Blackmagic RAW

The place for questions about shooting with Blackmagic Cameras.
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JacobSchuhle

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Re: Blackmagic RAW

PostMon Oct 15, 2018 8:56 pm

Hendrik Proosa wrote:What are these magic raw abilities braw has? You can whitebalance, tint, gain and so on any video file that has stored the latitude sensor offers (almost any log curve does it) with enough precision. These operations don't need raw data. But what braw does NOT allow are just these magic raw abilities like cooking something better from what your sensor captured in the future (advanced debayer and denoising algorithms). And this magic is what braw happily throws away (or seems to, open standard is kind of vague on this :D).


You can approximate changing the WB on log, but its definitely not the same as RAW...

From what I've seen from BRAW the fact that I can now view 4.6k RAW (or 'RAW,' or whatever you want to call it) in realtime from a drive that wouldn't even handle UHD 422 HQ. If you're looking for BRAW to replace CDNG 'uncompressed' then maybe its a compromise too far, but its obviously a vastly superior way of shooting than a codec.

The way data is handled definitely has more in common with RAW than codec also.
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Re: Blackmagic RAW

PostTue Oct 16, 2018 7:54 am

JacobSchuhle wrote:
Hendrik Proosa wrote:You can approximate changing the WB on log, but its definitely not the same as RAW...

The way data is handled definitely has more in common with RAW than codec also.

Care to elaborate a bit more, what kind of processing braw allows that RGB does not? WB is not done in log space anyway, wb is simple component scaling of linearized data.
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Oyvind Fiksdal

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Re: Blackmagic RAW

PostTue Oct 16, 2018 10:14 am

Hendrik Proosa wrote:What are these magic raw abilities braw has?


I get what you are saying. But question... Have you ever used Prores Proxy for anything? I doubt anyone would even think of doing a random cat shot recording Prores Proxy, but I believe many will use BRAW 12:1 in a professional job. Those formats have almost same size… Thats magic :)

Blackmagic have never said that BRAW is to replace CDNG. The whole point with BRAW is lighter production, not feature films. If you make a commercial and deliver today, then you hardly need to store RAW files from that prodcution. We can now do mulitcam with LUT (in-cam) and change the look in post after, as with RAW, but this time in tiny/fast files and still keep 12bit. I believe BRAW’s main competition is Prores LT/422/HQ, all 10bit. With Prores you can also record LUT in-camera, but then it’s baked in.

I also like the metafile where you can change the look only by changing values in a small text file… not even touching davinci resolve or any other program. could be powerful in the field.
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carlomacchiavello

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Re: Blackmagic RAW

PostTue Oct 16, 2018 10:38 am

Oyvind Fiksdal wrote:I also like the metafile where you can change the look only by changing values in a small text file… not even touching davinci resolve or any other program. could be powerful in the field.




from the past, cineform raw active metadata, firstlight tool to edit metadata visually.
i hope to see from blackmagic this kind of tool, now braw have most of feature to do that, we only need the app to do that. To have this in past i pay 1000$ license to cineform inc, today we have 90% of this free... please think deep before to talk bad about braw.
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Rakesh Malik

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Re: Blackmagic RAW

PostTue Oct 16, 2018 3:55 pm

Oyvind Fiksdal wrote:Blackmagic have never said that BRAW is to replace CDNG. The whole point with BRAW is lighter production, not feature films.


For most independent, low budget film production, braw WILL replace cDNG... even for feature film production.

The whole point in braw is to make both production and post easier for productions that don't have a lot of money to spend on large collections of RAID disks and ThreadRipper + Turing boxes with 128+ GB of memory.

In that, it will succeed.
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Re: Blackmagic RAW

PostTue Oct 16, 2018 7:27 pm

Hi everyone,

Do you by any chance happen to know if Blackmagic will incorporate Blackmagic RAW into older cameras in the near future? I'm interested in BMPC 4K.

Thank you for your reply.
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Oyvind Fiksdal

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Re: Blackmagic RAW

PostTue Oct 16, 2018 8:15 pm

carlomacchiavello wrote:
from the past, cineform raw active metadata, firstlight tool to edit metadata visually.
i hope to see from blackmagic this kind of tool, now braw have most of feature to do that, we only need the app to do that. To have this in past i pay 1000$ license to cineform inc, today we have 90% of this free... please think deep before to talk bad about braw.


Man, 100% concur. I believe that we will see such tool in a not so distant future. This is only the beginning. Better ride the boat than start swimming later on.


Rakesh Malik wrote:
For most independent, low budget film production, braw WILL replace cDNG... even for feature film production.



But still. If someone out there want true RAW…what ever that is now days. Then please use CDNG by all means. I would… up until BRAW that is. I agree with you. If you ask me… Many big productions will defiantly use BRAW. All this talk about future proof material have gone too far. I agree with Rick Lang on that one. For tv production/series BRAW is a godsend in many ways. It’s just a matter of time until we start seeing BRAW in IMDB negative format. Hmmm I wonder who will be the first...
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Re: Blackmagic RAW

PostTue Oct 16, 2018 8:16 pm

Rakesh Malik wrote:
Oyvind Fiksdal wrote:Blackmagic have never said that BRAW is to replace CDNG. The whole point with BRAW is lighter production, not feature films.


For most independent, low budget film production, braw WILL replace cDNG... even for feature film production.

The whole point in braw is to make both production and post easier for productions that don't have a lot of money to spend on large collections of RAID disks and ThreadRipper + Turing boxes with 128+ GB of memory.

In that, it will succeed.

I think the key area that is most important for Blackmagic RAW replacing CinemaDNG is that it is a single file and the sidecar integration. That is a tremendous feature.

At the same time I remember early on when the 4.6K first came out people were complaining that the 4.6K resolution was too sharp and looked too digital. I had a point where I showed a music video shot on the 2.5K and compared it to a music video I shot on the 4.6K. People told me that the 2.5K felt more cinematic because it didn't seem as sharp. So maybe 4.6K Blackmagic RAW is more cinematic than CinemaDNG.

Again, I don't need more than 4.6K resolution. I love the 4.6K resolution for being able to do 4K DCI or UHD output. I care most about color science and dynamic range when it comes to creating the cinematic image. So the next thing is the ease with which the footage files work in post. Blackmagic RAW is a powerful asset in this regard. Especially the sidecar file.

