this competitive pressure is to the benefit of us, the indie filmmaking community. Sure, we don’t need every feature all the time but for me personally, RAW is more important than –let’s say– 8K. Quality over quantity (of pixels).

ProRes RAW

RAW for the masses is a welcomed improvement, at least to me. I’m very curious how all this will impact the higher-end market of (proper) cinema cameras. Features like an interchangeable lens mount, internal ND filters, modular design or a variety of powering options are still a thing for bigger and more expensive cameras and sometimes there are very good reasons not to use a tiny mirrorless camera. However, the gap becomes smaller and that’s probably a good thing! Protecting their higher end models and still deliver satisfying (smaller) mirrorless cameras is a huge challenge for most manufacturers, let’s hope they get it right.

Prices will drop, higher end features will trickle down the line, the possibilities will grow. We still have to wait for that perfect camera because there is no such thing as the perfect camera but we’re heading in the right direction, I’m sure.

links: Atomos | Nikon

What do you think? How does RAW in every mirrorless camera sound to you? Share your thoughts in the comments below!

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Alvaro
Alvaro
Guest
April 29th, 2019

The current CEO did an interview on ProResRAW vs BRAW and mentioned his imaginary “ allied forces “ and called competitors Nazis. Atomos needs proper professionalism rather than jumpy and jittery Jeromy lmao. What a joke. At this rate Atomos is stifling the adoption of Apple’s ProResRAW and its we the consumer who pay. So much for Atomos wanting the industry to shift to RAW entirely.

 antoine amanieux
antoine amanieux
Member
March 15th, 2019

what i don’t understand is why don’t nikon output the raw data on usb 3.0 instead of hdmi so we can avoid buying the atomos recorder and just plug a external usb 3.0 ssd like it is done on bmpcc4k ? nikon dont care if we buy a $800 ninja V or a $100 external ssd, it will even boost their camera sales as the extra investment is only $100

 antoine amanieux
antoine amanieux
Member
March 15th, 2019

will z7 output full sensor readout 8.2k raw ? as 45mpix(bayer)*12bit*24fps is only requiring 13Gpbs bandwith and hdmi 2.0 used as a data bus max data throughput is 18Gbps.

 Stuart Stu
Stuart Stu
Member
January 18th, 2019

Well, I think one thing is clear: R.I.P. Black Magic “Raw”! It was boring and useless while it lasted.

Nikon being the last and ONLY company that could have ever been even the slightest bit interested in adapting Black Magic’s WANNBE RAW. They didn’t, so… game over. Sorry! Clearly even Nikon is smart enough to know the difference between real and fake. Good for them. And once Apple’s agreement with AtomOS is fulfilled and they open up licensing of PR raw… that will be the definitive coffin nail for BRAW and it will be relegated, at best, to their own cameras. Therefore not be of any interest to anyone. Especially since it isn’t even raw to begin with and is clearly inferior to everything else (real) out there!

Sucks when you (BMD) shoot something from the hip half-witted just to spite Apple and your arch nemesis AtomOS, being (Grant) petty and pouty because you weren’t invited to play with the big guys. Like a kicking, screaming little baby. Good luck with that.

This IS huge, yes. Apple (with AtomOS help… credit where credit is due) will change the landscape of an industry AGAIN and ProRes will only further solidify it’s position as the superior industry standard.

Joe Knows
Joe Knows
Guest
January 16th, 2019

Anyone who says ProRes raw is not real raw doesn’t know what they are talking about.

Johan Perjus
Guest
January 17th, 2019
Reply to  Joe Knows

Please develop your argument (being sincere).

Facts Ahoy
Facts Ahoy
Guest
January 17th, 2019
Reply to  Johan Perjus
 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  Joe Knows

Bravo. Plain and simple.

Jeremy G
Guest
January 15th, 2019

This is great news for future innovations. I’d love to see Fujifilm X-T3 add BRAW or Apple open up PRW to Resolve.

 Kerrin Sheldon
Kerrin Sheldon
Member
January 15th, 2019

Really feels like the manufacturer that includes a few different functions to their cameras first will be a big winner. ProRes Raw or Black Magic Raw or Canon’s CRM was one of those features – I’d definitely prefer BM Raw since there are more compression options. HDMI is great, but internal would be a huge game changer as well. I think we’ll see Panasonic do this first (probably as a way to keep the GH(6) line alive after their full frame launch).

