There ya go. Thanks V.

FYI RAW is not LOG, two different things.

The RAW DNGs coming off of the camera are exactly as they should be. It's the same for any other camera shooting CinemaDNG. BMD FIlm is BMD's way of moving the DNGs back into a LOGSpace for colorists that prefer to begin that way.

As mentioned a few days back (and, now being discovered), the Pocket Camera's RAW actually comes off of the cards looking fairly accurate if you expose within a one stop bracket, and you could literally just export that as ProRes and call it a day. That's only abnormal to me because the 2.5K's stills often looked unpleasant from the start, I'm finding the Pocket RAW DNGs almost deliverable when shot for the look.

And the footage looks far better than the ProRes Video mode.

A workflow on set could be to have your offloader transcoding to 1080 DNxHD or ProRes right from the CinemaDNG, and discarding the RAW if you want.

@kholi Yeah. That last workflow is the one that I'd use most of the time.
Difference between internal ProRes footage and RAW->DNxHD is very noticeable.

@jrd

What are you differing on, exactly? I didn't say anything about grading RAW without BMD Film as a starting point?

I said transcode directly from the RAW to ProRes to hand off?

But, since you've mentioned it, it's actually pretty easy to grade from the RAW without BMD Film, you just start at a different place.

One stop over or under target exposure. Less noise of course with one stop over, one stop under protecting highlights.

Hi Everyone

This is a first few days video review of the Raw recording in the Blackmagic Pocket Camera.

On my website there is a link to download some raw footage too.

Chris :)

@vapourtrail You can't go wrong with the VF cage. Best $140 ever spent. And people love the cage!

@kholi Thanks.

RAW is not log for sure. It's trying to squeeze a higher DR into the range that can be displayed by today's displays.

Log is a kind of lossy compression, actually. It's doing that quite efficiently by redistributing bits to areas where humans have a better perception of tonal changes and dropping some minor differences in areas where we don't see that we'll. But lossy nevertheless, and it was developed for film scans initially in a time when fast storage was still very expensive.

Colorists like it because they can see from the start what was really recorded and what they can play with. But it's their task to turn dull and stale looking log footage into something attractive or expressive.

If you know your camera very well and know how you exposed, you can drop the log conversion and grade from RAW. BTW, log looks different from all major camera manufacturers.

Here's a few shots from my desert adventure I've been on. Nothing special by any means and these are just random shots I picked out to throw on a quick grade for people to check out. After it's all over I'll put together a well edited little piece. I'm sure people will comment about the aliasing in the power line scene but that's all Youtube there. The original 4444 file shows nothing.

All shot with the Pany 14-140, I know I know (because I really had to reach out for some of these shots and) and the Rokinon 85mm. Graded in Davinci of course :)

I would like to see a comparison between GH2 or GH3 with a native lens in Smooth or Nature and iDynamic enabled in the highest setting against BMPCC in raw to compare the dynamic range in a shadow/highlight situation like indoor with a window or clouds in blue sky and shadow under a three or building. I think many people would like to see this...

Oh and @VicHarris, nice images mate!! Would you mind if a steal a frame for my desktop background?

... @apefos .... it would still be nice to see the results of the testing.

@Stylz, yes you did and like i said, I just grabbed some footage to throw up but thanks for pointing all that out. Great eye there mate. Now once again, when I'm done traveling, I'll throw together a PROPER EDIT and post then.