When it comes down to storage I think Blackmagic RAW compression has a huge benefit for saving on the cost of storage. But ultimately storage costs are coming down. The current aim should be find the reasonable compression setting that doesn't compromise image quality for your project. Right now BRAW 8:1 will work for many projects. 12:1 will be for the ones that currently have been HD so that you get 4.6K and RAW. Otherwise 5:1 and 3:1 are great for higher caliber projects.

I'm eying the next URSA Mini design and sensor design. With Blackmagic RAW a part of it then I see that as a key to where the body needs to go. First off, we need dual ISO now that it has been introduced in the Pocket 4K. That would be the most welcome addition. Second off we need dynamic range to remain at 15 stops while trying to achieve the global shutter. Remember that we're still trying to emulate the great aspects that film had. So global shutter is key to getting closer to the motion cadence of film as it captures the entire image at once. Getting 15 stops of DR with GS definitely going to make the cinematic image. Then dual ISO helps to give flexibility for various lighting situations.

I would also love to see the gyroscope that was promised way back in 2015 get in the camera. Now that Fusion is built into Resolve it seems like this would be useful for camera tracking data and helping with VFX and image stabilization. I'm ecstatic Bluetooth was added to the Pro to give wireless control. So getting the above sensor improvements with the gyroscope added into the body would help make the next camera better. And Blackmagic RAW will retain that gyroscope metadata just as it does the lens focus metadata per frame. Think about that.

So Blackmagic RAW is a great replacement. It just will take some time to refine it further. Which is happening. I'm excited by the possibilities it opens. Especially regarding Stereoscopic 3D...

So beyond the gyroscope metadata being invaluable to VFX and image stabilization, it would also be useful for Stereoscopic 3D capture with the future camera models. What's more is that Blackmagic RAW enables the metadata to be captured per frame like the focus for Interaxial and Convergence. So if the cameras have that metadata being fed to it from the 3D rig then that metadata is transferred into DaVinci Resolve and helps with editing and VFX.

Now, I know some people don't care about 3D. I still care. I still love the format. This is just about making the tools available. Blackmagic RAW opens the doors for those tools to be there.

End long rant.
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Re: Blackmagic RAW

PostWed Oct 17, 2018 5:13 am

Pawliczek wrote:Hi everyone,

Do you by any chance happen to know if Blackmagic will incorporate Blackmagic RAW into older cameras in the near future? I'm interested in BMPC 4K.
Thank you for your reply.


Not likely with the older discontinued cameras. BM has stated they will look into which cameras can support BRaw, once the rollout on the Ursa Mini and the new Pocket 4K is completed.
Last edited by Denny Smith on Thu Oct 18, 2018 1:33 am, edited 1 time in total.
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Uli Plank

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Re: Blackmagic RAW

PostWed Oct 17, 2018 6:39 am

Dear Tim, while I agree with most of your points, it’s not true that the motion cadence of digital vs film is suffering most from not having global shutter. All rotary shutters for film had some amount of RS, albeit small. The problem with digital is the harsh border of the motion blur.
Unfortunately, the only solution for this has been bought by Red. If BM could develop a solution that is not violating that patent (the Motion Mount), it would cure that.
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Re: Blackmagic RAW

PostWed Oct 17, 2018 7:55 am

Uli Plank wrote: If BM could develop a solution that is not violating that patent (the Motion Mount), it would cure that.


Yes maybe. But, IMHO, BM should not invent something like motion mount. That’s in the wrong direction. Thats more like the typical consumer direction, which RED knows best.

What we should have, is an entirely new sensor that doesn’t need Motion mount (from 2013...). In the early days, we used CCD that didn’t have these problems. Star wars episode 2 was shot on CCD and, IMO, had a very pleasing motion. So we introduced a problem going for CMOS, and we haven’t really solved it in a large scale. Its perfect for business like RED. Give you a faulty system and make you pay for a solution…like motion mount. But we really don’t want motion mount, see. We want organic looking motion from the sensor. Thats what Tim is speaking about.
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Re: Blackmagic RAW

PostWed Oct 17, 2018 2:09 pm

I had a job this morning where I figured it was time to take the plunge and try out braw on a paid gig. (I had other cameras on it, locked off for safety, this was my first go with it in a high pressure paid shoot- we had an hour and fifteen to get 30 plus shots which was nuts, and given that we had no time to review as we shot I was sweating buckets on the two hour drive home)

I’m back from the job now and syncing up and editing in resolve (not used it for edit before, usually use premiere, occasionally media composer)

I am blown away by how this entire pipeline fits together. I’m cutting full res raw off of the ssd in my pc. And all I had to do was copy the cards three times- I’ve not had to transcode anything- and this will save me an immense amount of time. And as a first time resolve editor I’m a fan. And the quality on my playback monitor is amazing.

Seriously, we’ll done blackmagic. I cannot see me going back to prores after this. Hats off to you
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Rakesh Malik

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Re: Blackmagic RAW

PostWed Oct 17, 2018 3:37 pm

timbutt2 wrote:I care most about color science and dynamic range when it comes to creating the cinematic image. So the next thing is the ease with which the footage files work in post. Blackmagic RAW is a powerful asset in this regard. Especially the sidecar file.


That's what the ASC guys say as well... it's the reason that most cinema cameras these days, even most of the $35,000 models, are still "only" 4K. Venice is the oddball... but it's still "only" 6K. Sony emphasized color science, dynamic range, and color science when developing the Venice.

(Yes, I know there's a redundancy in there. It's intentional.)

When it comes down to storage I think Blackmagic RAW compression has a huge benefit for saving on the cost of storage. But ultimately storage costs are coming down.


True, but it still adds up. If I'd shot my last feature in 4K ProRes 444 or 4K cDNG, it would been on the order of 24-30TB of footage. Instead, we ended up with a bit over 6TB for the same coverage, but in higher quality because we used compressed 16-bit raw rather than 12-bit ProRes.

Remember that we're still trying to emulate the great aspects that film had. So global shutter is key to getting closer to the motion cadence of film as it captures the entire image at once.