The others are some form of XLRs (Panasonic does this well, as does Sony) and, for me the BIG one: internal variable ND. THAT is the feature that will really shake up the mirrorless competition. The EOS R is definitely not the best option for filmmakers (especially once the Panasonic S1 gets released), but that variable ND adapter makes it a very tempting system for their next round of bodies. The only problem with it is it means you are stuck with EF lenses and can’t use any of the amazing RF lenses.

I do feel we will see an internal ND soon – still holding out hope for the Panasonic S1, but seems Olympus might get there first.

But these new raw codecs are going to be the standard pretty quickly, I’d say. Much rather use BM Raw at 8:1 or 12:1 than any ProRes or H254/265.

Facts Ahoy
Facts Ahoy
Guest
January 17th, 2019
Reply to  Kerrin Sheldon

The integrity of BM “raw” has been called into question, for apparently baking in choices. I admit that I’m not going to take the time to search for the articles in question, but that was the take-away.

The problem with internal raw is throughput and heat dissipation. If you’ve used the Ninjas, you know that these things have fans for a reason, as do large cameras. It’s unlikely that this will be crammed into a small camera any time soon.

It looks like Apple is finally waking up to the need for multi-platform support. ProRes is a good codec, so I would expect ProRes Raw to be a solid choice. Too bad we can’t get standardization on any kind of raw; it’s just ridiculous at this point.

 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  Facts Ahoy

It hasn’t been “called into question”, but rather it’s a well known FACT that BRAW *IS NOT RAW*, period. Nikon was simply smart enough to go with the real thing.

And as far as your “throughput and heat dissipation” theory is concerned… NOT! Never mind that encoding to ProRes raw is in NO WAY more demanding than encoding to any other flavor of ProRes. It’s all about LICENSING, nothing else. Apple isn’t licensing PR raw to anyone but AtomOS yet(!) and Nikon I’m sure is fine with saving the ongoing licensing fees either way! Something AtomOS already has. It’s a win-win. But once Apple DOES open up licensing I wouldn’t even be surprised if it wasn’t just included in existing ProRes licenses! The only thing that will remain, is that people encoding to PR raw will have to run it by Apple for QC first before going public, as it already is the case with any other ProRes encoding.

Bill Rosendahl
Bill Rosendahl
Guest
January 18th, 2019
Reply to  Stuart Stu

Dude, what’s the matter with you? Give it a rest.

“And as far as your “throughput and heat dissipation” theory is concerned… NOT! Never mind that encoding to ProRes raw is in NO WAY more demanding than encoding to any other flavor of ProRes”

Huh, notice that SLRs aren’t encoding to THOSE flavors or ProRes either?

WHOOPSIE! You just undermined your own argument and supported the other guy’s.

 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  Bill Rosendahl

??… what a sad attempt at shifting the goalposts after exposing clueless DRIVEL! Maybe work on your reading comprehension there, Billy-boy! Never ONCE did the term “DSLR” come up! And yeah, we’ll just ignore that even the FIRST Black Magic Pocket Cam and others with similar formfactors (i.e. *NO FAN*) record ProRes in various flavors. Never mind the endless products such as VIDEO ASSISTS that do the same!

WHOOPSIE! Just got PWND as the clueless troll that you are! ??

Sam Tomlinson
Guest
January 15th, 2019

I don’t get this, if it’s raw and it’s 4K from those sensors there has to be a heavy crop or a lot of pixel binning?

 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  Sam Tomlinson

huh? Wha? So, Einstein, why should it be ANY different than what they’re recording in any other format, on or off camera?? Maybe know what you’re talking about BEFORE you post?

Chick Walker
Chick Walker
Guest
January 18th, 2019
Reply to  Stuart Stu

You’re the one who doesn’t know what he’s talking about. His question is perfectly logical. Raw records the data readout at each photosite, without deBayering. If that were done with these cameras, deBayering would render an image bigger than 4K. So the question is how the raw values are being averaged into a smaller number of them. Now one could theoretically record the massive data payload of the Z7’s raw frames and rely on the playback codec to not only deBayer but downsample, but there’s no way they’re pushing that much data over HDMI.

And you asked how is that different from other formats… Other formats record information as color values per pixel, and thus those pixels can be aggregated from any number of neighboring pixels.

Take a break and inform yourself, and stop berating other posters.

 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  Chick Walker

Ever hear of this thing called WHITE PAPER?! Give it a shot sometime, Mr. You’re the one who doesn’t know what he’s talking about. ?

