BRAW or ProRes RAW? The Battle of RAW DOMINATION begins...

[@davidmultimedia2024]

One thing that BRAW offers that very few people seem to realize is that you can trim your files and save them back to BRAW in Resolve (without any compromise or loss whatsoever), so you can minimize file size once your editing is done. It means you can easily record all day and fill up your 1 TB SSD if you need to.... then trim all the unnecessary moments and end up with only the ones that you need, and still have access to RAW data. Brilliant, and a total game changer! I truly don't know if you can do the same with ProRes RAW, but I doubt it.

[@THEDPJOURNEY]

Very good point!

[@certainlyjoel]

Wow this is also hard to believe, I'd love to see a tutorial on this

[@davidmultimedia2024]

@@certainlyjoel kzbin.info/www/bejne/e32np6V8aL93gLM

[@Meteotrance]

The file size is more acceptable and you also have the hand on the white balance in kelvin and ISO metadata, it make some tweak possible with a smaller size than DNG RAW or Prores RAW , convert that in 16 bit open EXR ACES is really easy and make long term archive more easy. The BRAW are also normaly open source Hope more software use it.

[@agustinsaavedra2752]

Yes, you can do the same with Prores Raw in the Finder Preview on any Mac. I do it all the time. Just preview the file, trim it, and save it like a new file or over the same one.

[@aleksandrshik9208]

Nerd parts are exactly why we come to watch your videos. Pretty much no one goes this deep with information and testings like you! You save us so much time to figure all this out on our own. Thank you!

[@THEDPJOURNEY]

Thank you so much Aleks! really glad you find my content valuable.

[@billyoung9538]

I've been thinking about the conclusions of this video with regards to BlackmagicRAW seeming more processed. According to Blackmagic the demosaic algorithm used for BRAW is supposedly a lot more advance than the any of the real-time demosaic algorithms that occur in editing software, because it is handled by the the hardware FPGA's in the camera vs a software solution that must operate in real time. The result is that things like a greater sample radius can in theory be used for more accurate inter pixel color estimation. What does this mean? It would in theory mean the demosaic would result in fewer residual artifacts in the final image giving the footage an overall smoother and less noisy look, but with, in theory, more accurate colors (excluding the white balance correction issue, as that is a unrelated issue ), but this smoothness could potentially be misinterpreted as if noise reduction had been applied. So this raises the bigger question that actually wasn't answered in this video: How does a post denoised version of ProresRAW compare to a post denoised version of Braw? This is ultimately the real question more so than how much noise was retained, because noise that doesn't add anything meaningful to the final image is just useless noise. In this video we were shown that BRAW cleans up significantly better than H.625, but it is never shown if ProresRAW cleans up as well or better. If ProresRAW cleans up better than Braw then that is the win, but if they clean up nearly identically then that would mean Braw got rid of useless noise information likely due to a more sophisticated demosaic algorithm and that they are equal from an end result standpoint; however, if Braw were to clean up better than the ProresRAW then that would imply the demosaic was actually better, and despite showing less noise in the initial footage could potentially be considered the superior format, because again it's the end result that really matters. My suspicion is that they will likely clean up nearly identically making them more or less equivalent outside of meaningless noise, which would mean the Braw was just better demosaiced and noise reduction was likely not used.

[@akmalsalikhov3732]

16 minutes felt like 8 minutes, I left with feeling I want more) Thank you Sherif for great and this time pretty soon released video.

[@JoaoSilva22222]

DP Journey, spends on expensive gear so you can learn before you swipe your own card..... simply the best on YT!!!!

[@THEDPJOURNEY]

Wow, thanks! Really appreciate your support

[@stephanes.]

This channel really is the Netflix of reviews! So interesting and joyful to watch!!!

[@THEDPJOURNEY]

Hahah that’s the best compliment ever!!

[@THEDPJOURNEY]

UPDATE: FW 2.6 is released and they claim they fixed the WB issue I pointed out. I didn't test it out yet. I only got a verbal confirmation from Panasonic. av.jpn.support.panasonic.com/support/global/cs/dsc/download/index4.html

[@davidmultimedia2024]

Did you test it? Does it completely solve the issue, or only makes it better?

[@THEDPJOURNEY]

I haven't tested it yet no. That’s why I was saying “it should”. Will confirm once I do I edited the statement to make it clearer that I didn't test it

[@davidmultimedia2024]

@@THEDPJOURNEY No problem man, I just thought you might have tested it 2 days later. No rush at all. My guess is that it's only better, not completely fixed, since Panasonic say ''improved'' and not ''fixed''.

[@THEDPJOURNEY]

Yeah good point! Curious about their choice of words. Unless they don’t wanna admit it was “broken” before, to need “fixing” ;)

[@MrVh78]

You're absolutely right on your partial debayering theory regarding BRAW. The reason being is that Black Magic does that to get around RED' RAW patent of pure internal RAW. That's why prores Raw is only acquired through external devices.

