- "But Linus, YouTube doesn't
even support 12K video." I know there's gonna be
some of you out there thinking that exact thing. So let's get this out of the way. We know nobody has a 12K display, okay. The real reason someone
might want to shoot in 12K are the same reasons that we
switched to 8K, back in 2017. Capturing more detail in the first place helps immensely with post-production work, and it gives the editor more
flexibility to reframe shots. And of course, the sharper
the source footage, the better the final output. And of course, there's one
other important reason, we just love playing around with the latest high-tech gizmos. And (gasping) speaking
of which, look at this, a Blackmagic URSA Mini Pro
12K, got it right here. Oh yeah, this puppy makes it
super easy to shoot 12K video. And that is a huge deal. "I mean, come on Linus,
that sounds like what? Maybe 50% more than 8K, right? Right?" Wrong, 12K is over double (fire exploding)
the pixel count of 8K, 80 million pixels per frame.
(fire exploding) So get ready then, for
the sharpest LTT videos you've ever seen, right, right? (bubbly music) Well, okay, shooting 12K
might be pretty simple. Editing it on a mere mortal workstation? That's another story. Like my story, about
our sponsor Origin PC. Origin PC desktops can be customized with Nvidia RTX 30 Series graphics cards. And if you're in the market for a new PC, powered by NVIDIA's latest graphics cards, and backed by a 24 seven support team, you can check out Origin
PC at the link below. (gentle music) (happy music) We realized that it was
a pretty bold choice to buy six 12K cameras, as
soon as they were released. I know, I know, don't pre-order, right? But the thing is, the URSA Mini Pro 12K has a lot of other features,
aside from the resolution, that make it perfect for a new set that we're building for ShortCircuit. And well, given Blackmagic's
typical supply constraints, we felt that we either had to go all in, or wait months to get enough hardware to finish up our build. We knew that we were gonna
run into some roadblocks. I mean, to say our transition
to Red cameras was smooth, would be a bold faced lie. But actually, compared to
the truckload of early issues we experienced with Red
hardware and software, our early 12K workflow testing, with the Blackmagic URSA Mini,
was significantly smoother. That's partially because our
current editing stations, with Ryzen 3960X Threadripper processors, 128 gigs of RAM, and 8 gig
RTX 2080 graphics cards seemed to be good enough
to edit 12K video, without any upgrades. Look at this Premiere timeline. It's quick and responsive,
at 1/8 resolution, which by the way, is still
pretty sharp at this size, when you've got 80 megapixels
per frame to start with. So, it looks like we're
good on the hardware side. As it turns out, the 12K early adopter tax is collected in software. In our initial tests
with the URSA Mini 12K, our shooters quickly discovered a bug, where the sensor wouldn't
initialize after video playback, unless you changed the settings. I mean, it's not a game breaker, but it's definitely pretty annoying. However, another YouTuber we talked to had a different issue
involving their URSA Mini 12K, where it would just start to
record, seemingly at random, for what is supposedly
a professional tool. That kind of unpredictability
is disconcerting, to say the least. And we're just getting started. Instead of recording in a well-supported industry standard format, like H.265, or ProRes, Blackmagic
uses a proprietary codec, called Blackmagic RAW. Now the advantage is that, like other RAW, or compressed RAW formats, it allows you to retain extra information, without the unreasonable storage
requirements of true RAW, and change metadata, like white
balance, and ISO, in post, after you've shot it, that's great. The disadvantage, and this is where we hit our first major roadblock, is that the URSA Mini Pro 12K
only supports shooting video in BRAW, and well, our other
applications didn't like that. For instance, Kyno, the program we use to ingest, inspect,
and backup our footage, doesn't currently support BRAW, they've been told to hold
off on supporting it, until Blackmagic software
comes out of beta. So, we'll have to wait until that happens, or completely change our ingest procedure. Also, Adobe Premiere, our video
editing program of choice, is able to work with BRAW, but there are some hefty
software issues to work out, which we'll get to in a minute. The thing is, BRAW is
really meant to be used in Blackmagic's own editing
software, DaVinci Resolve. And if you're after a completely seamless, synergistic experience, that can be found using Resolve on a Mac. On both our 5K iMac, with 16 gigs of VRAM, and our lowly Mac Mini,
with Intel graphics, 12K BRAW footage plays back
(tongue clicking) just fine, when you set the timeline to 4K. Even when we set the
timeline to native 12K, Resolve could still play back the footage, although it was choppy
enough to be unusable. Blackmagic claims that
the experience works, using a graphics card, with as little as four
gigs of VRAM though. Wow. Unfortunately on Windows,
it's a different story. Resolve instantly stops
playback of 12K footage, with a warning about
insufficient video memory, until you install a card
with 12 gigs of RAM. Then, 'cause get this,
Blackmagic actually recommends 24 gigs of VRAM. Are they in cahoots with Nvidia, to get us to buy RTX 3090s? You can't even buy RTX 3090s, come on. This is just cruel. Okay, well then what about Premiere? Well, thanks to the latest beta version of Blackmagic's BRAW
plugin, you can import and edit 12K footage, from
the URSA Mini Pro 12K. And, with GPU Acceleration,
playback isn't perfectly smooth, at full 12K, but it is serviceable. Until the moment you want to apply any color correction using Lumetri. As soon as you open up the panel, you (fingers snapping) instantly
lose hardware acceleration, causing about 90% of your