That's actually a myth. The shutters in film cameras are blades, and they cross the frame nearly the same way that a rolling shutter camera's electronic shutter does.
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Rakesh Malik

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Re: Blackmagic RAW

PostWed Oct 17, 2018 3:45 pm

Oyvind Fiksdal wrote:Yes maybe. But, IMHO, BM should not invent something like motion mount. That’s in the wrong direction. Thats more like the typical consumer direction, which RED knows best.


You are clearly confused...

Its perfect for business like RED. Give you a faulty system and make you pay for a solution…like motion mount.


You do realize that nearly EVERY high end cinema camera in existence these days, including the Alexa lineup, has a rolling shutter? Only a few models in the high end have global shutters, and almost all of those are from Sony. Arri's "global shutter" digital cinema camera has a rotating shutter.

But we really don’t want motion mount, see. We want organic looking motion from the sensor.


You just don't want a motion mount because you're jealous that you can't afford one, but not many people who use Red cameras bother with them. Even before BMD gave up on the global shutter option for the 4.6K Ursa Mini, the testers were saying that they didn't miss it because BMD had improved the sensor's integration time to a point where it was only barely noticeable.

So... I don't think that global shutters are all that big a deal most of the time, except for capturing things like muzzle flashes and strobe lighting. Most modern cinema cameras have fast enough integration times to make the global shutters mostly redundant, though obviously not completely.

We'll probably see global shutters cameras become popular when sensor designers are able to design sensors so that they can implement global shutters without sacrificing dynamic range. That will probably take some new technology to pull off, which will take time to develop, so when is of course anybody's guess.
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Rakesh Malik

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Re: Blackmagic RAW

PostWed Oct 17, 2018 3:46 pm

Gavin_c_clark wrote:I am blown away by how this entire pipeline fits together. I’m cutting full res raw off of the ssd in my pc. And all I had to do was copy the cards three times- I’ve not had to transcode anything- and this will save me an immense amount of time. And as a first time resolve editor I’m a fan. And the quality on my playback monitor is amazing.

Seriously, we’ll done blackmagic. I cannot see me going back to prores after this. Hats off to you


I expect that we'll be seeing more of this sort of commentary soon...
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Re: Blackmagic RAW

PostWed Oct 17, 2018 3:53 pm

Denny Smith wrote:
Pawliczek wrote:Hi everyone,

Do you by any chance happen to know if Blackmagic will incorporate Blackmagic RAW into older cameras in the near future? I'm interested in BMPC 4K.

Thank you for your reply.
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Re: Blackmagic RAW

PostWed Oct 17, 2018 5:34 pm

joe12south wrote:
Wayne Steven wrote:
joe12south wrote:You are entitled to your opinion, but this reads like hyperbole. (As a matter of effective debating - when you aggrandize a point, you tend to alienate potential converts to your position.)

I suspect that much of what you consider "detail" is what I would consider errors like false color ringing and aliasing.


No Joe, it's fact and the reality is that calling what some of us have realistically pointed out as wrong 'better', is the hyperbole opinion. It has been from the beginning, and I clocked it as such from the beginning. But as usual, the people who have to try to trump anything that challenges what they WANT in this world have to neurotically double down on it. It will never change the fact simply because it is fact, those parts of the image, for some reason, less match real life in average perception (meaning even without eyeballing it). Now, I admitted it is so peculiarly wrong that maybe there is another explanation for it, but it is still there. Even if it is something else, I will still be pointing out the fact of it being there, and right about it possibly being something else (debating has slipped towards a evil fashion about impressing people that you are right through your power don't matter how wrong you are, not reality, reality is not leaving room to be wrong in your statements. You can call that an opinion, so you can't say that it is completely wrong (as an mere opinion may or may not be. Think about it?).

You have people trying to twist things for themselves, and you have even thrown in a debating technicality to score (which is bad reasoning), its about reality not these opinionated people trying to over ride reality. They are so bad, they think if you don't agree with them you must be at least as bad and coming from their tricks department. Like bully school kids, who just want it their way over reality. If these people can't stick up for reality and learn there is no point for them. However, they gave failed to prove it is entirely false detail, or on average it is worse than Braw, and have not even made sby attempt to show there is any false detail at all in that part of the image, where the Braw example just obviously is not detail. I'm going to examine the focal ain again incsse I am wrong in that way (if the part I am naively examining is meant to be on focus or it was out of focus and some error in sharpening in cdng debayering made it look in focus, but as others point out the Braw samples have the look of something else happening.). Stuff opinion, look into it and figure it out. If I gave an opinion, I'll put a if, but, maybe, on condition, then etc qualifying conditional words in it, or ssybits an opinion. You notice I use conditional qualifying words a fair bit, and you will notice those that argue don't use then much, and often ignore them misconstrueing statements (I'm not talking about Jamie here, he does seem to be one of the ones that tries to think about things a bit rather than go off on an emotional reasoning rant about what they feel but has no relevant backing. With such you can reason as they are trying to think about the things said).

Why don't you examine the areas people have pointed out, which represents the more general/average image, over this hyperbole about exceptional problems on surfaces that don't turn up as much? What is more important, how it looks on a premium screen which represents the upper end of the audience's range of viewing, or how it sometimes looks? And these people are considering so limited range of aspects as true picture (which is hyperbole) rather than greater (which is quality). They fail to prove much at all versus being proved wrong many ways. Maybe you don't recognise it is not something to do with my argument, it is the personalities which always want to argue when something challenges what they Want, as wrong. I rarely ever see people that can actually do very good reasoning smd thinking do this.

Joe, I have put enough years into learning the real side of the camera. You can take my word for it, there are a variety of ways to debayer and process an image, and different workflow tools should have whatever version they like. It is up to you, and others, to put in the effort to find out what is out there. I've put in too many hours already answering stuff that I shouldn't have had to answer if people were not being emotionally, morally and mentally lazy. We can all be lazy, and I've got my own issues with that from a string of sickness, but the weakest shouldn't have to do the most when he shouldn't have to do much at all, because of others not bothering to do their part.

BTW: The material sample. That sort of material gives strong intensity changes depending on angle (as well as weave). I've taken a quick picture with this poor phone to illustrate, adjusted for effect. So please try not to laugh too much. :)

So very many words to still not address the point at hand: DaVinci Resolve's debayer of cDNG leaves visual artifacts that are obviously not in the real world scene and that some find objectionable. BRAW uses a different method that sacrifices some level of detail in order to eliminate those artifacts.

