Report ◎ Takayuki Takashita ◎ Nippon Samsung Co., Ltd. / ITG Marketing Co., Ltd.
LUMIX was the first to support RAW output in S1H, but after that, the compatible model was expanded quickly.Among them, many of them are surprised that S1H's brother aircraft, S5, claimed that RAW output would be supported from the beginning.In addition to V -Log recording inside the camera, up to 5 similar to S1H.Regarding RAW output at 9k/30p, it can be said that the full frame mirrorless interchangeable -lens camera in this price range is exceptional.
This time, I visited the Sendai glass studio "Kaika" with the video writer Maruyama Moru, who has been working with the author many times.The release of the video work will be released for a while, so here we will explain the handling of the shooting material in addition to the equipment setup up to the shooting and the operation on the day.
Prores Raw record in Ninja V
This time, Ninja V of Atomos was prepared as a PRORES RAW recording machine.I have started with SHOGUN INFERNO and verifies the handling of Prores Raw with various recorders of Atomos, but I feel that the 5 -inch size of Ninja V matches the single -lens camera.。The Ninja V recording media has a lineup of an SSD storage called "AtomX SSDMINI" optimized for Ninja V.There may be a sense of security that does not protrude from the main unit and a sense of writing speed and compatibility, but many people feel that the hurdle of introduction is high in that it is very expensive.Uh?General -purpose 2.5インチSATA SSDを活用すれば、専用ケースMaster Caddy 2にSSDを装着する形にはなるが、導入コストを抑えつつ、大容量SSDで
Previously, we have operated external recorders in search of low -compression and higher quality materials than the internal records of backup recording, but the number of cameras that can be recorded in the camera can be recorded inside the camera, and the number of cameras that can be recorded 10bit Log has increased. So, even without using an external recording machine, it has become possible to record with a safe and sufficient image quality. However, the wave of RAW output from the HDMI terminal came here, and I decided to buy an external recording machine as a challenge for even higher image quality. In the past, I tried PRORES RAW recording in my work shooting, but it has been limited as a workflow. As for me, in order to be buried in video creators whose high quality is remarkable in recent years, it is based on the concept of "recording the whole story in Prores Raw and finished at 4k or more resolutions" to make it a new weapon. I decided to proceed with this work. In the case of the author, in addition to videos that can be done alone as a video grapher, I think that it is especially important to have a "own weapon" because you sometimes turn only the camera at the request from the director as a photographer.
[Setup to rig]
▲ Set up the rig in advance assuming the handling during shooting.In the actual performance, it was basically taken in this state, but for the handling of the cable, this intermediate cable was poorly contacted during shooting, so it was connected directly with one cable.By setting up the Ninja V battery behind the right side, it is possible to access the camera EVF and LCD while considering low center of gravity and front and rear balance.
[Setup to rig (site photo)]
▲ The S1H (top) and Maruyama's S5 (bottom) who changed the cable.When Maruyama's S5 started shooting, there was a problem that the signal was often interrupted, and it was connected directly with a single cable.Even a cable that is not a problem in the PRORES 422 recording, there are cases where RAW recording may be in trouble, so I would like to do a lot of preliminary tests.
Cable and power supply
By the way, the biggest problem in the operation of external recording machines is the avoidance of signal troubles due to damage to the HDMI cable and securing power supply.This time, considering the handling of the cable, it was tested in the state of the photo above, but it occurred during the move to the site, or the signal that seems to be a cable disconnection is unstable.became.So I connected the camera to Ninja V directly with one HDMI cable.The cable is HDMI2.It was compatible with 0 (4K/60p), which was also tested in advance and prepared for on -site problems.In the past experience, it is recommended that you keep in mind the connection cable with the recording machine and prepare the spare of the spare.
Then, the power supply is to the S1H rig to the Cable from the conversion plate to the cable..The 1φ connector was put out and powered.With this, the operating time was almost the same as the S1H camera battery, so it was good to have a battery with a camera and a recorder in 1: 1.The S5 Hamaruyama's equipment was installed on the camera cage of Smallrig via the mount via the mount, and the battery was operated with an L battery on the main unit, but this is the lightest and realistic combination.See.
You can see examples operated by the camera shoe mount, but there is a risk of damage if the camera shoe is applied in case of emergency.In the case of LUMIX, it is absolutely not recommended to mount directly here only for the shoe part used as the contact of the XLR unit.