[@andrewrabon]

First I've heard of this. Any idea when that patent expires? I think it's usually 20 years...

[@MrVh78]

@@andrewrabon Not sure, but Apple tried suing RED and lost the case so maybe its a permanent thing?

[@luisa9628]

That doesn't make sense. Canon has their own perfectly functional internal "pure raw" with no issues. Red raw isn't "Pure raw" either, it goes though it's own proprietary process to lower file size. Pure raw is cinema DNG, or any other special file type that is literally just pure code from the sensor and those files are even larger then redcode. Apple sued RED because Apple patent trolls everybody it possibly can. They lose these cases all the time.

[@MrVh78]

@@luisa9628 sorry my bad I meant pure compressed RAW. Cinema DNG is uncompressed. Braw gets around this by partially debayering the image. If Apple won the suit it would have benefited us not Apple. It was a major lawsuit google it. In fact Sony got sued by RED for its internal compressed RAW in F65 F55 cameras.

[@divisionoflabor3070]

RED as a company sucks for this reason.

[@nicholastoo858]

- 2:37 There are cameras that output 16 bit raw, and there's a recorder that records 16 bit linear. Checkout the Sony AXS-R7 External 4K RAW Recorder for VENICE, PMW-F55 & F5. - 7:37 Thanks for the tip. - Thanks for the whole video. You answered lots of questions that I had about braw & prores raw.

[@shikharrawat5030]

I only watch two nerdy's. Dp journey❤️ and Gerald undone.❤️

[@THEDPJOURNEY]

The NERD LEAGUE

[@AK-IT]

Facts

[@magnus547]

One additional comment - I don't believe that Blackmagic will solve the Debayering issue. They purposely designed it this way so that the files can take some pressure off of the editor and make it very easy to smoothly edit high resolution "raw" files. When I was using the BMPCC 4K, I was recording raw in C-DNG files, and it basically retained all the noise from the original recordings, but when Blackmagic design updated the camera to record BRAW, the files were immediately softer and less noisy because of this "in camera" debayering process. I knew what was happening, but it was a life saver for editing "raw" clips quickly, while retaining WB and exposure controls. Plus the flexability to use BRAW in Adobe Premiere and Davinci are a win too, since I do not own a MAC. Since I do not own a MAC, I don't even have a choice - BRAW wins this contest for me.

[@THEDPJOURNEY]

Yeah exactly... that was my point that this softness is here to stay. But of course WB could be fixed (Theoretically) since it's more on Panasonic

[@magnus547]

@@THEDPJOURNEY Got it. Understood.

[@MichaelWeizenfeld]

I remember debates on "lossless" compressed CDNG vs uncompressed CDNG on Blackmagic Cinema camera 2.5k, and I saw the reduction in quality too) It is very sad that BM completely removed uncompressed CDNG options in all their contemporary cameras.

[@JamesJacksonFilmz]

The partial debayering has a lot to do with them Bypassing RED’s paten

[@MichaelWeizenfeld]

@@JamesJacksonFilmz these mysterious Red patents... How does Canon and Arri implement raw recording in their cameras?

[@egran2150]

S1H and SIGMA FP allows now braw externally in 10/12 bit raw and they are very awesome in results !!

[@vuspectrum]

I can't believe that I've been missing out on your Channel. Thank you for the great info & knowledge!

[@陆明夷]

Thank you very much for the blogger who explained the most detailed information on the whole website!

[@TheFraziers]

Nice comparison! I would love to see a comparison between the two formats in regards to workflow. Things like editing performance, compatibility with software, and file sizes.

[@dathofilms]

Who else gets excited during Nerd alerts? 🤓

[@THEDPJOURNEY]

hahaha... I thought they were turn offs for most people!

[@galachiev]

@@THEDPJOURNEY but in fact they make us to focus on nerd parts more than anything else)

[@luisa9628]

It's the reason I subscribed. They're so good. Your infographics are clean, concise, and clear and I walk away knowing more than I learned in most of my cinematography classes. I think any other youtuber would have put that information in some sort of "masterclass" that they charge money for.

[@shridexdigi1982]

@@THEDPJOURNEY PLEASEEEEE kindly do a comparison like this between Red Raw and Prores Raw please. Your explanation of PRORES RAW is the best

[@THEDPJOURNEY]

This is a good idea actually… but won’t be an accurate comparison as it needs to be coming from the same sensor. And there’s no sensor out there that can record both formats

[@omneyanoureldin3651]

You never cease to amaze me! As usual, a very thorough and detailed info. You’re the best👍

[@THEDPJOURNEY]

I appreciate that!

[@DanielsYoffe]

These animations are sick! Love that style! Why can't I subscribe x10 times in a row, but just once? ))) Great video!

[@THEDPJOURNEY]

Thank you so much D, really flattered with your kind words

[@magnus547]

Thanks for the video! I was curious!

[@THEDPJOURNEY]

My pleasure

[@Esaisaenz]

Great video. This was exactly what I was looking for. Thanks for testing it out!