Is there a readily-available tool that reasonably fits into a production workflow that can both resolve the same level of detail <i>and</i> does not exhibit the visible errors? If such a tool exists, then please either reference it, or even better, post a comparison sample. I'd love to incorporate it into my workflow. If there is a way to remove the artifacts after debayering without sacrificing detail, please let me know the steps. (Especially since I have a P4K and can't even shoot BRAW.)

No, I can't just <i>"take your word for it."</i> We're both just random guys on the internet. A picture really would be worth more than a thousand words in this case.

PS. I, of course, understand that it is theoretically possible to do a better job debayering the image. Clients don't care. Audiences don't care.


I already answered that Joe, you go and do it. I have spent enough time (I'm talking about tens of hours on two topics on two threads). Things might be going swell with treatment ATM, but I've spent enough time and have other things to do. If I spend the time on the obviouse, but somebody still needs a picture.

As far as audiences not caring. That's niave. Enjoyment is subliminal Joe. They pay big money to get colourists to fine tune colour. An audience member might scarcely believe how much money is spent, it's only colour, how hard could it be. I personally think those colorists are spitting hairs (notice not just splitting hairs) and see things the audience won't to a point the differences are so minute it won't matter to ordinary people (and I'm one that can pick these differences). But it is a big difference in enjoyment when done right. So, the same with rendering the image from Bayer. It might not be such a difference but things get picked up. The fact that some of us are not seeing much in 3:1 over 12:1 BRaw is significant. But my point was that BRaw should be better than CDNG at less compression in a modern codec is reality. I remember now, after David Newman invented Cineform Raw, I thought why can't we just do this with jpeg. But jpeg being so much poorer, cineform being refined for software compression, me being a team player, I went along with it, and didn't bother about the jpeg stuff. But that is what CDNG does, and what we are told BRaw seems to be.

Now, the issue with BRaw is it bakes in a debayering look. As for the future, it restricts you debayering differently now. The sample above makes it look like the quick easy cheap alternative between ProRes and CDNG at the 12:1 look.

Don't mistake many words for the lack of ability to discern and explore reality Joe.
aIf you are not truthfully progressive, maybe you shouldn't say anything
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Re: Blackmagic RAW

PostWed Oct 17, 2018 6:26 pm

Ok. It's 3:56AM, so you might read through this to find out the debayering differences:

https://en.m.wikipedia.org/wiki/Demosaicing

Here is some software mentioned:
https://en.m.wikipedia.org/wiki/RawTherapee

https://www.apertus.org/what-is-debayer ... tober-2015

https://en.m.wikipedia.org/wiki/Bayer_filter

I forgot, about your Bayer image being non authentic compared to Braw. The bottleneck is the sensor. So, even though the image coming through has issues, because of the Bayer filter it is the most authentic image available to work with, those artifacts are from authentic data. To get the maximum quality you need all this data to deal with it. Clean Bayer allows you to process the best possible result, preserving detail and removing noise. The sample above is restricting what can be done after capture. Anyway 4:22, got to go (and I don't know why that aspertus article has such a example, but it is them).
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Re: Blackmagic RAW

PostWed Oct 17, 2018 6:37 pm

How has changing the debayering increased resolution? Changed things so substantially they couldn't be reproduced by other means? RED R3D files are usually used as the example of improvements made but they're using a compressed "RAW" format too. What is to stop BRAW from performing these same style improvements? They design the camera software, the codec, and Resolve as the NLE. Surely they can do some software magic between all parts of the pipeline to improve the image over time, etc.
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Re: Blackmagic RAW

PostWed Oct 17, 2018 7:13 pm

Wayne Steven wrote:I already answered that Joe, you go and do it. I have spent enough time (I'm talking about tens of hours on two topics on two threads). Things might be going swell with treatment ATM, but I've spent enough time and have other things to do. If I spend the time on the obviouse, but somebody still needs a picture.

Why would I do it? How would I do it, when I don't even know of a production worthy tool that *can* do it. If you claim otherwise, the burden of proof is on you. Of course I want a file to compare–anyone can say anything:

"I'm 8 feet tall and weigh 369 pounds."

Why don't you believe me? I've spent time telling you that I am. It's theoretically possible that I am. You prove that I'm not, because I refuse to post a pic proving otherwise.
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Blackmagic RAW

PostWed Oct 17, 2018 7:28 pm

Timbutt2, I wouldn’t call that lengthy post a ‘rant’ as it seems to me to be more of a ‘blueprint.’

You know BMD has made some remarks that highlight some of the consequences of using CinemaDNG. You know ProRes has two major consequences: royalties and potential delays in authentication still strictly controlled by Apple that can impact delivery schedules.

So here’s a prediction or two for the next Pro-level Camera from BMD:
A) BRAW2 replaces CinemaDNG (no more CDNG offered on their next camera) and
B) BRAW2 allows optional in-Camera downscaling from full sensors to record 12bit colour in 2K/HD with the angle of view of 4K/UHD thereby sounding the death knell for ProRes—the sidecar could allow you to reconstruct the original ‘true’ 4K/UHD raw if you ever needed it; in a dual card system the sidecar would be written to one drive and the video data written to the other card. 99% of users would never chose to rebuild the original from the sidecar.
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Re: Blackmagic RAW

PostThu Oct 18, 2018 3:17 am

rick.lang wrote:B) BRAW2 allows optional in-Camera downscaling from full sensors to record 12bit colour in 2K/HD with the angle of view of 4K/UHD thereby sounding the death knell for ProRes—


BMD could implement something akin to Kinefinity's downsampling mechanism that combines photosites to increase dynamic range.

the sidecar could allow you to reconstruct the original ‘true’ 4K/UHD raw if you ever needed it;


That would require recording the missing data, which would make the downsampling pointless, as there wouldn't be any savings. Once the data is gone, it's gone; getting it back is interpolation.

Personally though, I think that unless BMD implements a dynamic range extension using downsampling that there would be no reason to ever bother with it.

