This would give a bit more detail and colour in the background compared to a blank studio wall. We added a bit of fill, but decided not to use any lighting to keep the contrast between inside and outside big. In our second shoot we decided to shoot against a window in our office's kitchen. This was a surprise to us, since we wrongly assumed that the RAW recording would not be altered by in-camera picture profile changes. But with this new knowledge in mind we went ahead and shot a second test the next day. In order to record RAW you have to select the PP7 S-LOG2 profile. Anything else will not give a correct RAW feed. Since the ProRes RAW signal can only be processed into S-LOG3 (not S-LOG2) in Final Cut Pro X we thought it would be best to shoot everything in S-LOG3 to make things easily comparable.īut after talking to filmmaker and Sony-shooter Michael Ruley, I found out we made a crucial mistake. We shot the tests with S-LOG3 selected at all the shots, both internal and external recording. Sigma 50mm f1.4 EF with Metabones Speedbooster Ultra.We decided to shoot the test footage indoor to ensure exposure consistency. We aimed a small LED spotlight to the wall so we could see the highlight detail and roll-off. Cineform RAW (a discontinued codec similar in size and specifications) didn't have that option either in Davinci Resolve. The following cameras are currently supported:Īt the time of writing it isn't possible to do any exposure- or white-balance adjustments before the ProRes RAW debayering, it's unclear if this will be possible in the future. They should be comparable to the filesizes of 422HQ and 444. Right now the only way to record these new formats is on the Atomos Shogun Inferno and Sumo19. There are two flavours of ProRes RAW: LT and HQ.
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