[@THEDPJOURNEY]

Glad it was helpful!

[@boodi1170]

That was a surprise! I’ve always thought that black magic & pro red raw process the noise the same way! Watching the raw war is pretty fun Can’t wait to see how it will develop

[@vaidehiarts]

My thoughts: 1. As a DP, my White Balance is always in the set using Kelvin, and in the ballpark of where I want the image to be eventually. The BRAW limitation isn't a major issue (for me) 2. Davinci Resolve. 'Nuff said 3. BRAW Compression codecs are a major factor for choosing BRAW, especially for documentary style work where something like a 8:1 compression ratio might be a data saver while not compromising on quality 4. The menus and interface on the BM recorders are fantastic, plus External SSD / Internal Dual SD Card options make it more flexible for scaling up or down when shooting.. so essentially, a matter of the recorder along with the format.

[@antonioramos4680]

Hello, this video is a god sent. Exactly what I was looking for to understand how the BRAW over HDMI works. However I have a suggestion about something you did wrong. At 6:40 when you use the "temp tool" to match the WB of the shots, you're using the wrong tool. I know it's counter intuitive, but the tool you need to use is actually the Offset Wheel because it applies color change to all values equally. The Temp tool will always assume a white point and black point and bezier it's color changes to keep the white point white. The problem is the footage doesn't have a true white point because it's WB is wrong. Temp tool is only used for creative purposes AFTER you have a corrected WB with the Offset wheel. That's it! Thank you!!!

[@THEDPJOURNEY]

Thanks for your comment, but WB is a universal slider for RAW, what you're talking abotu is more for none RAW files. In all cases Panasonic already acknowledged the problem and fixed it. They never mentioned that I'm doing anything wrong, So we're all good now I guess

[@reflexmediacompany6389]

You're very good at it, but be keeping it so simple for the new comers in the game. Thank you very much for the Master Class lecture

[@THEDPJOURNEY]

Thank you so much for watching, glad it was simplified enough for you

[@cinemavius]

it's not a nerd, it's a knowledge that everyone should know and understand every detail.

[@josefrogoschewsky6458]

Wow, that’s how you do motion graphics in a tech video. Outstanding work! Great video.

[@THEDPJOURNEY]

Thanks 🙏 really appreciate it

[@robertfeliciano5723]

Your motion graphics are sooooo good. Thanks for the thorough review.

[@THEDPJOURNEY]

My pleasure!

[@_CRiT_hits_]

@@THEDPJOURNEY I love them too! What editor do you use to produce these so quickly and efficiently?

[@mpell66]

Really helpful and well presented review. I really like the smooth and interesting graphics used and found the 'nerd alert' part, the most fascinating - though great to have it announced beforehand as an option to skip, if it's not the right time to 'get into it' in the moment. For me, one very big part of the equation is the significantly much higher cost of Adobe Premiere and the fact it is on a subscription model. It is much more attractive and cost effective to purchase another monitor for BRAW at $800 than pay for Premiere and use that for Prores Raw using my Ninja V. Let alone the extra time and work required to process the Prores Raw file in Premiere first, before re-rendering it to then use in Davinci Resolve as the preferred editing software.

[@THEDPJOURNEY]

Thank you so much Marc for your kind words. Glad you liked the “Nerd alert” bit. Yeah the option of Resolve is looking much better than Adobe Pr. I’ll still be talking more about this topic. That’s just a start anyway

[@JJ_Lawson_VFX]

In Visual Effects for keying and compositing, noise makes a considerable difference in pulling a clean alpha from a greenscreen or bluescreen. It's usually a better idea to shoot with all the original sensor's noise preserved so that you can denoise the footage in-comp before keying, which gives far more flexibility without the risk of losing detail from the camera's internal denoising. This means that ProRes Raw is certainly better for this. However, we really shouldn't get too caught up in this... A good artist can pull a flawless looking key off of subpar footage, and artists will rarely ever receive a "perfect plate" to key from. There are so many other things to factor into what falls under a good greenscreen plate. Color depth is the bigger factor here, so any 10-12 bit footage will allow a good range to pull a key in a well lit studio where noise shouldn't be overt enough to contaminate the key. At the end of the day you should always decide which format to shoot based on your project budget and level of production. Most importantly, if you do have to do greenscreens or any VFX work, hire a VFX supervisor to ask questions!! It is an investment that is well worth it and will save you TONS of money on the back-end when you can eliminate potential issues on-set.

[@JerryMa]

Wow, been searching for article about prores vs braw for a long time! Finally you made one for us👍🏻👍🏻👍🏻🔥🔥🔥!

[@THEDPJOURNEY]

Happy to help 😀

[@YOUAREMYKIN]

Your videos are so insightful! 🙏🏽 Just watched 4 in a row. I hope you do make the one about noise post production that (I think) you mentioned. And one about Canon’s R5C, or Canon RAW Light.