frames to be dropped. Even if you are running a Threadripper, and your rendering times, to
absolutely fall off a cliff. What? Here's, where it gets crazy. The quickest way to fix
timeline performance in Premiere is to change your timeline
from 12K down to 4K, and then drop the preview
window down to 1/4 scale. This does improve timeline
responsiveness, as we'd expect. But it doesn't help at all with the color correction problem. The solution to that was to follow Blackmagic's Resolve guidance, and then install a 24 gig graphics card. But, but, Premiere's usage
of VRAM isn't even that high. And the rabbit hole goes even deeper. If we drop our recording resolution down to 12288 by 5112, it works fine, with just eight gigs of VRAM. So, why would we need three times as much? And get this, even if
we record at full res, if we use Lumetri, on an adjustment layer, instead of on the clip
itself, it also works fine. Damn you, software bugs. The bottom line then is
that for whatever reason, Blackmagic just cannot seem
to get their BRAW plugin to a stable place, and
it's been an ongoing issue. One version'll work, then the
next one will introduce bugs before being fixed again, a couple of months later in a new version. As for the current version,
well, it's pretty broken. For example, copying
and pasting RAW settings from one clip to another,
is a guaranteed way to draw out a bug. You might lose the ability
to edit the RAW settings, or a clip might take on the settings of the clip preceding it, or your program might
just straight up crash. Some folks get around this by sticking to a version that works, until the rest of the community finishes beta testing for them. But, to edit the URSA Mini 12K's footage, Premiere requires the latest
version of Blackmagic's plugin, which is the first to
support 12K BRAW files. So unfortunately, that's
not an option for us. Which wouldn't be a problem, if the camera could at least
record in ProRes, or DNxHD, (buzzing)
like its predecessors, (buzzing)
but it can't. And whether it's for technical reasons, or just because they don't want to, Blackmagic apparently has no
plans to support other codecs that they were willing to tell us about. So then, with a camera
that requires the use of a jenky plug-in, to edit its footage, what's an aspiring 12K
content creator to do? Enter Autokroma, they're
a company, AKA two guys, who have been developing their own BRAW enabling plugin for
Premiere, called BRAW Studio, for the last two years. And shockingly, even though
it's a third-party plugin, made by two guys, our experience is that it's more stable,
offers more functionality, and has better support, because Autokroma actually
answers emails, which is neat. They helped us iron out
some initial wrinkles, and it looks like with their plugin, editing BRAW in Premiere
is stable enough for us to consider making it
part of our workflow. But wait a second, I mean,
isn't that ridiculous? Why is it necessary to buy
a $59 third-party plugin to be able to actually edit footage, from a brand new $10,000 camera? We don't know, maybe
Blackmagic has Apple dreams, you know, where you film
on a Blackmagic camera, using a Blackmagic codec, then
edid in a Blackmagic program, using Blackmagic hardware, which is neat. You know, good for you, Blackmagic. But if you want my advice, make sure that your products work both in and out of your ecosystem. 'Cause think about it, if I
were to dip my toes in the water with a purchase like this, only to find out that the
experience totally sucks, unless I give you even more of my money to change out all of our other stuff, and then maybe it'll be great? That's not a great
first impression, is it? So while Blackmagic's
Premiere plugin is free, the time and frustration
that its instability cost us is worth much more than
BRAW Studio's $60 price tag. So, for now, we're not gonna be shooting every video in 12K, but
with Autokroma's plugin, and the adjustment layer work around, we can slowly bring it into our workflow, while we wait for
Blackmagic to fix the bugs. And also for graphics
cards with enough VRAM to actually be in stock. But you know what? Maybe just forget it. Why don't we just all switch to Mac? Brandon, switch to Mac.
(yelling) - [Brandon] Oh no, no. - Come on, just like I'm gonna switch to talking about our sponsor, Pulseway. Pulseway is a real time remote monitoring and management software, that allows you to manage systems, and support your users from anywhere. It helps you fix problems on the go, by sending commands
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the video description. If you guys enjoyed this
video, maybe check out the, you know what, let's take
a trip down memory lane, and check out the unboxing
of our first 8K camera. Ah yes. It was enraging. To put it in perspective, guys, one of those cameras cost about as much as five of these. And it was only an 8K? What a rip.
[Intro:]
It’s the Nutshack! (Yee, yee)
It’s the Nutshack! (What he say?)
It’s the Nutshack! (Oh, yes! Yeeeah)
It’s the Nutshack! (Hey, I'm in that shit!)
It’s the Nutshack! (Don't forget it, boyee!)
It’s the Nutshack! (It’s the Nutshack!)
It’s the Nutshack! (It’s the Nutshack!)
It’s the Nutshack! (It’s the Nutshack…)
It’s the Nutshack! (Hey!)
It’s the Nutshack! (This beat's knockin'!)
It’s the Nutshack! (Wow!)
It’s the Nutshack!
[Verse: NUMP]
Phil’s from 'Cisco, Jack’s from the P.I
Horatio or Horat so big-eyed
Tito Dick, “Dickman”, baby
He raised Phil and loves the ladies
Jack’s cool, he's lazy, he’s still learnin’
Otherwise Cherry Pie, he's still a virgin
Chita, meet the freak of the week-ah
Phil’s homegirl, got Jack wanna keep her
But it’s not happenin’, neither
Shakin’ like a seizure
Hold up, let me spark this, take a breather
Breathe that reefer in my lungs
I got grapes, what you watchin’, son?
[Chorus]
It’s the Nutshack!
It’s the Nutshack!
It’s the Nutshack!
It’s the Nutshack!
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