Відео

Finally, a professional explanation with no stupid long intro and no nonsensical matters.Would love to see other videos on how to work with Nraw, thank you for this.

All good things ❤❤❤...much appreciated wishes....thank you ❤

Best video in youtube about this topic.simple and precise thank you

As of resolve 19 the user manual is just over 4300 pages. 😮‍💨

Beautiful voices and harmony!

rendering raw with noise reduction is taking huge time. Kindly suggest how to render fast. Thanks

I think I'll stick to still photography lol

Great video! Thanks! =)

Thanks. I was using my z8 for photo only. I want to eplore the video side of it. I was looking for the Nikon setting. I guess with this setup I do not need to use the Z_8_N-Log-Full_to_REC709-Full_33_V01-00.cube in the project input lookup table. Because when I switch the color science from DaVinci YRGB to DaVinci YRGB color manage and I keep the z8 LUT, the clip does not look good :-) I just started to experiment with the resolve color page and watching tutorial a few days ago. You video is a great help !

Thank you so much for the very clear explanation! Just what I've been looking for.

They chose not to have a BNC time sync port ( unlike many other brands such as Canon, Panasonic…). Unbelievable !

Clearest explanation I’ve seen to date. Hit some real hidden land mines and even threw in some subtle tricks without missing the main workflow. Hope to see more from ya. Thanks!

Hello David, you can advice me about color setup N-RAW SDR in DavinciResolve?

Thanks 🙏 could you show how you can recover when over and under exposed in post ? I wonder how much you can bring back😊

I wonder why the middle grey point shifts so much between the different modes. If they're both at ISO 800, what's changing between the modes to reduce and increase tolerance to different exposures?

very useful. so as for NRAW+SDR and NRAW+NLOG, which one do you suggest while we shooting a sunset or sunrise such high light contrast sence? which one has more dynamic range we can edit in Davinci to get a better quality video? or they are actually same for the result? just when we shoot in NRAW+SDR, we make sure the correct exposure of the sky part in shooting sunrset? when we shoot in NRAW+NLOG,we make sure the correct exposure of the land(dark) part ? sry about my English,hope i make my question clear to you

My Nicon NEF files are importing looking totally nearly totally green dominant and low quality when in fact they are not appearing that way in a photo viewer. How can I fix this?

have you found any other profiles that work well for noise in shadows which i find can be noticeable in nev .. Cheers

same for windows11?

Great test, thank you! I've found that the image on the back LCD looks overexposed, when in fact it is well exposed. I need to keep reminding myself to judge exposure by the waveform and ignore the over exposed image on the back LCD. I wish we could import custom LUTs into the Z9.

Thank you so much for this! My z9 footage looks so much better. But now my drone footage looks nuclear! How do I use my DJI footage in the same timeline? or is that possible?

Finally, someone who knows what the hell they're doing. Thank you for this

No matter what I do I can NEVER get the Camera RAW box to not be greyed out. I can't figure out what in the world I'm doing wrong

I have to point out the conclusion you get is false. The raw footage of iso 100 SDR and iso 800 Nlog are exactly the same, the brightness information are no different (you just need to switch the gamma and colour space to REC709 in Camera Raw in davinchi resolve and lower the exposure by 3 stops). When shooting nlog for example at iso 4000, the amplifier of the sensor actually works at iso 500, then via the Nlog curve, the brightness information is mapped to equivalent of ISO4000. However, under raw footage, this affects nothing because raw is the original data of the sensor. The reason why you get the conclusion that nlog is more friendly to shadow is because the camera was actually operating at ISO100. You see, Nlog ISO 800 is exactly 3 stops higher than SDR ISO100 (I don't know why Nikon make the base iso of Nlog 800 rather than 8x64=512). Similarly, the second base iso 4000 of Nlog is 3 stops higher than ISO500. Thus, to get maximum dynamic range, SDR iso 64 should be the best option.

Hi David, this was very helpful a while ago. But what setting do you use with pro res nlog? before the update I used it. but It is not clear what the Colorspace is: also rec 709? Maybe you have the answer. Thanks

Any dynamic range difference if both shot at native iso? 64iso on sdr, 800iso on nlog?

Firmware version 3.0 has added the ability to jam timecodes to a Z9 using an Atomos AtomX Ultrasync Blue paired via Bluetooth -- thankfully leaving both audio channels available for local low res recording

I did everything you did and when I go to color to find the raw clip and stuff its greyed out I can't select anything. why is that? I shot 4k 120 fps in Nikon z9.

I’m confused by what you mean when you say processed as log vs SDR. If it’s shot in N Raw isn’t the log vs SDR setting simply metadata that doesn’t carry over into the final look?

hi ，can you upload some nraw footage ？ thanks。

Good stuff, very helpful!