[@fatheadmediapro]

Hells yeah. Got my coffee and excited to watch this one.

[@THEDPJOURNEY]

Hope you like it Jon 👍

[@Photographicelements]

I think this should be an ‘Epic Rap Battle!’ Great tech review! Thanks so much for being so detailed! Best of youtube!

[@THEDPJOURNEY]

Thanks for watching! Always a pleasure to hear back from you

[@donaldharmonify]

This is such well made and detailed. Thank you!

[@THEDPJOURNEY]

My pleasure. Thanks for watching

[@peterleukhardt]

I would love to see a video where you explain how you do these kind of videos. (Plugins/ transitions / animation etc) this is the best camera tech channel ever keep it up (right next to camera conspiracies of course :D )

[@DavidGriffin]

This is helping me be comfortable with the coming Pro Res Raw for my GH5S. THANKS BRO!!!

[@THEDPJOURNEY]

Always Happy to help David!

[@artemus80j.4]

This was best news for me this week! GH5S just got even better.

[@DavidGriffin]

@@artemus80j.4 wild is that NOBODY is talking about it!!!!! Anywhere!!! The consequences may possibly be a (more expensive albeit more useable) BMPCC4K!!!

[@artemus80j.4]

@@DavidGriffin true I was looking for it too. Could be a bit too soon. Once when firmware gets released we will for sure see something.

[@DavidGriffin]

@@artemus80j.4 yeah, I got my ninja v on the ready for it. I dying to see one thing... The highlight recovery tab in Resolve 17 come to life. Somewhere I was told that the GH5S and the BMPCC4K are the EXACT same sensor except BMD literally flipped it upside down and cropped it a little. Side from processing... If this is true and we shoot a true RAW of the sensor... We might see some extremely good gh5s results.

[@Dartheomus]

Simply Brilliant. Thank you for taking the time to do these in depth investigations. They take a lot of time and require that you own the hardware. However, this seems to be the ONLY way to get to the bottom of these questions. Great work!

[@posebukse]

Good and thorough vid! It doesn't matter for many tho, as studios invested in powerful PCs running Resolve just won't deal with the extra hassle of ProRes Raw. An A7Siii with BRAW would be a dream come true.

[@silas1414]

This is a beautifully crafted video. Excellent information.

[@THEDPJOURNEY]

Thank you so much for the kind words, really appreciate it

[@JoaquimGonsalves]

Incredibly well made video! Thank you for all the details. 🤩 One request: would love to see the RAW performance of both formats from the XH2S and the XH2. Thank you!

[@Arsenjev_Kirill]

Great job! Very interesting information! THanx a lot!!

[@THEDPJOURNEY]

Glad you liked it!

[@AndreiLucaa]

Thank you! There is so much knowledge packed in your videos. 👏

[@CameraBattle]

Excellent video. The effort put into the comparisons and graphics is fantastic. I only continue to take issue with your erroneous assertion that 16-bit raw out is "only a marketing stunt" as we discussed in the comments of your s3 video.

[@Sethmotley]

Man your video reviews are awesome

[@MartinAaberge]

Wow! The production value in this video man! Instant sub! I just got access to a bmpcc4k and naturally choose braw because I don’t have enough experience with the raw formats. This is super interesting though. Gonna have to try both :)

[@Alexrocks1253]

The thing ProRes Raw needs to work on is compression sizes. They have a giant HQ size and a still large standard size, but no smaller sizes like Blackmagic Raw. They should implement a 8:1, 12:1, constant quality options like Braw and it'll be more versitile for those who can't necessarily tell the difference between slightly more compressed images and don't have the budget for ginormous file sizes.

[@SliwkaProductions]

Thank you so much for this tutorial and testing both RAW formats 😀

[@THEDPJOURNEY]

You're very welcome! Thanks for watching

[@ShotByDale]

Great video. Been looking for a comparison of the formats for a while. As a PC user, and davinic user, braw is the only option for me for now. I also love how lightweight it is, and now we know why. I look forward to seeing how the wb issue is in the s5 update coming soon. But not an overall deal breaker for me.

[@TheIconfriend]

Another wonderful analysis, thanks for the detailed info!!

[@THEDPJOURNEY]

Glad you enjoyed it!

[@DavidsOldChannel]

I really love your in depth look into these things. I don't feel smart enough to do these kinds of tests myself, but I love learning about it as it can influence how I approach different formats. It's a shame that Resolve still doesn't support ProRes RAW. Until that happens, it's still a no go to me. Thank you for the video!

[@THEDPJOURNEY]

Really happy you like my approach, yeah ProRes RAW on Resolve will never happen... I can bet on that. Just export to ProRes 4444 and you'll get almost identical results

[@NineVoltDigitalCinema]

Thank you for this! I’ve been waiting to see a good comparison of ProRes RAW vs BRAW from the same sensor. As I suspected BRAW is not actually RAW, but a nice 12-bit yCbCr-like codec. I’ve settled on the Sigma fp for the ProRes RAW, and real 12-bit uncompressed CinemaDNG if needed.

