10 bit or RAW for extreme colour changes?

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DavidKennard
DavidKennard Regular Member • Posts: 210
10 bit or RAW for extreme colour changes?
1

I'm interested in being able to shoot UV and mixed IR / Visible (Aerochrome style) video. For stills I shoot RAW. For UV images I have to use a custom camera profile in ACR as the standard whitebalance adjustment doesn't go far enough. For IR, it's a case of adjusting the white balance in ACR, then swapping / mixing channels in Photoshop.

Does anyone have an idea of if these kinds of adjustments would work okay with 10 bit non-RAW video? Or do I really need to look for a camera / recorder combo that supports RAW?

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NickZ2016 Veteran Member • Posts: 3,648
Re: 10 bit or RAW for extreme colour changes?
1

Why not download some samples and try for yourself.

Raw video isn't always the same thing with different companies. In some cases you have more control than others.  Also some types are easier to edit in certain NLE.

For example Resolve  doesn't support Prores raw .

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DavidKennard
OP DavidKennard Regular Member • Posts: 210
Re: 10 bit or RAW for extreme colour changes?

Thanks for the suggestion. I guess I could process a 'normal' (visible light) still RAW image with my UV and IR settings, and see how the colours look. Then get a 'normal' video sample and attempt to perform similar processing and see how closely it matches the colours of the still, and if the image falls apart or not.

However, getting hold of video samples seems to be difficult. Do you know where I can download some samples from? I did find one site ( http://albertyap.com/blogs/2019/12/22/nikon-raw-video-is-finally-here/ ) offering samples of Z6 video in ProRes and ProRes RAW, but the download always seems to fail.

All other 'samples' I can find are just youtube and vimeo videos where the original footage was shot in 10 bit or RAW, but they don't make that original available for download.

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NickZ2016 Veteran Member • Posts: 3,648
Re: 10 bit or RAW for extreme colour changes?

You can try asking in the various camera forum.

Some of the people doing reviews on YT actually post samples on Google drive or other cloud services.

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BaconCrusader Junior Member • Posts: 35
Re: 10 bit or RAW for extreme colour changes?

Upfront I have to say I have ZERO experience in capturing UV/IR in video. But I have spent a fair amount of time testing the Z6ii and some of the enhanced video capture options available to us, so I hope this helps on some level.

I do not shoot RAW, but I do use a Ninja V, with a few different "plug-ins" that combo offers. Namely, H.265 and ProRes, along with the Z6ii's 10bit NLOG 4:2:2 capture when paired with the Ninja V.

In my findings, I prefer to shoot in 10bit 4:2:2 and NLOG under H.265, then post it in PP CC using the Nikon Z6ii LUT, and export under H.264. I find the gradients much smoother with that workflow than exporting under H.265. Odd, but it's evident.  All of this is 4Kp30 FWIW.

Word to the wise, the ProRes files are humungous, like 5x the size of the same H.265 files [same subject, same studio location, same everything]. So much so that a 30-minute interview was beyond my willingness to edit due to file size alone, so I've landed on H.265 as my capture container.

Good luck and please keep us posted as this is an interesting use case.

Nikonmaniac0620 Regular Member • Posts: 108
Re: 10 bit or RAW for extreme colour changes?

BaconCrusader wrote:

Upfront I have to say I have ZERO experience in capturing UV/IR in video. But I have spent a fair amount of time testing the Z6ii and some of the enhanced video capture options available to us, so I hope this helps on some level.

I do not shoot RAW, but I do use a Ninja V, with a few different "plug-ins" that combo offers. Namely, H.265 and ProRes, along with the Z6ii's 10bit NLOG 4:2:2 capture when paired with the Ninja V.

In my findings, I prefer to shoot in 10bit 4:2:2 and NLOG under H.265, then post it in PP CC using the Nikon Z6ii LUT, and export under H.264. I find the gradients much smoother with that workflow than exporting under H.265. Odd, but it's evident. All of this is 4Kp30 FWIW.

Word to the wise, the ProRes files are humungous, like 5x the size of the same H.265 files [same subject, same studio location, same everything]. So much so that a 30-minute interview was beyond my willingness to edit due to file size alone, so I've landed on H.265 as my capture container.

Good luck and please keep us posted as this is an interesting use case.

I also capture in h.256 format for my sony camera, which does wonders in capturing the most information using the least amount of memory space. I color grade then export it in DNxHR LB for editing.

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