[Power setup]
▲ The power set up around the rig of the S1H that the writer has assembled.The cable is handled from the power plate set at the rear of the camera to crawl on the half cage of Smallrig.Consider the HDMI cable as much as possible to the cage.At this stage, the conversion connector is passed, but in the production, it was connected directly with a single cable.
[Director Maruyama's setup to S5]
▲ Setup of S5 by Maruyama.Set up Ninja V with angle mount on SMALLRIG's full cage.As shown in the photo below, it was connected directly without using the conversion cable.With this size setup, it will not be a heavy burden for the photographer.
About recording media
As described above, 2TB of "SAMSUNGSSSD 860 Pro" and "Samsung SSD 870 EVO" were used.These media were included in S1H and S5 each.Later, I will write a little later, but first write that the recorded data was able to shoot without any problems in the event of a trouble in Ninja V.
[Dedicated case Master Caddy 2 with 870 EVO]
▲ The photo is Ninja V mounted on the S5.Master Caddy 2 (for Atomos recorder 2.Equipped with 870 EVO in 5 inch SSD case).In this way, it protrudes a little from the main unit, but I never felt that it would be a hindrance because it was somewhat the role of the connector protection.
[Ninja V exclusive cage made by Smallrig]
▲ If you are worried about missing or damaged cases or cables, you should use a cage that can be fixed like this.This is a special Ninja V product made by Smallrig, and it also has a high sense of security because it also serves as the protection of the main unit.
About the lens used
This time, there was another trial initiative, and I tried a depiction of the recent ZEISS single -focus lens "OTUS" series, S1H and S5.In the case of RAW output, various lens correction in the camera is invalid, so conversely, all the lenses can be used.This is the interest of what Otus, which is considered to be the highest peak of still lenses, will show you.I will explain it carefully in the subsequent cut -out cut, but it was a very high -dimensional and well -balanced good depiction.The extremely delicate lens depiction of high resolution and high contrast is recorded by reading the whole painted 6K sensor 5.Just imagine that 9K RAW will take it, and you can expect it.
What is the color depth of 12bit?
Furthermore, the dynamic range of 14 + STOP and the color depth of 12bit were highly grading resistance, and the lens performance was further enhanced with a deep color reproduction like a film.
The following is a simple calculation formula, but the difference in color depth due to bit is listed.The general display is 16.77 million colors in each color 256 gradations, which is why gradation collapse occurs when boldly adjusted from 8 -bit video material.
The 8bit is 2x2x2x2x2x2x2x2x2, that is, 256 gradations because it is 2 in 2.
It is 256x256 x 256 in the combination of RGB or YUV.
The 10bit is 2x2x2x2x2x2x2x2x2x2x2x2, that is, 1024 gradation with 10th.
It is 107,3.74 million colors for 1024x1024x1024 by RGB or YUV.
The 12bit is 2x2x2x2x2x2x2x2x2x2x2x2x2x2x2, and the 2nd is 4096 gradation.
It is 6,871,947 million colors for 4096x4096x4096 by RGB or YUV.
If the number of colors is large = the color depth is deep, this is the principle of 8bit <10bit <12bit <12bit <12bit <12bit.This is one of the reasons why the handling of 12 -bit Raw material is better than 10bit logs.
[Grade the ones taken with RAW]
▲ Comparison between the RAW read by Final Cut Pro X and the Color Collection (bottom).The dark part was lifted a little and the highlight was lifted to the full range.The meters in the furnace are also well reproduced, but the middle gradation has not been lost.(Note: The color range is converted to SRGB so that it is displayed in the correct color in the browser)
▲ Capture from the editing screen of Final Cut Pro X.As expected, the dynamic range of 14 + STOP can fully capture the brightness ratio of outdoors and indoors, despite the small cloudiness.The highlights were adjusted brightly while looking at the waveforms to enhance the contrast and improve the outdoors.
▲ This time I handled RAW natively, but if I wanted to work with an existing Log-based workflow, if I select V-Log Lut on Raw to Log, know-how such as color collection using the conventional camera LUT.Can be used.
[Select Wide Gamut HDR]
▲ To edit the Prores Raw file correctly, select "Wide Gamut HDR" from the library property.This allows you to correctly recognize the color gamut and the dynamic range.
