Shooting in ProRes RAW Tips & Tricks | ProRes RAW

so [Music] so today the plan what we're hoping for we need to find snow and the reason why we need snow today is because there's a specific set of shots on our list that we got to capture my friend elle was working on a short film and it was shot in snow and she needs some pickup shots done but there's no longer snow in her location so we're trying to help out and we're going to capture these plates that can actually later be used on a virtual set to recreate moments to help pull together the pieces of her story the snow is melting pretty rapidly in british columbia so we're going to be hunting it down and try to find some great spots where we can actually get a specific set of shots that we have in mind we're doing uh some quick lens and camera tests just to kind of dial things in before we take off here it's pretty typical with a shoot like this that will rent equipment and only get it the day before so usually we are just testing our equipment right up to when we're actually going to be shooting and i'm excited about the results that we're getting i'm assuming if you're watching a video on shooting with prores raw you're already intrigued by the benefits that it can offer and the flexibility in the post side of things and one of those considerations for us that's really important is just knowing the base iso values of your camera because we're by passing the internal noise reduction and we're getting that straight data right from the sensor we want to know how we can capture it best out of the camera into raw so that way you get as consistent of a noise profile as possible because there will be a denoising process required for a lot of pro res raw shooting again depending on what iso you're at because we're not just recording to the internal media of the camera we're now outputting we've got this extra system of recording going on there's some more pieces to look after more batteries more ssds and so having systems in place for managing that when you actually get out there to shoot helps you move a lot quicker so that way you're not second guessing so having a clear and concise system that you can follow in the team that you're working with understands helps you move a lot quicker and removes the second guessing and the potential for catastrophic mistakes while you're out there shooting one of the best pieces of advice i got from a cinematographer when i was kind of starting out my filmmaking career was investing in my own monitor that i could load lots onto because oftentimes we end up using a lot of different camera systems in the way that those images behave are different and it can be pretty surprising when you think you're getting an image on the back of a screen and then you go to your computer later and it looks quite a bit different so actually being able to load a lot on and see your image slightly stylized to what it might be like in the finished product just inspires a lot of confidence it actually it gives you a better sense of what your frame actually feels like if you would have told me seven years ago that the monitors that used to hold luts would now be able to also record raw into the monitor itself that kind of would have blown my mind a little bit but that's the state that things are at right now we've got these really small ridiculously powerful cameras that can record amazing images and the manufacturers are finally giving us what we need over hdmi so that way we can record it in raw to a monitor like just taking a moment to appreciate that that's what we're able to use as tools these days is i don't know i'm just excited about that because the more data and latitude that we can capture in our image as we're actually capturing it means it's going to be even more flexible when we get back to the studio and it's time to edit this stuff we're running two main camera systems today we're running a sony fx3 on the gimbal doing raw to the ninja five we've got a sony a7s3 that's doing the main behind the scenes filming and we've got an s1h that's going to do the k beautiful plates and we're going to be going pretty light we only have a few lenses per camera batteries to go around once we get onto location we'll actually go through some of the more monitor stuff and how to make sure you're capturing the signal correctly but i think it's time to take off always the first shot to get when you're up in the helicopter it is so exhilarating i just want to keep rolling on everything [Music] wow not a bad place to call come home i'm getting the shadow there it is [Music] this spot's fantastic [Music] one thing that really helps the usability of shooting with it especially when we're moving between camera systems is just nailing down how you want to actually rig to your camera automotive has these little uh quick release plates so you can just pop the monitor off with the press of a button that to me makes it just a lot quicker so i'm not fiddling with thumb screws that thumb screws are just the bane of my existence and having a nice solid lock-on point like that makes changing cameras a lot less of a struggle there's a really nice river section up there that we're going to film some stuff and there's a lot of shadow and highlights so hopefully it will give us a good used test case of some dynamic