Lux Shots

There is a shit ton of noise in ProRes RAW! I did a shoot in the daytime and I had to run it through Neat Video for a few fucking days because it was for a corporate client that had been spoiled by the S1H noise free image. That was the first, and maybe the last time I use ProRes RAW on corporate work.

You won't be disappointed! It sits nicely alongside my S1H in person and on the timeline. But I gotta say, I had a friend send me some BRAW from the S1H, and I think I may start cheating on ProRes RAW! 😄

There is a feature on the S1/S1H/S5 that you can determine which setting carry over from video to photo. This does exactly what you need it to do!

Without a color chart and a custom white balance, we have no idea what is wrong with the colors. I assume you feel they don't match the scene as you remember it, but you are also changing the temperature, so this can have an effect.

Full Disclosure: Besides being a camera enthusiast and working camera dude (I get paid weekly by my corporate clients in the photo and video realms), my day job is as a Sr. Software Engineer. To put things simply, a patent usually has a particular claim that is novel. The spell out in excruciating detail exactly how their technology achieves that claim. They also try and make the claim as broad as possible, to try and cover any and all possible uses and implementations. A quick look here will make you utterly sick with how broad and catch all many of the RED patents seem to be. But a quick look at this patent in particular, and you can see the claim, and how they accomplish what they do, and why it is novel, and that being visually lossless compression of a RAW motion video RAW of at least 23 frames per second. Of course there may be some ways to get around this. Just know that if you do try, you will most definitely have REDs lawyers knocking at your door. If they shut down Apple, they probably can shut down any company. As an aside, legal at my company really dissuades us from even looking at patents, as their is stiffer penalties if a company knowingly infringes on a patent, as opposed to creating a technology naturally that may violate a patent.

It's quite simple actually: Pay no attention to marketers. They have no idea what the fuck they are talking about, and try to sound just engineeringly-intelligent enough to get people to stop questioning the company's position. RED Patents will not allow internal RAW, unless Panasonic gets into a licensing agreement with RED, as Canon may have done. This is all the more probable when looking at the RED Komodo having an RF Mount.

The real value is when your capture resolution exceeds your delivery resolution, you can do post punch-ins and pans without a loss in quality. If you don't need to post pan, then downscale to make up for the 4:2:0 encoding, or just shoot ProRes RAW and have even higher quality footage.

Yeah, it's almost the same as my S1H now. Kinda wish 5.9K was 29 minutes and shutdown with overheat though, but beggars can't be choosers, so I will take what I can get. The most useful of all of these is the 4K 60p 10-bit internal if you ask me.

It all depends on how the RED patent was written. As long as the grip simply accepted HDMI port signals, I think that would be possible.

I don't remember what angle the S1H was set to for that particular shot. I have long since trashed the original files as this was my second and last music video, as the only thing that pisses me off more than a bridal diva is a creative diva who can't get 10,000 free soundcloud streams 😁. It may be okay for some to make a $1000 in a day, but I make that in a few hours for corporate work with dedicated creative directors and set creators setting up the look just the way they desire. All I have to do is create pristine video and sound. With indie music videos, you need to do everything. I think I wouldn't have a problem using ISO-10000 with H.264 with my S1 or S1H. I once pushed to ISO-16000, but that needed post noise reduction, and I wish I would have just jacked up internal noise reduction instead of having to clean up a 20 min of reception speeches in post.

The slo-mo purple fringing thing is because I pushed slo-mo in post to match the beat. It was a creative decision that was not planned in the pre-production. The video was shot with two lenses. The Panasonic 24-105 f/4 (fantastic lens!) and the Canon 50mm f/1.8. The Canon was not initially planned to be used as the night scenes were meant to be lit, but it became a safety concern with the wet snow, so we only used a battery LED Fresnel on the last shot. If you look at the scene from 1:30, you can clearly see the image degrades at 1:36, which you have correctly noted! This is the best example of an identical scene, identical lighting, with just a change in aperture to account for the fps increase. The seemingly longer lens is mostly from the 4K 60p S35 crop. I also forgot the the last shot of the video, which reminded me that anywhere there was a slo-mo shot, the camera is switched to 4K 60p H.265 4:2:0 S35 instead of 4K 23.976p H.264 4:2:2 FF. Good eye Jimmy!

If you look at the quality at 1:30 and the quality at 1:36 when there is slo-mo, you will see the quality noticeably degrade.

That is BRAW right? They don't anything else 12-bit, besides their own RAW codec, do they?

As an engineer, the goal when writing a patent is to try and make it as broad as possible. I expect RED's patents to cover any camera internal compressed RAW recording, no matter the compression rate. What we do not know, is if Canon is already paying a license agreement to RED, or if a technology reciprocation agreement exist between the two companies. If I remember correctly, didn't RED's new Komodo come with the Canon RF mount? That is a really really big deal, which says tons about the cooperation between the two.

They did the right thing, or they'd be in the same boat as Kinefinity. Sigma gets away with internal RAW because it's not compressed, so you can get a whole 20 minutes of 8-bit video on a 256GB card.

Enjoy! Report back the time in the video where the quality turns to crap if you can see it.

Link is valid for 72 hours, and the file size is 700MB. Music video has a NSFW due to language.

The other link is trash. Best to download the file instead of playing it, as my upload bandwidth is severely limited. Let's see if you can tell where the quality takes a dump, and that is where I went from shooting from H.264 to H.265. https://www.myqnapcloud.com/smartshare/6g774717np2m262q22u220y2_6CkDTsX Password: NOLIES

https://luxshots.dynu.net:443/video/sharelink?aid=EdRbko Password NOLIES

I do not know why there is higher rolling shutter on 5.9K. Maybe it has to do with processing is software based vs hardware based, I really don't know. This DPReview article states so at the very top bullet in on the linked page that the 4K image is from an Oversampled full sensor. Panasonic marketers stated this in a YouTube video. that the S1R did line skipping, and that is why the 4K footage is not as sharp as the S1/S1H footage.

Everyone has always known the S5/S1/S1H take the full sensor and down-sample to 4K. The S1R is the only one of the bunch that does line skipping. That different feel from 4K is because it is recorded in H.264 while the 5.9K is in H.265. The only source I have is the over year old dpreview.com review articles on the S1 and S1R, and that I own the S1 and S1H. And yes, my S1H has a fan. 4K is not noisier in my test. What you are seeing is more captured detail because the H.265 codec has a much softer image and is only 4:2:0 instead of the H.264 4:2:2. I recorded a music video for a client that had a mixture of 4K 24p H.264 and 4K 60p H.265 captures. I though I missed a focus pull or that something was wrong with my S1H when I looked at the clips side by side in the edit. The 4K 60p is so much softer, but if the whole video was shot in H.265, I might have missed it.

The only time my fan ever comes on heavy on my S1H is when shooting 5.9K for extended periods. We also know that a hot sensor will have more noise than a cooler one, so that may have something to do with it also.

Good catch, I must a missed it! 🤣

Dynamic range is the same, but not the ability to recover from over exposure. Try that with H.264 V-Log and it's gone forever.

I shot a full ProRes RAW job for a client yesterday. I was doing some gimbal work and decided I needed something a little wider, so I popped on the Panny 20-60mm lens. Wouldn't you know it, I don't have an ND Filter for this lens yet, and it was mid-day with full sun and not a cloud in the sky! I shot it at f/8 and just ran with it for a few shots anyway, leaning heavily on the ability for ProRes RAW to recover something in my nearly all white screen. ProRes RAW saved the shot for sure! Take a look at the file before and after exposure correction.