[@THEDPJOURNEY]

Yeah it’s like a Prores 444 I’d say but with advanced RAW like controls

[@MichaelWeizenfeld]

@@THEDPJOURNEY look what I found: cml.news/g/cml-raw-log-hdr/topic/braw_codec_analysis/25749037 In short, image stores in in both formats, where first format is RGB (or RGB transformmed to YCC) which can be viewed fast and without complexity computing (which can be called ad debayered), and the second is "fourth" green component, which is added if we do full quality debayer. Very smart move) It reminds me C500 external 4K raw, where RGBG' was stored as 2K RGB Alpha via 2 SDIs. But it was not compressed except of log curve.

[@Johnny_frost]

insane production. Great rare content!

[@THEDPJOURNEY]

Thank you so much for the kind words and compliments

[@clifftotten7609]

Superb video! This is a subject that so many of us had been talking about but you are first to actually make a detailed video on. Yup, it IS highly debatable to call Blackmagic Raw a "real" raw sensor data file save. Yes, they do take the RGGB and they deBayer it into the file. In other words, it's a color merged "flattened" video file. ProRes is REAL raw with three "seperate" raw color channels. BRaw had to flatten their channel data to avoid RED's patent attacks. The part that shocks me is the Blackmagic pre-processing before the file save. I was not expecting that kind of noise reduction in a "raw" file. Thanks for getting this info out there. Question...is Canon "Raw Light" doing the exact same in camera Blackmagic deBayer trick? Is this how Canon also avoids RED's lawyers?

[@THEDPJOURNEY]

Thank you so much for your support! yeah we all knew it's partially debayered, but nobody ever talked about what that really means. So I thought it's a good opportunity to do so. That's when I stumbled upon this discovery. What I feel honestly is that BRAW is just a very high end richly colored 12bit compressed format...Like a Blackmagic version of ProRes 4444. They probably came up with a perfect algorithm to make it act like raw by controlling the right parameters in a slider on davinci to act like it's a RAW WB control. Like what I did in the episode manually, but they have a complex algorithm in a shape of a slider. And with that quasi RAW behavior in place, they just called it RAW. That might sound like conspiracy theory, just a thought... so again, I don't care what really happens under the hood or what they call it... the results are great and I'd surely shoot on it. And I haven't tested the canon Raw Light, but what i think canon might have done, is they had a barter deal with RED, they gave them their RF mount for the Komodo in exchange for internal RAW recording... Who knows?

[@clifftotten7609]

@@THEDPJOURNEY People talk a lot about wanting more white balance control "in" raw. What many dont know is that "true" raw,....has zero "color" in it. True raw sensor data is three optically filtered grey-scale (black and white) data channels. How do you white balance three seperate grey channels that have zero "color" at all? White balance happens on the IMAGE ASSEMBLY and deBayer stage in raw player. THAT is where white balance is applied. Otherwise, its only metadata for the assembler to go by. Yes,...this is true raw. Blackmagic raw?...because its all flattened and color mixed before it goes to file, then yes!...you CAN bake in white balance. This is a key difference between real raw and Braw

[@SomewhatAbnormal]

Has there been any changes in BRAW since this video? I wish for a workflow using RAW that doesn’t require me to jump through hoops or forego quality for convenience. Jumping through hoops is shooting in ProRes RAW, WB in Final Cut, then grading in Resolve. Or as an alternative, shoot in ProRes RAW, convert to cDNG, then import to Resolve - more hoops! Foregoing quality is using BRAW just so I can avoid aforementioned workflows and import directly to Resolve. Seriously, this nightmare has been going on for far too long and it’s a ridiculous burden on the end user.

[@THEDPJOURNEY]

Yeah, I hate those company feuds where the only loser is the consumer. I think there has been some improvements that fix the white balance in the Panasonic, but I haven’t tested it personally so I won’t be able to comment on this. Maybe try it yourself and let me know

[@MichaelWeizenfeld]

I think BRAW uses raw data as a monochromatic video signal with some moderate bitrate mpeg-like compression so it causes this softness and macroblocking (which you called mushiness where you don't see every single pixel). It's interesting to know what type of compression inside of ProRes raw with same bitrate levels.

[@MichaelWeizenfeld]

I found some in-depth reverse engineering investigation: cml.news/g/cml-raw-log-hdr/topic/braw_codec_analysis/25749037 In short, image stores in in both formats, where first format is half resolution R-G1-B (or RGB transformmed to YCC) video which can be viewed fast and without complexity computing (which can be called as debayered), and the second is "fourth" green G2 component, which is added to compute "full resolution" if we do full quality debayer. Very smart move) It reminds me C500 external 4K raw, where R-G1-B-G2 was stored as a four 2K RGB + "Alpha" via 2 SDIs. But it was not compressed except of log curve applied.

[@vishalzparadize]

Was waiting for this episode to come out.

