Imagine they'd then even give you WB/Tint and ISO adjustment controls ;) right now, that's only implemented in FCPX... so in my opinion "full support in Premiere Pro" is kind of misleading... but that's more of a problem on Adobe's side.
Yeah. Thats the frickin job of an NLE... I hate this kind of battle between Apple and Blackmagic. They should both support both codecs (BRAW and ProresRaw in Resolve and Final Cut). Yes, there is a license fee and all that, but as an editor I dont want to be dependant on certian editing software based on what the footage was shot on. This happening in 2021 is a real shame.
@@MegaIrgendetwas The battle isn't really between Apple and Black Magic, but Atomos and Black Magic. It's stupid Australian inflighting which stems from Atomos being founded by former BMD employees. Atomos will never support Black Magic Raw, and Black Magic have deemed ProRes Raw to be Atomos territory
Thanks for the video, beautiful shots ! I have an FX3 and and FX6 with two Atomos Ninja 5+ monitors, they're great. The two things I'm pretty concerned about with shooting in raw externaly is that the Ninjas get very, and I mean VERY HOT, at least in the summer. Hot to the point I can't touch the metal frame of the monitor more than 2 seconds because it litteraly burns. The second issue I have is that the files are so heavy, it takes forever to process them. When I delivered all the rushes on an AVID station server, first of all it took forever, and the major issue is that the editor team couldn't even use them as is even in link mode, the PCs AND the Macs couldn't handle RAW and the files were too big to make proxies. It was a disaster and we lost so much time with this, i don't think I'm going to shoot RAW at least professionaly, probably until the hardware in post improves and gets a little more powerful.
Hello @Jay Wilson We are delighted to hear that you enjoyed the video. Your positive feedback is greatly appreciated. If you have any more comments or questions, please don't hesitate to reach out. Cheers! ATOMOS
the ProRes series is great, but my own take on this one specifically was a lot of those shots in the helicopter seemed jerky to me and looked like the camera accidentally rotated a few times, as well as blown-out highlights on the snow 😅
Yeeeeah Talks about how monitoring modes help ensure you're getting what you need without blowing highlights, expresses concerns about noise so recommends ETTR with the intention of pulling it down in post, then shows a shot with blown highlights...lol
The only actual part of the video about Prores Raw is 5 minutes long and just the host rambling about how you should not overexpose or underexpose the shot. Then it cuts to what he shot and the highlights are blown out ! 6:44 Come on guys, please do better, the details in the rock's highlights is gone and there's nothing left in the clouds.
Can you list the gear you are using on each shoot, please? I personally like how you move from the gimbal to the tripod and keep a small setup. Loved the video.
Loading in and using your own LUT on the ninja is completely broken. It always shows the highlights blown out and throws the colors way off. When will this be solved?
Hello Jake, Thank you for your comment. Please reach out to our support team using the link below to get complete assistance regarding this issue: support.atomos.com/hc/en-us/requests/new Cheers! Atomos
On the Leica SL2S ProRes RAW mandates APS-C mode and no IBIS which is worth knowing and isn't made obvious. If you're shooting in low light then your noise is enlarged which is worse than more noise. So use this function judiciously. You should really be comfortable with white balancing and choosing your ISO before you shoot with this gear, choosing that later is a bit of a crutch. You're not increasing dynamic range and you're not really recording anything more that's there beyond quite extreme colour and edge detail. So unless you're doing VFX or green screen, or really unsure about what you want exposure wise then it might not be worth it. It certainly has its draw backs.
Great video. Quick question. If I capture in ProRes Raw but am posting in Resolve (which can’t read ProRes Raw and thus has to be brought into Premiere first then spit out in a Canon log format to then enter Resolve), do I have to do noise reduction in Premiere, or can I do the transcode first then do noise reduction in Resolve. Is there a downside to waiting to do the denoise? Does the noise get baked in somehow if I don’t deal with it at the ProRes raw phase? Hope that makes sense.