That said, there is absolutely nothing to prevent BMD from improving the de-Bayer over time; whether it would enhance existing braw footage as much as new recordings is an open question, but IMO the odds are BMD will improve braw decoding over time. It's new... and BMD does have some very good color science folks in house.
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Re: Blackmagic RAW

PostThu Oct 18, 2018 3:27 am

Rakesh Malik wrote:BMD could implement something akin to Kinefinity's downsampling mechanism that combines photosites to increase dynamic range.


Sounds like binning. The Pocket 4K's sensor supports that at the sensor level but it can be done easily enough post read-out.
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Re: Blackmagic RAW

PostThu Oct 18, 2018 4:43 am

Rakesh, I’m suggesting the missing information would be available in a different file and 99% of shooters wouldn’t keep that or need to record it if that was a camera selectable option. Whether or not the sidecar was populated, the BRAW2 2K file would function with the angle of view of the 4K sensor and that’s a big saving in space if the additional sidecar data was not retained or recorded. BRAW2’s increased usefulness could be to the point ProRes could be dropped as well in the future.


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Re: Blackmagic RAW

PostThu Oct 18, 2018 6:20 am

I think you'd end up with a full-resolution (whatever your is set to) and possibly a downscaled via binning or similar option, but no way to go back to full after downscaling.

Would it be worth it? Maybe -- it would certainly save space, but if it also enhances the camera's dynamic range, it would be adding value beyond that.
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Re: Blackmagic RAW

PostThu Oct 18, 2018 1:34 pm

Given the way storage trends (bigger, faster, cheaper) working on downsampling in RAW at the time of acquisition seems like a poor use of (finite) resources compared to improving debayering artifacts, improving color accuracy, etc., etc., etc.
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Re: Blackmagic RAW

PostThu Oct 18, 2018 2:49 pm

joe12south wrote:
Wayne Steven wrote:I already answered that Joe, you go and do it. I have spent enough time (I'm talking about tens of hours on two topics on two threads). Things might be going swell with treatment ATM, but I've spent enough time and have other things to do. If I spend the time on the obviouse, but somebody still needs a picture.

Why would I do it? How would I do it, when I don't even know of a production worthy tool that *can* do it. If you claim otherwise, the burden of proof is on you. Of course I want a file to compare–anyone can say anything:

"I'm 8 feet tall and weigh 369 pounds."


No, what I am saying is I'm not lazy, I've done enough, now it's up to you rather than whinging generating unproductive work to overwhelm people. I have already contributed a 100x what you have, now start contributing something (like reading the links that explain it I posted after your request, unless the whole world of people that know stuff, unlike virtually anybody that gives me trouble, are wrong to you as well, or trying different editors to get different results (like in the link)). Only a very few people persistently waste my time with their 'opinions', which struggle to add up. Are you Kadesh Joe?
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Re: Blackmagic RAW

PostThu Oct 18, 2018 2:52 pm

Wayne Steven wrote:
joe12south wrote:
Wayne Steven wrote:I already answered that Joe, you go and do it. I have spent enough time (I'm talking about tens of hours on two topics on two threads). Things might be going swell with treatment ATM, but I've spent enough time and have other things to do. If I spend the time on the obviouse, but somebody still needs a picture.

Why would I do it? How would I do it, when I don't even know of a production worthy tool that *can* do it. If you claim otherwise, the burden of proof is on you. Of course I want a file to compare–anyone can say anything:

"I'm 8 feet tall and weigh 369 pounds."


No, what I am saying is I'm not lazy, I've done enough, now it's up to you rather than whinging generating unproductive work to overwhelm people. I have already contributed a 100x what you have, now start contributing something (like reading the links that explain it I posted after your request, unless the whole world of people that know stuff, unlike virtually anybody that gives me trouble, are wrong to you as well, or trying different editors to get different results (like in the link)). Only a very few people persistently waste my time with their 'opinions', which struggle to add up. Are you Kadesh Joe?

I'll take that as a, "No, its not possible to demonstrate a debayer technique that retains 100% detail without visible artifacts." Thanks for confirming. ;-)
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Re: Blackmagic RAW

PostThu Oct 18, 2018 3:08 pm

You again are speaking nonsense to generate traffic. I'll take your advoidance to my question as confirmation you, with your short post history and remarkably turning up here when somebody else stops stiring, are another person on this forum.

Again. Enough trolling.
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Re: Blackmagic RAW

PostThu Oct 18, 2018 3:19 pm

Wayne Steven wrote:You again are speaking nonsense to generate traffic. I'll take your advoidance to my question as confirmation you, with your short post history and remarkably turning up here when somebody else stops stiring, are another person on this forum.

Again. Enough trolling.

What question? You want me to prove your hypothesis?

I can't prove a negative. I don't know of any practical way to get both 100% detail from a bayer sensor and eliminate visible artifacts at the same time. Everything I know of the current state of the art is that compromise is required.

I'm not trolling. If there is a practical way to get better quality, I would love, love, love to learn it. My P4K doesn't even have the possibility to shoot BRAW.

You're an interesting dude, Wayne. I think the biggest ramification of my newness here is that I'm not yet tired of debating you. ;-)
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Re: Blackmagic RAW

PostThu Oct 18, 2018 3:22 pm

I've already reported it.

You have not confirmed you are not Kadesh, who stopped in thread doing this when you started. You also seem to skip parts and mix it up. I know near 100% image quality, is possible by my own priority technique, but I have been talking about conventional technology to achieve better than CDNG in the "Modern" codec. BRaw merely does poorly the solutions I voiced near the beginning of the digital cinema camera revolution, as happens nearly all the time people attempt things without consulting (no feel for it). Using conventional time domain noise removal technology you should archieve better than CDNG, while reducing colour artifacts as noise does not fit in with debayering and contributes. What is left is the best real detail as it can get, then you may apply some filter and time domain recovery to that. It is some, but the simple minded often miss that. Next, we see the example is bluring and reducing contrast so much as to reduce detail, which is not a fix, IT IS A WORSE. Again, better is everything CDNG has but better, not worse in ANY WAY. CDNG is ancient, more ancient than cineform, the definition of modern would leave it in the dust. So, a similar 12:1 versus 3:1 sample is telling.