range that we're able to get and also highlight recovery and then maybe we'll talk about just making sure that we're exposing things properly so we don't lose those highlights to begin with [Music] so one of the big things i keep in mind when recording too raw is actually making sure the data that i think i'm capturing i'm actually capturing under the monitoring tools they have various modes for checking your exposure and transforming the raw signal that's coming through the cable to how you see it on the display so you've got a native mode where you can just see it raw a rec 709 transform hlg a pq and then a lut so luts are typically what i like to do for setting in the look but when i'm nervous about exposure using the pq mode for really making sure that full dynamic range is getting in the image going off the monitor setting it basically what i see with my eyes in nature making it look similar to that on the back of the display actually gets you most of the way there and then as a fail-safe having the waveform open just make sure none of those highlights are clipping off when you're in the pq mode you do see your full ire values that the raw signal is getting you so everything that's on that waveform you're getting in the file which also means if you push it too far past it's gone so i'm very cautious about clipping off at the top of that waveform because if i clip those out they're not in the file and even though it's raw you can't pull those back a good rule of thumb for a scene like this especially when there's a lot of dynamic range going on is that you don't want to squish the image too down in the shadows depending on what base iso you're going to set up for whatever camera you're working with you want to work from there for then exposing it the best that you can for maintaining the lowest noise in the raw file so what i like to do is bring that exposure up right on that sweet spot before i start losing my highlights and what that essentially gives us is a lot of latitude to move that image back down into the shadows and when you spread that curve out you're going to get a lot of detail in the shadows and not a lot of noise there's honestly just so many exposure checking tools built into the monitor itself that once you get a handle on how to use them to get the kind of image that you want it gives you more confidence to just really press into that when you're shooting and i do appreciate that extra level of certainty that i that i've got the shot so we're moving pretty quick today from spot to spot it's worth noting that yes if you sit down and you fine tune your image to squeeze the best possible dynamic range out of it you can really spend the time to do it but then on the other side of it when you're doing more documentary stuff like what nick and i normally do with adventure film making you're moving fast a lot of the time the people that you're filming aren't always down to wait for you to like hike up and reset a shot and sometimes because we're moving fast you you mess things up and you try not to and you try to get better but you mess up your white balance let's say or maybe your exposure's a little off and if you're shooting more conservatively with raw where your highlights aren't right near the top and you've got it down a little bit you've just got so much flexibility to work with especially when it comes to shooting on different camera systems when you're getting that raw feed straight from the sensor it actually makes it quite a bit easier to shot match with the different cameras that you're working with so you're not as limited on the color science of each individual camera which ends up making it a lot easier in post when everything just kind of works together honestly when we got that shift over from 8-bit codex to getting 10-bit internally in camera that felt like a really big win for me and i was excited to have more latitude with skin tones and a little bit of flexibility with white balance if i didn't nail it but that jump now from 10 bit to raw that's that's like exponentially more exciting because you just get that much more to work with and as a filmmaker and someone who likes moving fast that just enables me to do that better and quicker all in just a really nice small package that i can move between all the systems it makes my life easier for sure foreign [Music] oh that is so cool [Music] wow [Music] [Applause] okay so currently we're unpacking all of our stuff because we're gonna get left here but before we get left we're gonna do the part that i'm most excited for today which taken the doors off and we're gonna do a nice scenic flight around here and try to get some really awesome aerials just with the gimbal and doing some handheld camera work we're gonna we're gonna finish unpacking everything here and let's go flying [Music] [Music] oh wow that cloud coverage is really coming in clutch right now really nice hey so where's that water oh yeah this looks amazing oh yeah [Music] you got it oh my goodness misha that is some clutch flying that's so cool wow oh my word that shot that was nailed [Music] if it was built for anything it's built for this yeah yeah the snow just makes this like such a good example of dynamic range yeah wow that looks there's the money shot nice big mountain reveal okay this is epic too [Music] so good and just like that we are very very alone out here i'll tell you the shots we got on that flight were just so good we've been going pretty hard since around 4 30 this morning we've got to eventually get ourselves ready for some stuff that we're going to do this evening some more campfire campsite vibe stuff we're in a pretty great spot to do that so oh man [Applause] [Music] [Applause] i'm telling you the viewers at home if you're watching a commercial and you're like man that's a nice nature shot look again because it might be something that we shot here these shots are awesome man this is beautiful it's been a go go go for most of the day we've just had our first extended stretch of paws as we got camp set up and got the fire going we're transitioning from some of the daylight stuff we're shooting and getting ready for a night scene that is kind of a critical piece of why we're out here the mixture of the snow trees mountains getting a fire going that's pretty mission critical for our shot list here having a shot list is very helpful because it can feel like there's a never-ending amount of options and once you know you get different variants of stuff it gives you a lot more of a sense of confidence that you're actually walking away with the footage that you need and our main thing coming up next is a nighttime scene with a fire so we're doing two things here where we're going to try to capture a gorgeous fire plate to be used on a virtual set and that's really exciting and we it's pretty important that we nail that and do it pretty well a feature from a usability standpoint that i didn't fully start utilizing till lately and i'm kind of kicking myself or not is when you're recording into the ninja you can also take advantage of that extra mic input so on the documentary camera that we're running today for the behind the scenes stuff we're actually running dual system audio that's recording two stereo tracks to the file in prores raw this is great because it means you don't have to sync up stuff later in your editor you don't have to deal with dual system sound and it also just gives you that fail safe if one of your audio systems starts working you've just got two stereo tracks baked into your file also through the headphone port you can be choosing which audio source you want to be monitoring at a given time and then you've got the audio levels for both inputs or however many inputs you're running right on the display so you can see what's going on so if your hdmi feed actually has more audio signals over that you're also getting all of those baked into the prores raw file as individual tracks which i'm a big fan of when audio gets combined with video in the file that just as an editor with documentary stuff it just makes things so much simpler so what we've got going on the bts camera is a wireless lav going into the camera itself and that sound is coming over the hdmi into the monitor and then we've got a shotgun mic that's also going into the mic import on the ninja any features that allow me to run less audio equipment in and around a mobile camera setup is a big win it's great being able to run xlr adapters and all that stuff but if we can keep a smaller system for getting two stereo tracks recorded into our file or more for that matter that is uh that is really exciting for me when i when i want to be running fast and filming documentary stuff [Music] okay morning here at camp has been very lovely last night was a big thing to check off for us getting that fire scene nailed and because the helicopter can't fly out and get us at nighttime that's what necessitates camping out here overnight which i'm certainly not going to argue with we've accomplished a massive section of our shot list reviewing footage on the monitor i'm quite pleased with how things are working out so one thing that i really appreciate now having gotten to know the ninja so well over the years is that it makes my shooting experience super consistent across each camera platform that i'm using i'm not always using the same cameras the s1h the fx3 this is the first shoot that i've ever used these cameras and they were rentals so they're coming in right before the shoot i don't have time to do all these tests and if i'm shooting internally on them i have to really get to know how they behave internally and what that image then looks like but when using the ninja 5 and i'm getting that raw signal straight out of the camera i can be super confident that what i'm monitoring on the camera i can be so sure that i'm capturing it in a way that i'm going to be really happy with in post and that level of confidence that can come through a monitor camera system that can move through the different flavors that is just a massive strength to the raw workflow that just takes away that guessing game and just makes you confident that you're getting what you need now it's a matter of getting back home getting this precious footage backed up and it's time for post here's our ticket out of here [Music] [Music] you

Channel: ATOMOS

Views: 7,398

Keywords: Atomos, ProRes RAW, Shogun 7, NLE, Video Editing, Ninja V, Video, HDR, Monitor, Recorder, Video production, On-set Monitoring, Cinema, Broadcast, Film and TV

Id: riScCGJrNOk

Length: 20min 4sec (1204 seconds)

Published: Sat Nov 20 2021