Hi David. I'm not able to import the Prores Raw files (from Nikon/Atomos Ninja V) as video files. They show up as audio files. I don't have the 'open using Rosetta' check box. I'm working on MacBook Pro (2018).

Do you by any chance have a polarizer on this? The blue sky seems to be unusually dark.

The more I watch this, the more I feel it confirms that N-LOG really wants to be overexposed which makes it much trickier to monitor in-camera. Pulling up this video in two windows side by side, it seems that N-LOG = SDR + 2stops. i.e. N-LOG +2 over is closer to SDR correctly exposed, and N-LOG -2 under, performs closely to SDR -4 under. If I set my zebras in camera to a midpoint value, I have to overexpose N-LOG by two stops (+2) exactly to have zebras match SDR. Also likely explains why the Leeming LUTs want you to push that exposure so far to the right.

Great job! Nikon has a lot of work to do on their N-LOG which is understandable given its so new. Should also note that its worth using Arri Log and Panasonic V-LOG for conversions as they may render the Nikon files with more pleasing skin tones and contrast than Nikon's own. Also on the over-exposure, its great to see such a good example on why you should overexpose these sensors to the right. You can clearly see on the blueish pot (bottom left) how much cleaner the shadow areas are when captured at +2 expo vs "normal" exposure. You always want to try to push these captures to the right as far as possible without clipping any unwanted areas.

Are you able to confirm that this tentwcle sync timecode is compatible with the h265 and the nev recording options in the camera. I was reading the z9 manual and it said timecode was only available in the mov format... Is this actually true? Much appreciated and looking forward to hearing your outcome! Thanks for a great vid! Actually side question, after setting up the tentacle syncs, can you start and stop the cameras as you wish, and still have time code synced... Or do you have to run the cameras continuously?

Hi David what is the velcro pads ? I first time see it amazing . would u mind paste a link for it plz . I use z9 too many thanks

Thanks -- BUT - currently "we" cannot have the Z9 sync to any external time code device "automatically" and as a result the only way is to use an audio channel. Is that correct? If so there will be shooters who do not want to lose the 2nd channel. Obviously, Nikon could provide a firmware update to enable this functionality via an appropriate port - 10-pin, flash sync, USB-C or perhaps the hot shoe - or Bluetooth (my preference)? So similar to the H1S.

For all M1 users who are interested in: With the new Davinci Resolve 18 Beta version, N-Raw is supported natively. You don't have to run Davinci with Rosetta anymore :)

David, I was intrigued by this test- thanks for doing it! This morning, I decided to see if I could underexpose by 4 stops and grade the N-Raw Log on an HDR Resolve timeline. At the starting point, of course, the clip was extremely noisy, as expected, and there was the color shift that you highlighted. However, I'm happy to report that, with some gamma, gain, temp adjustments, and noise reduction- more so in the chroma- the clip looked good, and was quite usable. So, at least in this context, 4 stops under is possible. UPDATE: Just tried it as rec709, also cleans up nicely.

David, thank you so much! I'm setting mine up today!

Thanks David, very helpful.

So helpful David. Thank you. I am not there yet to use Timecodes, but it is one of those things I will get to eventually and have always wondered how they are set up.

very cool - thank you

So Nlog is better with overexposure, SDR is better with underexposure.

Very helpful! My Z9s just arrived last week, so I'm trying to get a feel for grading N-raw log. I'm switching from Sony, and used Slog3 sGamut3 for almost everything, including a fair bit of HDR. N-log raw HDR handles very differently, and I suspect that I might not be setting it up right on the Reslove side. This film might help solve some of that. In trying just a couple of test HDR grades, rendering to DNxHR HQX work well, however rendering the same clip to h.265 results in terrible banding in the blue sky. Again, I suspect it's something I'm doing wrong in the settings. Of course, Resolve has never been known for its fine h.265 rendering abilities, so it might just be a matter of mediocre compression causing banding artifacts. H.265 N-Log recorded directly from the camera doesn't have the banding, but does if I re-render it to h.265 again, and doesn't if re-rendered to DNxHR HQX.

That was very interesting. Thanks for posting it. Tomorrow, I'm going to experiment with N-raw to see how N-raw SDR set at iso lower than 800 does when grading it as HDR in Resolve. It certainly held up well underexposing at low iso grading to SDR. I often grade HDR rec 2020, so curious to see whether raw really requires 800 or higher when grading HDR..

Thanks for this. Coud you make the file available for download?

It's a very valuable video, thank you for your efforts ، I'll be grateful if you upload one second or less from 8k n-raw sdr - high quality , so we can download it and try it in davinci resolve , Because I am very interested in the capabilities of this camera in video raw ، and I do not want to buy it before I try it , Thank you

Like your video will contact you soon .I have z9