But you have admitted, you only want to debate (the undebatable) for your untiring (codeword entertainment). I suggest you find better ways to spend time. You basically have just demoted yourself by doing so.
Last edited by Wayne Steven on Thu Oct 18, 2018 3:52 pm, edited 1 time in total.
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Re: Blackmagic RAW

PostThu Oct 18, 2018 3:25 pm

Wayne Steven wrote:I've already reported it.

Sorry, I missed it. Where?
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Re: Blackmagic RAW

PostThu Oct 18, 2018 4:33 pm

Good information on global vs rolling shutter in regards to film above. And, yes, it's more about that natural motion.

And, I do like to think of the roadmap constantly.

Here's a "fun" video on Dynamic Range that FilmmakerIQ just put out.



One thing that I would love to see with Blackmagic RAW being able to do with a future sensor in a future Blackmagic Camera is that when you expose to the right that you can view in camera at a lower ISO despite shooting at a higher one so you can get your framing right. I'm a big fan of ETTR for better shadow details, but hate that it at times makes operating more difficult. It would be cool with Blackmagic RAW if there was a way to shoot at ISO 800, but view the displayed picture at ISO 200. Just a weird thought after watching the FilmmakerIQ video.
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Re: Blackmagic RAW

PostFri Oct 19, 2018 6:51 am

Rakesh Malik wrote:
You are clearly confused...



Maybe... But, not all the time I hope ; ) . To be fair, what Jim and the crew have done for the industry is great. No doubt about it. However, in my opinion, RED as a company started with the idea to deliver cinematic quality to a bigger group of people for a lower price. A new marked so to speak. It was a revolution and the head of the spear was 4k. They did make it affordable in the begging IMO, but it all changed over the years. They made us addicted, then “optional” gave us extra parts that cost a lot. Jim is a businessperson as well as a visionary. I don’t blame him for making money. However, I feel BM have taken the roll RED had. BM give us affordable cameras and tools in a quite pricy industry. That’s why I believe motion mount is not in the right direction. This is just my opinion, nothing more.


You do realize that nearly EVERY high end cinema camera in existence these days, including the Alexa lineup, has a rolling shutter? Only a few models in the high end have global shutters, and almost all of those are from Sony. Arri's "global shutter" digital cinema camera has a rotating shutter.


Yes, I’m aware of that. Nevertheless, rotating shutter is not a good choice in a smaller camera body. It takes up space. I believe a global shutter sensor is a better way, and its not mechanical. I’m not saying that rotating shutter is a bad idea. But I believe a global shutter sensor will be better.

So... I don't think that global shutters are all that big a deal most of the time, except for capturing things like muzzle flashes and strobe lighting. Most modern cinema cameras have fast enough integration times to make the global shutters mostly redundant, though obviously not completely.


I disagree… And ironically I believe you do as well :lol: . You come up with a couple of reason why to have global shutter, but dismiss it in a neighbour sentence. That’s a contradiction in my world.


We'll probably see global shutters cameras become popular when sensor designers are able to design sensors so that they can implement global shutters without sacrificing dynamic range. That will probably take some new technology to pull off, which will take time to develop, so when is of course anybody's guess.


Something like this maybe... https://news.panasonic.com/global/press/data/2018/02/en180214-2/en180214-2.html
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Re: Blackmagic RAW

PostFri Oct 19, 2018 7:00 am

Oyvind Fiksdal wrote:Maybe... But, not all the time I hope ; ) . To be fair, what Jim and the crew have done for the industry is great. No doubt about it. However, in my opinion, RED as a company started with the idea to deliver cinematic quality to a bigger group of people for a lower price.


That was definitely Red's intent, regardless of your opinion.

They did make it affordable in the begging IMO, but it all changed over the years.


Red's cameras were always pretty expensive. They were only inexpensive when compared to Alexas.

Yes, I’m aware of that. Nevertheless, rotating shutter is not a good choice in a smaller camera body. It takes up space. I believe a global shutter sensor is a better way, and its not mechanical. I’m not saying that rotating shutter is a bad idea. But I believe a global shutter sensor will be better.


I guess you're more confused than I thought, since you clearly didn't understand the point.

The point is that a rotating shutter isn't a global shutter... it's still a rolling shutter, and it's still the industry standard.

I disagree… And ironically I believe you do as well :lol: . You come up with a couple of reason why to have global shutter, but dismiss it in a neighbour sentence. That’s a contradiction in my world.


You should have read what I wrote more carefully then.
Last edited by Rakesh Malik on Fri Oct 19, 2018 5:32 pm, edited 1 time in total.
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Re: Blackmagic RAW

PostFri Oct 19, 2018 8:27 am

timbutt2 wrote:One thing that I would love to see with Blackmagic RAW being able to do with a future sensor in a future Blackmagic Camera is that when you expose to the right that you can view in camera at a lower ISO despite shooting at a higher one so you can get your framing right. I'm a big fan of ETTR for better shadow details, but hate that it at times makes operating more difficult. It would be cool with Blackmagic RAW if there was a way to shoot at ISO 800, but view the displayed picture at ISO 200.
Well, then you're about to be a happy man because you can do that on the Ursa Mini, the Ursa Mini Pro and the 4K Pocket in camera right now. Just make a LUT in Resolve that pulls the exposure down two stops (as 800ISO is two stops over 200ISO). Set your camera to 800ISO and load the LUT into your camera for display on the LCD and expose based on that image. If you have an external monitor that can import LUTs and apply to input signal, then you can use the same technique on the rest of the BMD camera models too.

With that said, once you've got BRAW on your camera, I don't recommend ETTR unless you're explicitly trying to shift the dynamic range distribution around middle grey to apply more of the available stops to the shadows.

EDIT: Made a monitoring LUT for Ursa Mini 4.6K film mode (that also works for Ursa Mini Pro in film mode) to pull 800ISO down to 200ISO. Enjoy : )

https://drive.google.com/open?id=1ykjcm7MQAbzEspmTV2i6gfpyO66KPRp2
Last edited by Jamie LeJeune on Fri Oct 19, 2018 9:04 am, edited 2 times in total.
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Re: Blackmagic RAW

PostFri Oct 19, 2018 8:44 am

Rakesh Malik wrote:
That was definitely Red's intent, regardless of your opinion.



uhm. I belive so as well. But is it possible to evolve in the industry? I belive RED took another turn at a point.