▲ In the project file setting, the settings vary depending on the HDR or SDR.Here, the setting is assumed to be finished with HLG.
Setting on Ninja V side
By the way, there is a work to keep Prores Raw in Ninja V in advance.To record Prores Raw with Ninja V (excluding Prokit) as you purchase, you need to perform appropriate firmware updates and free activation.I would like you to check the details on the ATOMOS website, but I would like to make sure that you do not panic to bring it to the site while purchasing.
If you already operate Ninja V and activate the Prores Raw, and if the RAW signal is entered from the camera, the alert to switch the codec will be displayed on the screen, so tap the agreement as it is. 。 Then, the recording codec will automatically switch to Prores Raw, and the video will be displayed on the monitor. There are two selected codecs: Prores Raw HQ or Prores Raw. The bit rate is a variable rate by judging the image. For the maximum rate of Prores Raw HQ, it is lighter than PRORES 4444, and a PRORES RAW is slightly lighter than Prores 422HQ. In past tests, there are cases where compression efficiency has dropped due to dark noise due to gain -up (recording time has been shortened), but in the combination with S1H and S5, compared to the time displayed at the time of the media initialization. I was able to shoot for a long time. This is probably because it is displayed based on the maximum bit rate. If you want to know the maximum recording time in detail, it is recommended that you do a recording test in advance in advance. However, if the details of the subject are dense or if there are many noise in the dark, the compression efficiency will decrease, so please understand that it depends on the condition of the subject or camera. Regarding this shooting, I selected Prores Raw as a balance between the amount of data and image quality, so I was able to shoot with the amount of data of Prores 422 HQ.
For more detailed specifications of Prores Raw, please refer to "Apple_prores_raw_white_paper" that can be downloaded from Apple's website.
https: // www.Apple.Com/FINAL -CUT -PRO/docs/Apple_prores_raw.pdf
The linked file has a description of the principles such as bayer image decoding and processing.By understanding this area, you can understand the benefits of RAW's archive material.
[Menu setting in S1H]
[Display when raw data on Ninja V side]
▲ If the HDMI Raw output on the camera side is turned on while connected to Ninja V, it will be asked if the codec will be switched on the Ninja V screen, so if you tap OK, the record codec will be switched.Then select PRORES RAW HQ or Prores Raw.
About the exposure decision at the time of shooting
Next, I would like to mention the exposure at the time of shooting. Basically, it seems that there is no problem thinking based on LOG recording. As you can see from the fact that the Raw to log conversion process can be selected during editing, the basic handling is close to the data taken. From this, although the color depth is extended to 12bit, the dynamic range is 14 + STOP similar to LOG, so exposure should be equivalent to Log shooting. In the case of the S series, the spot brightness meter is turned on, and the exposure is determined so that the exposure of the gray reflected version becomes zero STOP. While looking at the waveform, there is a way to display zebra on the exposure standard of Log, but the S series will not be easy to beat the spot brightness meter. Since I started using this function, I no longer use the waveform display unless there is a lot of things. Of course, there is a wide dynamic range called 14 + STOP, but this is also a great advantage of using the S series.
However, in this shooting, the production process of the glass art work will be taken non -stop, so Ninja V will be REC during that time..709 I decided to expose the exposure with a sense of eyes based on the smallest D range (dynamic range).If it is displayed in HLG or PQ, you can grasp the D range more accurately, but conversely, imagine that you can adjust the low and high in a narrow range of 709 by editing.So we decided to have a "adjustment width".
The most difficult thing in the exposure decision was the completed work.Because it was mainly transmitted light, it was not possible to obtain the exposure standard with the gray reflector, so I judged while looking at the waveform, but it was actually slightly under.However, the delicate gradation of glass due to transmitted light, which tends to break down due to exposure adjustment during editing, was clearly confirmed by covering the RAW recording by covering it with the color depth of 12bit.
[Spot brightness meter]
▲ The feature that I found most convenient when I started using S1H is this spot brightness meter.The S5 also has the same function.If you move the measurement frame to any location you want to measure, it will display a gap from the appropriate value for the 18%gray reflective version.When Log or RAW output is output, it is written in STOP, and in other modes, it is an EV notation.By measuring the maximum brightness and the minimum brightness in the screen, the brightness ratio in the screen can also be measured.The exposure decision tends to be rough can be accurately and easily driven.
