Camera
Why Raw video might not be the game-changer you expect
| External recorders such as the Atomos Ninja V shown here can encode a Raw video stream into a formats such as Apple’s ProRes RAW. |
Raw video has become something of a talking point as more and more cameras have provided a way of capturing or outputting Raw video data streams. But, for a couple of reasons, Raw video doesn’t offer the same benefits that photographers are used to enjoying, when they shoot stills.
Raw video formatsThere are multiple types of Raw available and the experience of using each will differ somewhat, but the underlying benefits are broadly similar. RED and ARRI use their own Raw formats, currently only offered on their own cameras. But for non-pro work, it’s much more likely that you’ll encounter CinemaDNG, ProRes RAW or BRaw. Adobe’s CinemaDNG is an open system based on its stills DNG format, offered natively on the Sigma fp and some external recorders. Atomos has licensed Apple’s ProRes RAW format and BlackMagic Design has created its own BRaw format, both of which allow their external recorders to encode the Raw output streams from a variety of popular cameras. |
So, before you add it to your must-have list of features for your next camera (or your list of camera features for brand-loyal point-scoring arguments in the comments), let’s look at why you might not want to dive into Raw shooting just yet.
We’re going to focus on ProRes RAW in this article, since its adoption by Atomos means it’s the Raw video format available to the widest number of camera models, at present. But many of the points are applicable to other formats, to a greater or lesser degree.
1) There’s a lot of extra work to be done
The first time you look at a Raw video file, the first thing you’re likely to notice is how much processing your camera usually does when creating video. For a start, the video is likely to need some re-sizing: both the Panasonic S-series cameras and Sony’s a7S III output roughly 16:9 regions taken from the full width of their sensors, meaning 5.9K or 4.2K, respectively. The Nikon Z6 instead sub-samples its sensor, in order to output an unprocessed UHD signal. Unfortunately, this pixel skipping reduces resolution and introduces moiré, compared with the in-camera 5.9K-derived footage. It also results in noisier footage, because it’s not using all the available pixels.
Once downsized, there’s still a lot of work to be done. You’ll need to find a sharpening and noise reduction strategy that suits your camera’s output, which is likely to require a fair degree of experimentation with different settings and plugins, if you want results that look as clean or sharp as the camera’s own compressed footage. Then there’s the need to reduce and mask any moiré in the footage: something your camera is likely to be doing pretty well without you realizing it.
2) The software support isn’t especially polished
Beyond gaining finer control over the processing applied to your footage, perhaps the two strongest reasons for wanting to shoot Raw are that it should give you greater flexibility over tonal adjustments (ability to brighten footage, adjust curves and exploit dynamic range) and the ability to make big white balance adjustments without detrimental impact on the footage.
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| Even when they’re available, the Raw adjustment tools in Final Cut Pro are limited and duplicate the function (though not effect) of existing tools elsewhere in the interface. |
In the case of ProRes RAW, the tools available to make these adjustments aren’t always particularly polished, despite Apple controlling both the format and Final Cut Pro. Not all cameras appear to communicate enough information in their data streams, meaning the Raw adjustment controls for white balance and brightness (‘ISO’) are not available for some cameras.
For instance in Final Cut Pro these options, when available, are simple pull-downs in the ‘Info’ tab, rather than full tools in the video or color inspector tabs. And, because they’ve been added on later, when they are available their functions overlap with the existing brightness and white balance tools designed for use on gamma-encoded footage. The result is a rather inelegant duplication of options, which have different ways of working and differing effectiveness.
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| Raw output options are becoming increasingly common. This image shows the Sony a7S III which can output 4.2K Raw at up to 60p. |
Our best experiences so far have been with the likes of REDRaw, which can be adjusted using tools designed to match the camera.
3) There’s less potential for improvement.
The other important thing to recognize is that Raw video won’t give as much of an improvement over gamma-encoded, compressed footage as you’d experience when comparing JPEG files to Raw stills.
As well as having more powerful adjustment software available for photography, the difference between the two filetypes used for stills is greater. For photos, the option is typically between 8-bit JPEGs and 12 or 14-bit Raw files, and these JPEGs are designed as final images. As such, they’ve typically had very aggressive S-shaped tone curves applied to them, to give a punchy final result. Looking at a typical JPEG tone curve, we found that around 174 (of 256) data values were committed to the four-stop range centered on middle grey. With just 32% of the available data values available for the other five stops of shadows and highlights, it should come as no surprise that there’s not much scope for adjusting the highlights or exploiting additional dynamic range from the shadows.
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| This JPEG tone curve, taken from a camera’s standard color mode, devotes around 68% of its values to the two stops on either side of middle grey. As you can imagine, trying to make significant adjustments to the highlights or shadows, squeezed into the remaining values, doesn’t work very well. |
But in video the next-best thing to Raw isn’t an 8-bit file with priority given to mid-tones; it’s more likely to be a 10-bit file in which roughly equal importance is given to every tone in the footage, specifically with the intention of preserving the ability to make adjustments. Apple doesn’t give enough information about the ProRes RAW format, meaning we can’t be sure what happens when the 16, 14 or 12-bit linear Raw readout from the camera is encoded into the 12-bits that ProRes RAW uses.
