Atomos has just released a firmware enabling ProRes RAW recording over HDMI with the SIGMA fp full-frame mirrorless and Atomos Ninja V.
Furthermore, the Sigma fp is now able to output a raw signal that is encoded as 12bit ProRes RAW at 4K DCI at 24fps or 4K UHD up to 30p directly from the camera’s full-frame sensor.
Learn more about the slow-motion capabilities of the Sigma fp here.
4K DCI ProRes RAW from Sigma fp full-frame camera
And with this update, the tiny Sigma fp also becomes the world’s first mirrorless camera to record RAW over HDMI video in 1080p at 120fps for some smooth slow-motion shots. In addition, ProRes RAW offers filmmakers plenty of benefits including flexibility to adjust the colour and look of the video, while extending brightness and shadow detail.
The compressed raw format is supported in popular NLEs such as Final Cut Pro X and Premiere Pro (MacOS and Windows), however DaVinci Resolve is yet to support the format. This may never happen, as Blackmagic Design have their own competing compressed raw codec called Blackmagic RAW.
Other apps that currently support ProRes RAW are Assimilate SCRATCH, Colorfront, Baselight and Grass Valley Edius.
AtomOS 10.53 New Features for Sigma fp
- 4K ProRes RAW at 24fps and 30fps (12bit Log via HDMI to Ninja V):
- 4K DCI (4096 x 2160) at 24fps
- 4K UHD (3840 x 2160) up to 30fps
- Full HD 1920 x 1080p up to 119.88p/100fps
- Record and monitor 10bit ProRes 422 or Avid DNx:
- 3840 x 2160 up to 30p
- 1920 x 1080 up to 119.88p
- Monitoring of RAW input in:
- Native – Linear to VLog for use with 3D LUTs – can use any existing VLog LOOK LUTs
- Rec709 – to view RAW input in SDR up to 6.7 stops of dynamic range
- HLG – to view RAW in HLG with up 10.5 stops of dynamic range
- PQ – to view RAW in PQ/HDR10 with up to 10.5 stops of dynamic range, for scenes with extended spectral highlights.
- Playback of recorded video in ProRes RAW, ProRes, and DNX
Check out “The Village Blacksmith” shot on Sigma fp and Ninja V in ProRes RAW by DP Elle Schneider:
Atomos CEO Jeromy Young said:
“With SIGMA joining the Atomos RAW over HDMI family, we now have an exciting option for filmmakers to shoot Apple ProRes RAW with a tiny full-frame camera that also excels in 120fps high frame rate shooting. This camera brings SIGMA’s unique approach to the photo industry into video and we are happy to be innovating together with them to enable the fp to shoot the most versatile RAW codec available.
The Atomos Ninja V, SIGMA fp and ProRes RAW opens up a whole range of creative opportunities for our customers and I can’t wait to see what users can do with it.”
Extended Recording Options
I am sure all of you are familiar with the Atomos Ninja V, however for those that are not here’s the scoop. Apart from Raw, this compact 5-inch monitor/recorder can also record ProRes 422 and DNx video up to 4K/30p and 119.88fps from the standard 8bit HDMI output of the SIGMA fp.
For reliability and affordability, ProRes RAW or regular ProRes/DNx video files are recorded to AtomX SSDmini SATA drives in the Ninja V.
The efficiency of ProRes RAW will give you over 2.5 hours recording in 4K DCI at 24p on a 1TB SSD. In addition, the format is also very edit-friendly offering a slick workflow with the ability to adjust ISO and exposure offset in FCP X or Assimilate Scratch.
Learn more about latest improvements to editing in ProRes RAW in Final Cut Pro X 10.4.9 update in our previous post here.
ProRes RAW Explained (thanks to Assimilate Scratch)
While there is no one “standardized raw format”, over the years, a few formats have become dominant such as ARRIRAW and RED’s REDCODE RAW. Sony also has their own raw format (and more recently X-OCN, which offers higher compression without sacrificing quality), which is also growing in popularity on larger budget productions.
Long and Hard is the Road to a Unified RAW format for Video…
However, whereas the above formats boast “real raw” 16bit linear data for maximum flexibility in post, working with the above often requires quite a bit of finessing, powerful computers and lots of hard drive space.
Over the past couple of years both Blackmagic Raw and ProRes RAW have grown in popularity – mainly due to their smoother editing experience and smaller file sizes. They are much easier to work with on not-so-beefy over-speced editing rings.
And while some may argue that both Blackmagic RAW and ProRes RAW are not ‘real’ raw formats (due to partial de-bayering happening in camera) the formats do offer significant benefits in post – they offer more flexibility to manipulate the image compared to regular ProRes or DNx (even the 12bit 4444 versions) while still providing manageable file sizes for editing and archiving purposes.
‘Higher-end’ raw formats may never be replaced by ProRes RAW, but they are making raw video workflows accessible to a huge range of filmmakers working on the lower end of the budget scale. And that’s very liberating.
Learn more about the latest AtomOS 10.53 update over at the Atomos website here.