[@THEDPJOURNEY]

Hope you liked it

[@vishalzparadize]

@@THEDPJOURNEY Ya.. Mitigated a lot of doubts I had about the format. Hopeful that they'll bring the update to other S series cameras. I own an S1 and rent the S1H when needed. They've brought the pro res raw to the S1. Not sure how different it is to the S1H version. Haven't shot RAW yet.

[@Miedjia]

waw that's a really good video ! thank you

[@THEDPJOURNEY]

Happy you liked it. Thanks

[@jonniecandito181]

Can you do a test on how "real" is the 12 bit color?? I'd love to see is BRAW is equal in that respect. I'm recording for HDR content specifically, and because of the 10 bit color end space, I need 12 bit as a starting point to edit from without artifacts or banding.

[@RobinParmar]

Excellent analysis but I should point out that the subtle noise reduction baked into BRAW has been known from the beginning and was a subject of much discussion on Blackmagic forum. But from this I would make the OPPOSITE conclusions to yourself. As your charts show, we get half the noise from BRAW at the cost of some loss of detail. But with BRAW we also gain a smoother workflow and a better external recorder in the case of the Lumix S series. Is it worth giving up all these advantages for the subtle detail loss? That's the core question. The best way to answer is to ask whether lack of detail is the big problem with digital video footage? I'd say the opposite! That's why many DPs use ProMist or other filters, plus post-production techniques to reduce over-sharp imagery and get a more film-like naturalistic look. In summary, BRAW sacrifices (to a very small degree) the one characteristic we can most afford to compromise on, while providing all the other benefits.

[@THEDPJOURNEY]

Thanks for the comment Robin, you have very good points and totally agree. I have a feeling you didnt watch the episode till the very end though. I cant remember saying that all DPs should choose ProRes RAW over BRAW,. All I said was I "Personally" would choose ProRes RAW "at present", mainly was due to the WB issue it had, which was already fixed. Check 16:06 till the end if you have another min, you'll see how we both agree. especially at 16:33 Thanks again for watching

[@RobinParmar]

I did watch the video to the end, plus a few of your other excellent videos too. That should help your analytics. :-) I never made a claim about you stating something for all DPs... not sure where that comment comes from? I am merely venturing a different conclusion that might help other readers.

[@THEDPJOURNEY]

All good, thanks again for watching and for your support 👍👍

[@aram.v]

Love your videos ! keep up the good work!

[@THEDPJOURNEY]

Thank you so much 😊

[@flipfilms1759]

Please do a video on Nikon N-log in the Z6, I can find almost 0 issues and have been noticing external recording issues that honestly make my experience just one big puzzle. I feel you technical approach will do us all a great service in understanding what is happening here. Thank you!

[@josearce225]

Not only is it great content, but also excellent visuals. 👌🏼

[@broaf]

when Blackmagic introduced bRAW they explained how it works very detailed as far as I remember. and as far as I remember they also mentioned the intermediate layers of processing the data and image... Me personally still prefer the good old DNG format (with 3:1 compression). I think that was (that is) the best format for RAW.

[@jjones2582]

I think BMD should offer the option for true RAW alongside their hybrid version, for recorders that can meet the bandwidth needs.

[@broaf]

@@jjones2582 definitely. however I would still choose the BMMCC because of the more pleasing Fairchild sensor :)

[@jayclas4023]

BRAW compressed, we would have to use one of the compressed ProRes Raw codecs then compare. Until BRAW comes in a uncompressed format it will be processed simply due to compression. ProRes HQ files aren’t compressed= simple.

[@THEDPJOURNEY]

Hahah. ProRes RAW HQ is compressed my friend. It’s just less compressed than the standard ProRes Raw. “Simple”

[@matthewvonblerk9675]

great review, thank you.

[@tomcypher3864]

Very interesting. But I much missed neatvideo-denoised image of proresRAW vs BRAW of that lens.

[@nukeguytv]

that wouldve been great, But i guess Denoiser in Davinci Resolve is enough to state a point, plus this DP dude is not much of a premier user I believe.

[@tomcypher3864]

@@nukeguytv He used neatvideo himself. I ment not quite that. Btw, resolve temporal DN tends to blur moving parts of footage.

[@skayeos]

Great review ! Guess they could fix by an next update. Better choice by a DP is to create fast and control all clip.

[@colinthomas2525]

Any updates on this??? Amazing video and channel, thanks so much for all your work.

[@JamesJacksonFilmz]

Great video man as always. Just to comment on the noise discovery. This is something that Blackmagic themselves even said when they announced BRaw. BRaw partially debaters some information (I.e. baked information into the image) and noise reduction was one of the things that they decided to allow to be debayered in camera along with Lens corrections amd other small things. This is how Blackmagic was able to bypass RED Raw patent and avoid paying them the license fee. ProRes Raw being a full Raw codec does not and Apple has to pay RED the fee. That is why you see less noise in BRaw compared to ProRes Raw.