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| A Log curve (Sony’s S-Log3 in this instance) distributes the available values much more equally. This arrangement and the move from 8 to 10-bit precision maintains a great deal more editing flexibility than the JPEG represented above. Consequently, there’s less of a gain to be had by moving to Raw. |
This lack of disclosure makes it difficult to make exact comparisons, but the difference, in terms of how much of the original information is retained between a Log-encoded 10-bit signal and a (presumably) quasi-linear 12-bit capture, is going to be much, much smaller than the difference between JPEGs and Raw stills. This is also why Raw video, with a single 12-bit value for every pixel, isn’t unbearably large by comparison with gamma-encoded footage (which has to retain up to three 10-bit values per pixel, depending on the chroma sub-sampling and group-of-pictures compression scheme being used).
Changing ‘ISO’RED cameras don’t change in-camera amplification when you change the ISO setting, and just brighten the footage to match your choice of rendering in ‘post. Similarly, some Sony pro video cameras, such as the FX6 and FX9 include a ‘Cine EI’ (EI = Exposure Index) mode, which locks the cameras to one of the two gain steps of their dual gain sensors, again with the expectation that the output can be brightened later, as needed. In principle this should be possible with any ProRes RAW footage but the processing software would need to know how much gain had already been applied to the footage. We suspect the lack of communication about which ISO mode has been used (especially in Auto ISO mode, where in-camera amplification could change within a single clip) is part of the reason the ‘ISO’ adjustment option isn’t available for all cameras. In principle, once implemented, it would be possible to use the likes of the Z6 II, S1H or a7S III as an ‘EI’ camera, always shooting at a base ISO setting to allow the greatest possible adjustment, later. |
Importantly, this means ProRes RAW should still give you lots of flexibility in terms of white balance (so long as the color channels haven’t been rendered and ‘baked’ relative to one another), but you won’t gain the leaps in dynamic range and tonal adjustment that you get with processing Raw stills. In fact your dynamic range may fall if the Raw comes from noisier, sub-sampled output.
Other ‘Raw’ video formats appear to demosaic (resolve the color for each pixel) and chroma sub-sample before recording the file, which would reduce some of this white balance flexibility, too.
In summary
Raw video is clearly going to become more common. With cameras starting to include internal capture, and manufacturers recognizing the benefits of working with companies such as Atomos and BlackMagic Design to offer external capture, it’s only likely to become more accessible.
In turn, the usefulness of Raw video is likely to increase as adoption increases and software makers get better at providing and integrating the tools needed to make the most of it.
And working from Raw still gives you some degree of additional control over:
- Image processing and noise reduction
- Brightness, tonal distribution and dynamic range
- white-balance adjustments
However it’s not going to be as dramatic a difference as you see with stills. And, given there’s already a well-established approach for capturing high-DR, flexible footage and most editing software already provides the tools to make use of it, for now you may find a camera with well-processed 10-bit Log capture is a more practical way to shoot gradable footage.
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While visiting Dry Tortugas National Park, located 109km west of Key West, Florida, I looked down from the top of Fort Jefferson and saw this group of snorkelers just off Garden Key. Moments after this photo was taken, one of the snorkelers had the bad luck of being stung by a Portuguese man o’ war.
Photo: Dale Baskin |
The theme for our March Editors’ challenge is ‘Water’.
Show us the essence of water in its many forms, from the roaring power of the ocean to a gentle rain, reflections on a lake, smooth waterfalls, frozen ice, or even fine art. The possibilities are endless, so let your creativity flow and show us your best photos that revolve around water. Our favorites will be featured on the DPReview homepage later this month.
This challenge is open to photos taken at any time.
Photos can be submitted between Sunday, March 16, and Saturday, March 22 (GMT).
Important: Images MUST include a title and a caption of at least 25 words to be eligible. Viewers want to know the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!
Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.
Visit the challenge page to see all the rules
| Images: Vanguard, Apple, Elinchrom |
CP+ may have ended last week, but that apparently hasn’t stopped the flood of accessory news. Today, we’ll look at a few lights, bags, computers and more, but first, let’s see what’s on sale.
Second-gen Goodness
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| Photo: Richard Butler |
Canon’s Stacked sensor flagship, the EOS R5 II, is currently on sale for $300 off MSRP. We reviewed it late last year, and came away very impressed – it’s a camera that excels at nearly everything.
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| Photo: Richard Butler |
Panasonic’s S5II isn’t quite as performant, but it’s still quite a good camera. It’s also substantially cheaper than the EOS R5 II, especially given the current sale that gets you $500 off.
