Blackmagic raw!

[Taikonaut]

I always consider Alexa to have 1.5 stop over Mini 4.6k but with the Gen 4 colour and BRaw combo which improve the latter by 1.5 stop that different with the Alexa has narrowed. Is the UMP going to be marketed as a 16.5 stop camera from now on?

[Ralph B]

I could buy a 256 GB Transcend CFast for $350 plus $50 for a good reader, or I could buy a 256 GB Sandisk Extreme SDXD card for $140. I guess it's not a difficult decission.

Here's something else to mess your mind up!
https://www.amazon.com/gp/product/B0...G2LZFK00&psc=1

[drcoffee2]

I always consider Alexa to have 1.5 stop over Mini 4.6k but with the Gen 4 colour and BRaw combo which improve the latter by 1.5 stop that different with the Alexa has narrowed. Is the UMP going to be marketed as a 16.5 stop camera from now on?

I didn’t think Raw had more dynamic range than say prores?

[Nomad]

Well, if the new de-bayering and color science improve on noise, you can talk about some gain. But at least on the lower end DR is to some degree subjective…

[Fauxto]

all ursa mini line eventually https://youtu.be/AYswt0WM7gU?t=4m1s

Looks like first Ursa Mini line, then 'eventually' BMP4K.

[dop16mm]

The sidecar files have me wondering if a viewing lut, either default or custom, could be put in the metadata in camera. Instant rushes for director/producer/editor whatever so cinematographer's intent is clear. This could be used as the starting point for the final grade, but it is still raw underneath so if creative goes another way it can be tossed and started over. My biggest frustration with log and raw is that it can go anywhere, and without the time or budget for graded rushes directors often get used to the flat look, or worse they think it looks horrible and don't understand what it is going to look like. Looking forward to seeing where this workflow goes. Hoping premier picks it up as a lot of guys at my budget level use it, without attempting to try resolve, and if camera luts are supported they will display with the footage in premier, after effects etc.

[Kholi]

The sidecar files have me wondering if a viewing lut, either default or custom, could be put in the metadata in camera. Instant rushes for director/producer/editor whatever so cinematographer's intent is clear. This could be used as the starting point for the final grade, but it is still raw underneath so if creative goes another way it can be tossed and started over. My biggest frustration with log and raw is that it can go anywhere, and without the time or budget for graded rushes directors often get used to the flat look, or worse they think it looks horrible and don't understand what it is going to look like. Looking forward to seeing where this workflow goes. Hoping premier picks it up as a lot of guys at my budget level use it, without attempting to try resolve, and if camera luts are supported they will display with the footage in premier, after effects etc.

I believe that's the intent behind the sidecar, and if I had to guess, the future of where BRAW is going in general. Once the kinks are worked out, a feature like embedding the new Extended Video LUT (which is very good) into the BRAW on top of adjustments you'd be able to make would be pretty great going forward.

[Adam E]

anyone give the HD windowed mode a shot in BRAW? i'd recommend it

however BRAW is doing the partial de-mosaic in cam it changes how the camera manages noise

you really get a feel for the new noise profile in the windowed mode, i'm really liking it! feels way more film-like, almost like the OG pocket, and no FPN!

i've never liked shooting the HD windowed mode, now I can't wait to find the right project to shoot with it

[Adam E]

The sidecar files have me wondering if a viewing lut, either default or custom, could be put in the metadata in camera. Instant rushes for director/producer/editor whatever so cinematographer's intent is clear. This could be used as the starting point for the final grade, but it is still raw underneath so if creative goes another way it can be tossed and started over. My biggest frustration with log and raw is that it can go anywhere, and without the time or budget for graded rushes directors often get used to the flat look, or worse they think it looks horrible and don't understand what it is going to look like. Looking forward to seeing where this workflow goes. Hoping premier picks it up as a lot of guys at my budget level use it, without attempting to try resolve, and if camera luts are supported they will display with the footage in premier, after effects etc.

How about an extra menu in the camera or the iPad app with sliders for the basic raw adjustments, contrast, sat, highlights/shadow roll offs, etc? Basic onsite grading without a full on coloring dit, and it stays with the footage in a sidecar but preserves the original raw...that would be amazing

[dop16mm]

How about an extra menu in the camera or the iPad app with sliders for the basic raw adjustments, contrast, sat, highlights/shadow roll offs, etc? Basic onsite grading without a full on coloring dit, and it stays with the footage in a sidecar but preserves the original raw...that would be amazing

That would be cool, but too much work,for me on set, might as well just generate the sidecars during data transfer. I would be happy if a viewing lut could go with the footage via metadata or sidecar, that could be removed when ready to grade.