Red's cameras were always pretty expensive. They were only inexpensive when compared to Alexas.



Alexa? I belive we talked about the begining of RED... Maybe you are talking about Arriflex. No wonder i get confused.



I guess you're more confused than I thought, since you clearly didn't understand the point.

The point is that a rotating shutter isn't a global shutter... it's still a rolling shutter, and it's still the industry standard.



Didn’t believe that I had to explain every small detail. You intentionally make up a meaning I don’t have. I know rotating shutter it’s a industry standard. I’m saying that I think global shutter is the way to go in the future. Yes they are different. But I believe you can emulate the motion we are talking about and get other benefits. I cant look into the future, but I bet rotating shutter is not the future…
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Re: Blackmagic RAW

PostFri Oct 19, 2018 4:44 pm

Oyvind, thanks for the link to the Panasonic sensor technology under development. Stepless ND filtration in the sensor circuitry by voltage control is impressive as well as global shutter with wide dynamic range that could certainly become the new goal posts for sensor design. Tons of patents. But what are other companies doing along similar lines? First to file relevant patents are going to reap the financial rewards.

Feels like we’re all currently playing in the same sandbox while the researchers are playing with gold dust.
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Re: Blackmagic RAW

PostFri Oct 19, 2018 11:22 pm

Jamie LeJeune wrote:
timbutt2 wrote:One thing that I would love to see with Blackmagic RAW being able to do with a future sensor in a future Blackmagic Camera is that when you expose to the right that you can view in camera at a lower ISO despite shooting at a higher one so you can get your framing right. I'm a big fan of ETTR for better shadow details, but hate that it at times makes operating more difficult. It would be cool with Blackmagic RAW if there was a way to shoot at ISO 800, but view the displayed picture at ISO 200.
Well, then you're about to be a happy man because you can do that on the Ursa Mini, the Ursa Mini Pro and the 4K Pocket in camera right now. Just make a LUT in Resolve that pulls the exposure down two stops (as 800ISO is two stops over 200ISO). Set your camera to 800ISO and load the LUT into your camera for display on the LCD and expose based on that image. If you have an external monitor that can import LUTs and apply to input signal, then you can use the same technique on the rest of the BMD camera models too.

With that said, once you've got BRAW on your camera, I don't recommend ETTR unless you're explicitly trying to shift the dynamic range distribution around middle grey to apply more of the available stops to the shadows.

EDIT: Made a monitoring LUT for Ursa Mini 4.6K film mode (that also works for Ursa Mini Pro in film mode) to pull 800ISO down to 200ISO. Enjoy : )

https://drive.google.com/open?id=1ykjcm7MQAbzEspmTV2i6gfpyO66KPRp2

Thank you for the LUT! Yeah, I know making a LUT for ETTR has been an option ever since Firmware 4.0, but I’m just speculating on a cool idea. If ETTR is not necessary with Blackmagic RAW then all the better. I really can’t wait for it to come to the original URSA Mini 4.6K.


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Re: Blackmagic RAW

PostFri Oct 19, 2018 11:29 pm

timbutt2 wrote:One thing that I would love to see with Blackmagic RAW being able to do with a future sensor in a future Blackmagic Camera is that when you expose to the right that you can view in camera at a lower ISO despite shooting at a higher one so you can get your framing right. I'm a big fan of ETTR for better shadow details, but hate that it at times makes operating more difficult. It would be cool with Blackmagic RAW if there was a way to shoot at ISO 800, but view the displayed picture at ISO 200. Just a weird thought after watching the FilmmakerIQ video.


I'm a bit confused. You can already do that. RAW, both CDNG and BRAW doesn't burn in ISO changes so if you're shooting RAW on the an Ursa Mini Pro, you're really only ever shooting at it's native ISO (800) and the ISO you set in camera is just for display purposes. The only BMD camera where that's different is the Pocket 4K which is has two native ISO so it's kind of like a two stage gain. First stage is analogy, second stage is digital.
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Re: Blackmagic RAW

PostSat Oct 20, 2018 12:51 am

Mark, we are talking about the monitor display though. If you crank up the ISO for a given scene, the screen display becomes brighter. It can get so bright it’s difficult to see details in the highlights. So a LUT that is applied to the screen to bring the screen down two or three stops makes the screen useful. We’re not applying that LUT to the footage, just the display.


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Re: Blackmagic RAW

PostSat Oct 20, 2018 1:13 am

rick.lang wrote:Mark, we are talking about the monitor display though. If you crank up the ISO for a given scene, the screen display becomes brighter. It can get so bright it’s difficult to see details in the highlights.


That's what I mean. When you're shooting RAW, the differences in ISO are just changes to metadata that are shown in-camera for preview purposes. So you can expose to right then bring the ISO down for display purposes.
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Re: Blackmagic RAW

PostSat Oct 20, 2018 2:04 am

Mark Grgurev wrote:That's what I mean. When you're shooting RAW, the differences in ISO are just changes to metadata that are shown in-camera for preview purposes. So you can expose to right then bring the ISO down for display purposes.
Totally right. The LUT I made is for those recording ProRes, or for folks who want the RAW metadata to stay at 800 (for some reason, not sure what it be though) and not have to click back and forth to 200 for viewing.
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Re: Blackmagic RAW

PostSat Oct 20, 2018 5:00 pm

Oyvind Fiksdal wrote:
Rakesh Malik wrote:
You are clearly confused...



Maybe... But, not all the time I hope ; ) . To be fair, what Jim and the crew have done for the industry is great. No doubt about it. However, in my opinion, RED as a company started with the idea to deliver cinematic quality to a bigger group of people for a lower price. A new marked so to speak. It was a revolution and the head of the spear was 4k. They did make it affordable in the begging IMO, but it all changed over the years. They made us addicted, then “optional” gave us extra parts that cost a lot. Jim is a businessperson as well as a visionary. I don’t blame him for making money. However, I feel BM have taken the roll RED had. BM give us affordable cameras and tools in a quite pricy industry. That’s why I believe motion mount is not in the right direction. This is just my opinion, nothing more.