Let there be lights
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| Image: Godox |
Godox’s latest light for videographers and photographers is the Litemons C30. It’s a tiny LED panel weighing 248g that packs an internal battery capable of putting out 30W of light for up to 45 minutes. A USB-C port lets you recharge the battery or run the light for an extended period of time.
There are two versions of the light – a bicolor model, which costs $59, and an RGB model that will run you $89.
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| Image: Elinchrom |
If you need something a little more powerful, there’s the recently released Elinchrom LED 100 C, a continuous RGB light with an integrated 72Wh battery that provides up to 40 minutes of power in the field. It comes with a diffusion dome and an adapter for Profoto light modifiers and can be charged via USB-C.
On the level
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| Image: Vanguard |
Ball-head tripods are great if you want to easily level your tripod without messing around with leg length, but what if you already have a tripod that you like? Vanguard’s LVL accessory might be for you. It’s designed to sit between your sticks and your tripod’s head, adding a bit of height and letting you level your tripod head in a matter of seconds.
Vanguard makes several sizes, so it should be compatible with a wide range of tripods. The smallest, the LVL 42, has a 42mm base and can support up to 20kg (44lb), while the LVL 75 can support up to 40kg (88lb) – just make sure the rest of your tripod can handle that much weight too.
In the bag
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| Image: Wandrd |
If you want to carry around some camera gear without using a massive backpack, Wandrd’s Stratus Photo 18L may be the bag for you. It’s relatively small and has built-in organization for your camera gear, as well as access hatches on both the right and left-hand side. It’s made of weather-resistant materials and has load-adjustment straps and a chest strap, which should let you carry it comfortably even if you’ve got it filled with gear.
New affordable iPads
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| Image: Apple |
People don’t always think of the iPad as a photographic tool, but nowadays Apple’s tablets have a lot of processing power and can run many of the apps photographers use on their desktops. The company’s entry-level models – the iPad Air and the plainly-named iPad – have just gotten updates that make them better than ever. The Air gets the laptop-class M3 chip, as well as a new, optional keyboard with a bigger trackpad, function row and aluminum design. The M3 iPad Air starts at $599, and the new keyboard costs $269.
The cheaper iPad, meanwhile, gets the A16 chip from the iPhone 14 and 14 Pro. While it’s not as powerful as the M-class chips and doesn’t support Apple’s suite of AI features, it should still be plenty for light photo editing and organization. Its base storage has also been doubled from 64GB to 128GB. It starts at $349, which is what its predecessor sold for ever since Apple cut the price by $100 in 2024.
That wasn’t all Apple announced this week, though…
Get caught up
Some accessory news is so big that it gets its own article during the week, but we’d feel remiss not also mentioning those products here.
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| Image: Apple |
As an example, Apple’s new computers. The company announced updates to its entry-level MacBook Air and top-of-the-line Mac Studio this week, adding its latest processors. The MacBook Air has enough processing power to handle the typical Photoshop and Lightroom tasks that most photographers need, all while being hyper-portable, while the Mac Studio can handle the highest-end photo and video editing tasks.
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| Image: Peak Design |
Also announced this week: Peak Design’s Roller Pro, the company’s first piece of roller luggage. It’s a bit of a hybrid between a hardshell case and a softshell one, with plenty of padding and a front sleeve that can hold a laptop and other everyday carry items. You can read our full coverage of it here.
It’s currently being sold via Kickstarter for a discount over its $599 MSRP, but the usual disclaimer applies: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
| Photo: Richard Butler |
Sony has released a firmware update that brings its Content Authenticity Solution to the a7 IV. The company announced a similar update for the a1 II, a1 and a9 III in January. However, this is the first time the tool to authenticate images will be available on something other than high-end, professional-grade cameras.
Software Ver. 5.00 for the Sony a7 IV adds support for the “Write Digital Signature” function for still images. This function allows photographers to add an electronic signature to their images to prove that they were taken with that camera. Authenticity tools such as this are becoming increasingly important with the growing prevalence of generative AI-created imagery and, as a result, the spread of fake images.
Of course, as with the update for the three pro-grade cameras in January, there are some caveats involved. The Digital Signature function requires a paid license and is only available for certain media outlets, not the general public. Unfortunately, Sony still hasn’t provided any additional information on if or when it will be available for general consumers. On the firmware update page, Sony simply says that the “timing for the provision of paid licenses to customers other than certain media outlets is yet to be determined.”
Even though the current usability is limited, Sony rolling this out to consumer models is a step in the right direction. The Content Authenticity information page also says that “more camera models will be supported in due course,” so it sounds like we should see additional cameras with the tool at some point. If Sony makes the feature more widely available beyond media outlets, the Digital Signature feature will already be on cameras and ready for use.
If you want to be prepared, or happen to work for one of the select media outlets, the Sony a7 IV firmware update Ver. 5.00 is now available for download.
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