But then… what EXACTLY is the so exorbitant data rate of raw, hm?? Do tell! Since you are so sure of yourself and say there’s NO WAY they’re pushing that much data, you obviously must know HOW MUCH data that is? (spoiler: NOT)

Oh, but then as the obvious SUPER specialist you’re saying the EVA1 couldn’t POSSIBLY be recording/outputting true 5.7K either, hm??

But sure! If HDMI can transport up to 4K 3D 50/60p in 14 or 16bit, there is NO WAY that it could POSSIBLY transport raw data!! Makes TOTAL sense!

??‍♂️

Pablo
Pablo
Guest
January 15th, 2019

I would have loved they’d go with Blackmagic Raw, but I guess it’s better than no raw at all.

 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  Pablo

Maybe they, unlike you, know that BRAW *IS NOT RAW* and rather went with the real thing?

Member
January 18th, 2019
Reply to  Stuart Stu

BRAW allows for post white balance while it is baked in ProRes RAW ;)

Facts
Facts
Guest
January 18th, 2019
Reply to  Mathias Häcki

Why are you pushing this dumb lie that white balance is baked into ProRes Raw? Are you some kind of BlackMagic shill? The ProRes Raw whitepaper is freely available, so anyone can debunk your stupid FUD: https://www.apple.com/final-cut-pro/docs/Apple_ProRes_RAW_White_Paper.pdf

 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  Mathias Häcki

Wow. You sure do INSIST on proving that you have ZERO clue what you’re talking about, hm? Well… you’re doing really REALLY well.

You’re just another one of those pathetic little blowhard NOOBS that thinks that “raw” is defined by some extra special metadata panel with fun little pop-ups and colorful sliders with “ISO” and “TEMP” written on them, wheeeeee… I’m getting a little tech-talk-stiffy just picturing them… ignorance is bliss!!

Too painfully IGNORANT to even know that those parameters are nothing more than just PRESETS for values that can be achieved and modified in a plethora of other ways. Oh… if you have ANY clue what you’re doing that is. Which, I understand, is the BIG catch for you. Not everyone needs colorful labeled sliders and preset pop-ups to get things done, as clueless boobs such as yourself do.

SportsProducer
SportsProducer
Guest
January 15th, 2019

Too bad they didn’t go with DNxHD for bullet-proof compatibility. I guess no one told Atomos that ProRes is garbage nowadays. Much of our archived footage that was recorded with ProRes or Quicktime encoding is mysteriously no longer compatible with our Macs running the current OS. It used to work, but now cannot be imported into Premiere, or Media encoder, and it won’t open through Mac OS either. It can only be played in third-party video players like VLC.

Funny thing is that the same issue is not present on our Windows workstations. No problems using the built-in video player, and everything imports into Premiere just fine. We have had to transcode our Quicktime and ProRes footage to regain the ability to edit our archived games on our Macs, that has been our best solution to date.

Facts Ahoy
Facts Ahoy
Guest
January 17th, 2019
Reply to  SportsProducer

That’s not raw.

 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  SportsProducer

“go with DNxHD for bullet-proof compatibility”
“ProRes or Quicktime encoding is mysteriously no longer compatible”

???… wow… just TOO stupid for words.

Member
January 14th, 2019

We are talking ProRes RAW here not real RAW.
So white balance is baked in. Calling it raw is a marketing gag by Apple. Higher compressed ProRes matches it much better.
How ever, getting 422 in a smaller size is always welcome. But until Apple licenses it to other NLE and not just FCP, its still not very interesting. None of my clients have requested ProRes RAW yet, even I can record it since more than 7 month.
So it all depends on how Apple will give acces to third parties.

Johan Perjus
Guest
January 17th, 2019
Reply to  Mathias Häcki

Or LOWER compressed ProRes, depending on how you look at it ;-)

Facts Ahoy
Facts Ahoy
Guest
January 17th, 2019
Reply to  Mathias Häcki

White balance is NOT baked in. You may be thinking of BlackMagic raw. Not to mention that Apple already announced multi-platform support.

 Stuart Stu
Stuart Stu
Member
January 17th, 2019
Reply to  Mathias Häcki

LOL!! What complete and utter BULLSHIT!! You clearly have NO clue what you’re blabbering about. ProRes raw is as RAW as RED raw or that nonsensical cDNG! “White balance is baked in” Oh wow… how painfully ignorant. ?

And since when do CLIENTS “request ProRes”… raw or otherwise?! ??‍♂️ Do you just make this crap up as you go along??

 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  Mathias Häcki

Oh… and BRAW, with *it’s* ONE NLE and ONE camera, is somehow more interesting??! ?