[@JonPais]

That is a complete falsehood, dude. All of it.

[@JamesJacksonFilmz]

@@JonPais this came from Blackmagic’s livestream announcement of BRaw. So straight from the sources mouth.

[@JonPais]

@@JamesJacksonFilmz Grant Petty says nothing about denoising, sharpening or lens correction in his Blackmagic RAW Intro video. Bye.

[@JamesJacksonFilmz]

@@JonPais he actually does. Go back amd watch the video. Grant Petty said “we moved the heaviest processing work into the camera to be debayered there” the heaviest part of the processing is noise reduction and sharpening for most cameras. And given the fact that the OP of this video is seeing this backed into the camera, the facts back it up.

[@JonPais]

@@JamesJacksonFilmz you are making up stories again. Please stop your misinformation campaign. Petty never mentions anything about denoising or lens corrections. There is enough misinformation spreading around the world today creating chaos. Bye.

[@michaelmazzen]

Assimilate scratch is amazing for transcoding from Prores Raw to DNxHR or ProRes - you can pipe through with correct colorspace interpreting and tagging as slog2 cinegamma or whatevever you want. So you get exactly the same files from Scratch render as if shooting in DNxHR or prores native, but with better quality and bit depth. Also perfect if you add Neat video OFX in the Scratch pipe. This works perfectly in a YRGB davinci colormanaged workflow. The color "management" in PP or FCPX or pretty much non existing, which makes working with prores raw native maddening. If been saying for years now that not supporting ProRes raw is going to be the downfall of blackmagic design ... :-) lets see ...

[@Ariel_emerald]

assimilate scratch costs an obscene amount of money for the simple purpose of transcoding. adobe media encoder works just as well

[@lowbeampictures729]

Thanks for the deep dive. It never fails to amaze me that correcting white balance in post is such a big deal. Do experienced filmmakers routinely not set ISO and white balance on set? I realize that things can fall through the cracks when working under pressure, but still. Isn't this on everyone's checklist?

[@THEDPJOURNEY]

Post WB adj is not just about getting the “correct” WB on set. Many times you shoot in mixed color lights conditions, where there’s no right or wrong. So if you set it to one of them, then the parts exposed to the other colored light would look “wrong” so to speak. Also sometimes you need to intentionally shoot off white balance to preview a special effect and show your client. Like intentionally shooting with WB shifted to cool in a horror or eerie scenario. But you know you’ll need to bring that back to normal and properly grade it. There are many other scenarios that you need it for… I can go on forever 😂

[@lowbeampictures729]

@@THEDPJOURNEY Thank you for the explanation. White balance and exposure up/down make sense.

[@alanbowie]

Great analysis! A lot of work! I aquired the Ninja V with the Nikon Z6 two years ago. Got the Z6 firmware update when ProRes RAW was released. At that time the Ninja V displayed 'Linear' as the input on top left corner. Results were great. As a Davinci Resolve user I purchased an entry level Macbook Pro just for Compressor to transcode to PR 4444XQ. Still very good footage. Just recently aquired the BMD Video Assist 12g 5 inch. Interestingly the codec label on the Z6 back screen says 'N-Log RAW'. After the latest round of firmware updates the Ninja V now displays 'N-Log' in the upper left input. So there is processing of some kind going on on both devices. Having researched a bit I came to the conclusion that Braw was developed to circumnavigate the Red patents? Whatever they've done? It's fantastic going straight into DR Studio on the wide colour gamut. I only wanted 12 bit. And now I don't need to trancode whilst keeping originals backed up. As ever updates will improve. Incidentally, Braw from the Z6 into DR Studio 17 has the highlight recovery option. Your work ethic is incredible and inspiring.

[@JerzyCarranza]

Excited to nerd out!

[@libraproducciones]

Amazed by the level of the production, every single time 🔥🔥 btw, how do you denoise (or recommend to do it) your braw footage?

[@THEDPJOURNEY]

Thank you so much for the comment, I use neat video for the noising. It has a basic and advanced level in all cases. The basic level is pretty good out of the box

[@QuicksilverSG]

The lack of color temperature independence in BlackMagic RAW shows that the partial debayering used in that codec is not mathematically reversible, i.e the original RAW data cannot be fully reconstructed by the decoder. While ProRes RAW also uses lossy compression, it preserves the sensor's original RAW data format. BRAW is not sensor-independent either - each implementation relies on the camera manufacturer to provide a partially debayered data stream from the sensor. This is why BRAW support trails so far behind ProRes RAW, which works directly with the RAW data stream from the sensor.

[@trayneadjeifilms]

Nerd Alert within a Nerd Alert, stop the madness! lol great video as always.

[@THEDPJOURNEY]

Hahahaha… inception style “Nerd alert”

[@JoATTech]

This analysis is amazing. Thx. I will still shoot BRAW cause I got BMPCC6k and Sony APS-C which does not support ProRes RAW.

[@amaurysvaldez638]

Jeez! Your videos are crazy good.