Noise is always baked-in...it's from the sensor. In a perfect world you would do necessary NR prior to transcoding, but if you're keeping the footage in it's native LOG gamma and gamut, then it's really not going to make any real visible difference if you do NR after the transcode.
Mounting directly to a hot shoe is a disaster waiting to happen. Get a darn cage. And the HDMI cable hanging loose that way is careless. One or two bongo ties will solve a problem before it happens.
Thanks, it's awesome. The day then I could open Prores Raw clip in Davinci Resolve will be the happiest day in my life.
Imagine they'd then even give you WB/Tint and ISO adjustment controls ;) right now, that's only implemented in FCPX... so in my opinion "full support in Premiere Pro" is kind of misleading... but that's more of a problem on Adobe's side.
Yeah. Thats the frickin job of an NLE... I hate this kind of battle between Apple and Blackmagic. They should both support both codecs (BRAW and ProresRaw in Resolve and Final Cut). Yes, there is a license fee and all that, but as an editor I dont want to be dependant on certian editing software based on what the footage was shot on. This happening in 2021 is a real shame.
@@MegaIrgendetwas The battle isn't really between Apple and Black Magic, but Atomos and Black Magic. It's stupid Australian inflighting which stems from Atomos being founded by former BMD employees. Atomos will never support Black Magic Raw, and Black Magic have deemed ProRes Raw to be Atomos territory
Play Pro Studio, so Raw in Resolve 🎉
@@charlesleroq932 well it’s black magic issue because they are open and they been asking black magic the issue is black magic
Jesus. This footage is so unbelievably clear and sharp
This is truly a great video, thank you for your energy, technical expertise and passion in making this!
Levi Allen got better with this video.
Amazing. What a shots, what an everiment. Insane.
Thanks for the video, beautiful shots !
I have an FX3 and and FX6 with two Atomos Ninja 5+ monitors, they're great. The two things I'm pretty concerned about with shooting in raw externaly is that the Ninjas get very, and I mean VERY HOT, at least in the summer. Hot to the point I can't touch the metal frame of the monitor more than 2 seconds because it litteraly burns.
The second issue I have is that the files are so heavy, it takes forever to process them. When I delivered all the rushes on an AVID station server, first of all it took forever, and the major issue is that the editor team couldn't even use them as is even in link mode, the PCs AND the Macs couldn't handle RAW and the files were too big to make proxies. It was a disaster and we lost so much time with this, i don't think I'm going to shoot RAW at least professionaly, probably until the hardware in post improves and gets a little more powerful.
Facts!
Such a beautiful video great shots all around!
Phantastic shots! Thanks to Levi Allen!
man i loved this video i bought everything your using just so i can try get the same image with my little to no knowledge in the camera industry :P
Fantastic video! Thaks for making this Levi.
I absolutely loved this!!!
Great job Levi, I loved the shotlist you made. May I ask which program is it ?
THANK U. This is epic
So good....
Wonderful video very well put together!
Hello @Jay Wilson
We are delighted to hear that you enjoyed the video. Your positive feedback is greatly appreciated. If you have any more comments or questions, please don't hesitate to reach out.
Cheers!
ATOMOS
Will do. @@AtomosChannel
I wouldn't trust CZcamss compression to make a judgement on anything.
the ProRes series is great, but my own take on this one specifically was a lot of those shots in the helicopter seemed jerky to me and looked like the camera accidentally rotated a few times, as well as blown-out highlights on the snow 😅
Yeeeeah
Talks about how monitoring modes help ensure you're getting what you need without blowing highlights, expresses concerns about noise so recommends ETTR with the intention of pulling it down in post, then shows a shot with blown highlights...lol
what's your post workflow for noise and barrel distortion correction when shooting raw?
Lol - I wish I had a trust fund like Mr. Allen, here.