Member
January 18th, 2019
Reply to  Stuart Stu

My national and international clients usually request ProRes or CinemaDNG.
Some TV companies are even happy with h264/h265. My clients are usually production companies, which edit by them self. So I deliver data straight from the camera. They don’t want ProRes RAW yet, as most can’t edit it on their NLE yet. Most of my clients have left Apple hardware/software in the past 3 years. Even more currently switch since ProRes export is now officialy supported in PP CC19 on Win. Those who already made the switch are selling remaining apple hardwe, which they still had just to generate ProRes files even they already edited on non apple software. Btw. BRAW is not only one camera, plus its a open format which can be used by others. The future will tell if it will be sucessfull or not.
As of now ProRes RAW is still useless for me, even I could deliver it.
Also my competition in aerial production did not get ProRes RAW requets yet.
How do I know? In Switzerland the top 6 aerial production companies are very close and meet up on a regular base.
After all use what works for you. For me I don’t see it as any usefull until apple supports a wide variety of cameras and NLE’s.

 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  Mathias Häcki

Yeah… just the usual, pretentious “EVERYONE is leaving Apple, because, you know, they don’t care about “Pros”!!1!! No one needs Macs for anything other than GENERATING PRORES FILES!!”- drivel. Blaa blaa blaaaaaaa… ??‍♂️

Just a bummer that ACTUAL REALITY and REAL numbers paint you as a blathering numbnut. Oops. ???

But sure, since we know THE SWISS are THE people we need to be listening to when it comes to the next big thing, Apple is surely just SHAKING in their boots!! ??

 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  Mathias Häcki

Oh… and never mind the pathetic, disingenuous BULL with your lame, brainless “defense” of BRAW and “until apple supports a wide variety of cameras and NLE’s” nonsense, whilst the state of BRAW is exponentially WORSE and isn’t going to get better anytime soon! NOTHING, as in ZERO is announced in terms of new cameras or NLEs! FAR less cameras and ONE NLE as well! ? Nice bullshit double-standards you have there, only reinforcing what complete HOGWASH you’re talking.

Oh but please DO tell us which endless cameras allow me to produce BRAW… hm? Just name me so much as HALF as many as there are for ProRes… hm?

Yeah, we clearly need to be listening to those *UBER-Pros* in the Swiss AERIAL production companies!!! Paaahhahahahhaahahaaaaa… what an tool.

Ben
Ben
Guest
January 22nd, 2019
Reply to  Stuart Stu

Whether right or wrong you are without question obnoxious.

 Stuart Stu
Stuart Stu
Member
January 22nd, 2019
Reply to  Ben

Wow… what AMAZING rhetorical skills! ?

Blaž Juvan
Guest
January 14th, 2019

I see no info how they managed to put RAW data over the digital HDMI transfer. I use SDI connection to get true RAW data from my camera. It was always said that it is impossible to do it over HDMI

Cliff
Guest
January 14th, 2019
Reply to  Blaž Juvan

HDMI is just a data bus. In fact, HDMI 2.0 spec even has an Ethernet data bus provision in it. It’s capable of handling non-video oriented data throughput,…provided there is a send and recieve chipset in both devices that understand how to treat that data.

Crimson Son
Crimson Son
Guest
January 16th, 2019
Reply to  Cliff

Data bus with specific protocols and standard. There is a handshake that occurs when HDMI devices are connected to each other. Unless Panasonic implemented their own protocols on top of the HDMI physical connection, I doubt you can say this is “raw”.

While there is no technical requirement what really defines RAW, other than prior to codec compression, there is no way HDMI output to RAW codec is truly RAW.

At that point, the signal sent over HDMI has been processed to RGB to YCrCb with specific white points, luminance values and such. It can be uncompressed RGB or YCrCb, but uncompressed is not the same as RAW.

you can have compressed RAW (hello R3D).

Crimson Son
Crimson Son
Guest
January 16th, 2019
Reply to  Crimson Son

I just want to clarify, that RAW over HDMI is possible but the camera hardware must be designed to that at the start. It is more than just a software or firmware upgrade.

RAW over HDMI is a data dump. Like moving a text file from one hard drive to another.

But if this is just uncompressed HDMI signal and recompressed to RAW, that is NOT RAW.