[@Moriarty2007]

It's soo deep. I like it. Thanks!

[@THEDPJOURNEY]

Glad you liked it. Thanks for watching

[@paulomateus3083]

I really like your channel, and once again you are sharing great information. Just don't understand how you are saying that's no camera recording or outputting 16 bits, because there are and I work with 16-bit depth footage everyday, such as from the Sony Venice. If there's a visible difference between 16bits and 12 bits for the human eye, that's another subject.

[@THEDPJOURNEY]

There no camera in the market that records 16 bit. I already confirmed from Sony this info. They do output 16bit yes, but again, not recorded

[@ahmedelwan788]

Great review extremely helpful Thanks

[@THEDPJOURNEY]

Happy you liked it. Thanks for watching

[@timwynn6079]

Liked it even before watching the video, cause i know it's going to be good.

[@THEDPJOURNEY]

Thank you so much Tim. Really appreciate your support

[@OmarSherien]

Thanks a lot, subscribed

[@THEDPJOURNEY]

Thanks, welcome aboard

[@mattyskier]

The GOAT of filmmaking channels strikes again with another unbelievable video! As an S1H user with a Ninja V and an M1 MacBook, I see no reason to buy a Blackmagic Video Assist at the moment (as I can just transcode to PR 4444 if I need to edit in Resolve). However, I'm very curious what will happen if/when highlight recovery gets enabled in Davinci (plus proper WB adjustments).

[@CO8848_2]

Thank you very much. You are the best.

[@orangerecords_studio]

this is really a detailed and good explanation :) FI you grade for film though, the with balance on Blackamgic is not so important, as you have to balance the shots anyway .

[@FireLiteCreations]

Hey Sherif, are you going to buy the Lumix S5 IIx? If you do, are you able to share your findings on the BRAW quality for it? I’m curious if it’s worth the upgrade from the S5 II 😊 By the way, do know what’s the size difference between internal H265 vs braw vs ProRes raw for an hour of footage?

[@THEDPJOURNEY]

No plans on buying any of the S5 II actually. Looking at what Panasonic is offering now makes me want to wait for the new S1H basically

[@shaungo1631]

Thanks for this video. I am deciding right now whether to get the Black Magic or the ProRes (via Ninja V). Question: at 10:46, the BRAW, looks sharper than the ProRes, and despite what you stated that the BRAW must have some noise reduction processing at some point. Noise reduction should reduce detail (?). Will you be doing an analysis on the dynamic range of these format?

[@Leonidas909]

From what can be seen, sharpness =/= more details, they have a pass of noise reduction and a pass of sharpness to compensate for the loss that occurs with NR, it gives the illusion of a more detailed image but it's just micro contrast boosting, you can see it everywhere once you notice it. (dark edges around brigt details and the opposite as well)

[@zakariaabed3593]

wow great video i love the style of the video even if the video is 16min long but doesn't look that much Thanks

[@guillaumevalli5031]

Wish I could put more than one single thumbs up! Awesome as ever.

[@sganzerla]

People are saying DNG files from BMPCC4K are much better than BRAW since its launch. If you compare BRAW to DNG photo files from my BMPCC6K the difference is night and day, in my opinion, and it is sad to not be able to enjoy this option (and ProRes RAW).

[@mabitzz9484]

Cinema DNG is shit….

[@MrMassimomoni]

hi...thank you for the video...really interesting and well done....only at the end there is a little mistake ....ninja v in fact has an addictional module for sdi.

[@rw3452]

Best video on this subject bar none!

[@tubeman1983]

Great, interesting and useful information here and the production value of the videos you put out is outstanding! I wonder how long it takes you to make all those animations and finish a video. Keep the excellent work you´re doing! Thanks! :)

[@THEDPJOURNEY]

Thank you very much! it takes an average of 2 weeks for each episode, all inclusive (Testing-research-script.animation-etc...)

[@seanning1276]

your content always tickle me in the right spot . daaaaamn

[@THEDPJOURNEY]

Thanks Sean. Happy you like the content

[@1fareast14]

I remember there being a minor controversy when cdng was replaced with braw I'm the bmpcc 4k, with a few videos showing that it was softer

[@THEDPJOURNEY]

Yeah i guess it's confirmed now... it's a bit softer, but they seem to apply some sort of edge Sharpening

[@Ariel_emerald]

thank RED

[@pierbover]

have the BRAW issues with Panasonic been fixed in 2024?

[@AVISIONMUSICTV]

The temperature control should be adjusted with the gain color primary not the the temperature slide...

[@Canoneosmiami]

Did anything change ,did they fix the problem in may 2022 ?

[@toddpeterson5904]

The world will be so much better when the Red RAW patent(s) expires in a few years. Never should have been granted for something so obvious. It's held everyone back. Meanwhile, I don't see companies jumping on the bandwagon of Prores RAW like they do with regular Prores. BRAW technically seems better, but we will have to see how things play out. My bet is on BRAW for now