Hey may i ask, where are you getting the prores raw luts from? I cant seem to find any
The only actual part of the video about Prores Raw is 5 minutes long and just the host rambling about how you should not overexpose or underexpose the shot. Then it cuts to what he shot and the highlights are blown out ! 6:44 Come on guys, please do better, the details in the rock's highlights is gone and there's nothing left in the clouds.
Exactly what I was thinking
WOW the BTS looks awesomely gorgeous!! What framerate is this? 48?
29.97
What SSDs are you using in the caddies?
I edit in Scratch, like a boss. Was this video graded for HLG?
Can you list the gear you are using on each shoot, please? I personally like how you move from the gimbal to the tripod and keep a small setup. Loved the video.
Beautiful images! During the campfire shots are you just using a lav mic?
When Davinci Format ? May I shoot in Prores Raw with a sony A7 III using an Atomos Ninja V+ ?
Nice info. Can we change iso of the file in premiere pro ?
What kind of cable you using? seems legit to do prores raw and flexible!
19:46 Hey guys, you forgot someone!
Loading in and using your own LUT on the ninja is completely broken. It always shows the highlights blown out and throws the colors way off. When will this be solved?
Hello Jake,
Thank you for your comment.
Please reach out to our support team using the link below to get complete assistance regarding this issue:
support.atomos.com/hc/en-us/requests/new
Cheers!
Atomos
thank u
I see blue on the obiective shadow 😅😅😅
How do u set wb
On the Leica SL2S ProRes RAW mandates APS-C mode and no IBIS which is worth knowing and isn't made obvious. If you're shooting in low light then your noise is enlarged which is worse than more noise. So use this function judiciously. You should really be comfortable with white balancing and choosing your ISO before you shoot with this gear, choosing that later is a bit of a crutch. You're not increasing dynamic range and you're not really recording anything more that's there beyond quite extreme colour and edge detail. So unless you're doing VFX or green screen, or really unsure about what you want exposure wise then it might not be worth it. It certainly has its draw backs.
Hi i want know if atomos ninja V whit panasonic S5 there are glitch on the clip
Hi there, please raise a support ticket here: atomos.zendesk.com/hc/en-us/requests/new to further assist you with this.
Cheers, Atomos
Why do you need to shoot in prores if you have Apple MacBook M1 Max?
Can you even change white balance and ISO using RAW in fcpx, for example?
Now yes you can
Great video. Quick question. If I capture in ProRes Raw but am posting in Resolve (which can’t read ProRes Raw and thus has to be brought into Premiere first then spit out in a Canon log format to then enter Resolve), do I have to do noise reduction in Premiere, or can I do the transcode first then do noise reduction in Resolve. Is there a downside to waiting to do the denoise? Does the noise get baked in somehow if I don’t deal with it at the ProRes raw phase? Hope that makes sense.
Noise is always baked-in...it's from the sensor. In a perfect world you would do necessary NR prior to transcoding, but if you're keeping the footage in it's native LOG gamma and gamut, then it's really not going to make any real visible difference if you do NR after the transcode.
@@Humcrush Thank you! That helps.
Great job!! FCKNG jealous >:(
Mounting directly to a hot shoe is a disaster waiting to happen. Get a darn cage. And the HDMI cable hanging loose that way is careless. One or two bongo ties will solve a problem before it happens.
Dude probably professionally records 1000x more than you could ever hope to and knows how he likes his rig.
@@21CDpodcast Good luck explaining to the client how you blew the take because your HDMI connection failed. You won't be called back.
I use a cage on my S1H and an AndyCine cage for mu Ninja V. Both have hdmi clamps on.
What do you use for DeNoising ?
Neat Video!
@@Levi_Allendo you bother to fix barrel distortion with lenses? Does that matter?
@@ChrisFlores22 - I didn't notice it much to be honest. I'm not sure what tool I would use, but that's definitely a factor with certain lenses
@@Levi_Allen thanks for the reply!!
What bag is in 2:16?
It's from Shimoda, its called their "FILTER WRAP 100"
The newest external recording device and the oldest functioning helicopter...