You do realize that nearly EVERY high end cinema camera in existence these days, including the Alexa lineup, has a rolling shutter? Only a few models in the high end have global shutters, and almost all of those are from Sony. Arri's "global shutter" digital cinema camera has a rotating shutter.


Yes, I’m aware of that. Nevertheless, rotating shutter is not a good choice in a smaller camera body. It takes up space. I believe a global shutter sensor is a better way, and its not mechanical. I’m not saying that rotating shutter is a bad idea. But I believe a global shutter sensor will be better.

So... I don't think that global shutters are all that big a deal most of the time, except for capturing things like muzzle flashes and strobe lighting. Most modern cinema cameras have fast enough integration times to make the global shutters mostly redundant, though obviously not completely.


I disagree… And ironically I believe you do as well :lol: . You come up with a couple of reason why to have global shutter, but dismiss it in a neighbour sentence. That’s a contradiction in my world.


We'll probably see global shutters cameras become popular when sensor designers are able to design sensors so that they can implement global shutters without sacrificing dynamic range. That will probably take some new technology to pull off, which will take time to develop, so when is of course anybody's guess.


Something like this maybe... https://news.panasonic.com/global/press/data/2018/02/en180214-2/en180214-2.html


Oyvind. If Red intended to start off at low price democracising the industry, then how come they didn't start off at $5k-$10k 4k, as they were advised? They don't get particularly rich democrasing the industry selling to low numbers of people, so now we get on YouTube somebody spending a small fortune to update their 8k Red system. This is nothing against what you said.

As for motion mount, and other things, that was probably my suggestion to them. Before Red, I was, looking into how to solve many different technical things for filming. I played extensively with various optical designs to get HDR on the limited latitude sensors of the day (tricky, as light passage is fairly even but have a few). I saw a 1millionth or so electronic shutter on B&H and it occurred to me I could use that in 2004 or so. I realised it could be used for other integration issues too. I've suggested multiple HDR schemes as well. The original one just as a temporary fill in until a proper on chip HDR could be developed, but that originally was just the existing multi exposure technique. I've just watched a $10 billion dollar ideas which came from somewhere else video on YouTube, and a lot of stuff comes not from companies famous for them. They had a patent dispute over the iPhone with a guy with a 1992 patent. I think I knew a guy with a earlier patent. Then there was the Nokia smart phone, amstrad PDA and before that Sony had pen computers, so there is a heritage of ideas of shape and functionality. The addition of a phone to a shape means? So Red, is just somebody that put money towards doing something. We should appreciate on the basis of how much original achieved without buying in, and how much dine that a rich company could afford to do. BM wouldn't be able to afford to get into the market if Red had released the $1k or $500 cinema camera. So, BM has arguably achieved more in what could be done. Good old team United States of Australia effort. And more could be done again.

So, the issue with sensors is balancing performance with the technology you have. If you can't use technology that doesn't compromise performance elsewhere (such as noise levels) you leave it out. So, Sony has concentrated on improving natural dynamic range in the psst, and noise levels. Then they did global and other the non consumer/pro lines of sensors in the past. Why, maybe it just lowered some of performance in some other area. But given the low noise, high sensitivity and natural dynamic brange now, and good HDR techniques, I expect to see it coming to pro sensors more. But anybody with more up to date information could tell you more than me.
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timbutt2

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Re: Blackmagic RAW

PostTue Oct 23, 2018 2:35 pm

Jamie LeJeune wrote:
Mark Grgurev wrote:That's what I mean. When you're shooting RAW, the differences in ISO are just changes to metadata that are shown in-camera for preview purposes. So you can expose to right then bring the ISO down for display purposes.
Totally right. The LUT I made is for those recording ProRes, or for folks who want the RAW metadata to stay at 800 (for some reason, not sure what it be though) and not have to click back and forth to 200 for viewing.

I'll stick to 800 ISO in RAW mostly for the better highlight detail retention. I've been shooting at 800 exclusively ever since I got the URSA Mini 4.6K. With the BMCC 2.5K I did change ISO and shoot at 200, but once I had false color with the 4.6K I just used NDIR filters and treated the sensor at it's native ISO.

Although, I'm still very curious to see how the 4.6K Sensor would perform once Dual ISO is built into it in the future cameras. That is one of the reasons I now would skip the Pro and wait for the next camera. So that the sensor update is worth it. I'm still holding out hope the regular UM4.6K gets Blackmagic RAW because it would be a welcome update. And, I'm sure it can handle it. As Tim Schumann said earlier this month, the work for the 4.6K sensor has been done. It's just getting into to work with the processor of the original URSA Mini. I bet my soul it handles it.

Tim Schumann wrote:We hope so. Please bear with us. We have not forgotten you.

As we said at IBC, we are working on finishing the general release for the Mini Pro. Pocket 4K will be next and we will also look at what other cameras we can get it into.

The good news for the URSA Mini 4.6K is the sensor profiling work is already done.

:D
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Re: Blackmagic RAW

PostTue Oct 23, 2018 4:08 pm

I’m waiting on that Braw for my 4.6k. And I bet Tim’s Soul as well it will handle it for sure :D
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Re: Blackmagic RAW

PostTue Oct 23, 2018 4:43 pm

Timbutt2 and Donnell: forget about betting souls. Money: That’s What I want!


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Re: Blackmagic RAW

PostTue Oct 23, 2018 4:50 pm

rick.lang wrote:Timbutt2 and Donnell: forget about betting souls. Money: That’s What I want!

My soul has less value to me than money. I'm saving my money now for the next URSA Mini Pro Version 2 with 4.6K sensor and dual ISO at 15-stops of DR and 120 fps at full 4.6K.
"I'm well trained in the art of turning **** to gold." - Tim Buttner (timbutt2)

Cameras: URSA Mini Pro G2 & Pocket 6K Pro
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Blackmagic RAW

PostTue Oct 23, 2018 8:42 pm

And global shutter? I might wait for the phone with 20 stops dynamic range... it’s going to be awhile.


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Wayne Steven

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Re: Blackmagic RAW

PostTue Oct 23, 2018 9:23 pm

See the other thread. There has been over 20 stop small sensor fullhd carcam out there. Even years ago more than that with the tech over on the other thread. So, yes, 20 stop phone possible.
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cOften people deceive themselves so much they do not understand, even when the truth is explained to them
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