Facts Ahoy
Facts Ahoy
Guest
January 17th, 2019
Reply to  Crimson Son

Yep, you got it. This is clearly something Nikon and Atomos collaborated on. It’ll be interesting to see what other manufacturers will jump on this. For Nikon, it’s a no-brainer; they go from being a non-factor in video to arguably a leader, with no worries about cannabalizing a high-priced cinema-camera line. What other companies can we name with similar interests in jumping ahead of the established pack…

 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  Crimson Son

You clearly have NO clue what you’re going on about. There is absolutely ZERO reason why raw sensor data or any other such data CAN’T be sent over HDMI. Just talking in mixed and muddled tech terms and making it SOUND convoluted (and you smart… to ignorant people) doesn’t make the claim it any more true or closer to reality.

Facts Ahoy
Facts Ahoy
Guest
January 17th, 2019
Reply to  Crimson Son

The data transmitted over the HDMI cable can be encoded and interpreted any way the manufacturers want. They could encode any kind of data in the bits that normally represent color, and the receiving device can unpack it as such. They could encode GPS coordinates as audio!

Back in the day, Pioneer added AC-3 audio to LaserDiscs by encoding a digital bitstream in one of the analog audio channels.

kirk Barker
kirk Barker
Guest
January 15th, 2019
Reply to  Blaž Juvan

It seems they are using their own protocol to do it. As long as the materials of the cable are high enough quality there is nothing stopping any type of data from flowing through them.

 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  kirk Barker

WHAT? “As long as the materials of the cable are high enough quality”??!

??

Do you think this is some kind of TAPE DECK or something??!
But yeah, you be sure to get gold-plated MONSTER cables!!

Kirk
Kirk
Guest
January 18th, 2019
Reply to  Stuart Stu

Obviously you don’t know cables have standards and material composition is critical in data integrity. That is the reason why limits on how long cables are before having to boost the signal.

 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  Kirk

Sure… first it’s QUALITY, now it’s suddenly LENGTH. ? Struggle with clumsily defending your own nonsense much?

But yeah, no one thought they’d need WORKING CABLES!! Thanks for the heads up!! ??‍♂️

Crimson Son
Crimson Son
Guest
January 16th, 2019
Reply to  Blaž Juvan

Over SDI is technically not RAW either unless the signal being sent over SDI is already RAW. If it is one of the standard SMPTE protocols, it means that it has gone through video processing to the point that RGB or YCrCb processing has already occurred. It can be uncompressed, but not true RAW as in sensor dump prior to codec compression, fixed luminance mapping and etc.

 Stuart Stu
Stuart Stu
Member
January 18th, 2019
Reply to  Crimson Son

Even more clueless drivel. ??‍♂️

Alister Chapman
Guest
January 18th, 2019
Reply to  Stuart Stu

Think about this. RAW is nothing more than the direct sensor output. It is in essence nothing more than a monochrome or more precisely luma only digital video signal direct from the sensor. From a signal standpoint, it’s just digital video, just like any other, just luma only and maybe no gamma or log gamma. What is it that HDMI carries normally? A digital video stream. what comes off a Bayer sensor? A digital video stream. So raw over HDMI doesnt really need any fancy protocols, all that needs to happen is that the recorder knows what to do with the signal. The big question is what will the bit depth be and what will the gamma be? Log or Lin? 10 bit, 12 bit? Not all raw is created equal.

 Stuart Stu
Stuart Stu
Member
January 18th, 2019

So you don’t even know that PR raw supports ANY bit depth you throw at it (unlike BRAW btw!)?? Be it 10, 12 or even SIXTEEN bit. So it has absolutely ZERO to do with the raw format, it has to do with what the CAMERA i.e. Sensor is set to output.

But yeah “only” 10bit raw would just be HORRIBLE and unusable, hm??! That’d be a regular DOWNgrade for those cameras!

Pretentious much?

Forrest McBride
Forrest McBride
Guest
January 14th, 2019

“Since RAW data just contains the unprocessed sensor read out, it’s all about transfer speeds and not so much about processing horsepower. Incoming data is repacked into the ProRes RAW format by the Ninja V.”

Why did Panasonic say there wasn’t enough processing power in the GH5 to do this if it the atomos does all the work?

Cliff
Guest
January 14th, 2019

I’d have to bet that the GH5’s HDMI chipset wasnt able to get a pre-processed data buss from the sensor. The sensor is probably wired straight into the video processor and then out to HDMI. Camera motherboards need two pipelines off the sensor. One pipe going to HDMI and the other pipe going to image processor. This whole thing required hard motherboard wiring changes.

 Stuart Stu
Stuart Stu
Member
January 17th, 2019
Reply to  Cliff

Complete nonsense. It’s tactical marketing, nothing else. Technically it would be the identical amount of work that Nikon is currently putting into it!

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