[State at the time of shooting]
[RAW material and grading] ▲ After the RAW material (top) and color grading (lower).Even if you adjust the color, brightness and contrast, there is no collapse in the gradation.The actual RAW material is displayed on Final Cut Pro X under the underlying material previewed in 709 at the time of shooting, but even if it was added, it was surprising that the grading resistance was high.
What I felt after actually operating on site
After shooting the real view material, I took a picture of the work production. As expected, in the process of removing the glass from the blast furnace and shaping, the area around the thousands of fluctuations was in the midsummer room. When I was absorbed in shooting in a short sleeve sweating, the top of Ninja V was so hot that it was not touched by the heat released from the inside. In this state, the operation became unstable, the screen blacked out for a moment, and the "Kangaroo Mark", which indicates the recording error, was displayed on the right end of the screen. The recording has not stopped even after this comes out. I continued to shoot while being worried. When I checked later, the file was split in the part where the error was displayed, so the drop frame was probably generated. It was confirmed that a drop frame was occurring even if the cuts were connected at the fact editing stage.
What I want to pay attention to here is that even if a file split or a drop frame has occurred, the record has been continued.For the first time, I used SAMSUNG's SSD, but it would be noteworthy that there was no media trouble error.
If Ninja V is temporarily turned off and cooled, the function will recover again, but if there is a recording error, it is necessary to replace SSDs to protect data.This time, I was helped by SSD reliability without encountering such a thing.
Nevertheless, it is surprising that a single -lens camera has been able to record high -definition and high -grade grading resistance so far.As a writer who had been involved in the photographer for a long time before putting himself in the video world, after being surprised by the blurred flavor of the large format sensor, the color was immediately limited.He also decided to look before shooting, and reached out to a large -scale business large format sensor video camera that could record 10 -bit, but he continued to think that the size of a single -lens camera could not be released in terms of handling.。If it came here and the number of cameras that could record 10 -bit internal recording has increased, it has finally come to an era where even the RAW recording is established only with the camera + monitor recorder, and this evolution is great.Welcome.
▲ "860 Pro" (front left) and "870 EVO" (right right).Both used 2TB, and after formatting in Ninja V, 5.It was displayed that it was possible to shoot for 1 hour and 35 minutes with 9K/30p recording.If you are in a hurry, you can edit it in the case after backing up, or take it out and store it in another case and edit it.
I would like to introduce the SSD borrowed again here.
SAMSUNG's Sata SSD "860 Pro" and "870 EVO", "860 Pro" is MLC, "870 EVO" is TLC.Compared to the applications such as, TLC's "870 EVO" is sufficiently optional.As a result, it is important to add that there was no problem in this recording.
Even if you prepare carefully with HDMI cables and power supply, some troubles occur on site, but the recording media worked without disappointing the photographers' expectations.
The future task is whether the cooling efficiency of Ninja V can be increased and stable even in harsh sites.At that time, I would choose SAMSUNG SSD.
The video taken this time was to be edited by Mr. Maruyama, so we copied the data to 2TB of Samsung's portable SSD "T5" in consideration of the editing environment.If it is the speed of "T5", you will be able to proceed with editing as it is.In addition, the completed video is being adjusted to be screened at the sole exhibition of Kaiba Glass Studio, so I think that you can guide you in some way.
Shooting cooperation: Kaiba glass studio (https: // kaiba.org)
■Samsung 870 EVOで勇気を出してはじめてのProRes RAW（ソニー FX3 & アトモスNINJA V) レポート：鈴木佑介https://videosalon.JP/Pickup/870evo_suzuki/
■ Verification of 12K BRAW recording in URSA Mini Pro 12K with Samsung NVME SSD: Takashi Chiba https: // VideoSalon.JP/Pickup/Samsung-nvme-SSD/
■ Verification of 8K RAW output of Canon EOS R5 with Atomos Ninja V+and Samsung SSD: Takuro Inoue https: // Videosalon.JP/Pickup/Samsung-ssd_inoue/
■ Photographic enthusiasts take a RAW video for the first time in Nikon Z 6Ⅱ and take the texture of the film camera: Kenta Nakazato https: // VideoSalon.JP / Pukuku P / Ms. M Sen G ー SD_ Nakazato /
860 PRO870 EVOLUMIXProRes RAWS1HS5SAMSUNGSSDサムスン
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