Prores Codec Full Advantage Of
Hence, signal processing may be different. Hence, I was quite curious to see how the new Sony FX6 is set up and how it compares to its smaller brother, the Sony a7S III – after all, they seem to share the same sensor but the Sony FX6 belongs to the “Cinema Line”. In particular, the Apple ProRes codecs have been designed to work especially well as high-quality, high-performance editing codecs for Final Cut Pro, taking full advantage of multicore processing and featuring fast, reduced Now that most of the recent full frame cameras have the capability to shoot ProRes RAW via external recording, we are able to get a glimpse how the untouched “raw” images compare to the signal processed internally recorded images. The Apple ProRes codecs provide an unparalleled combination of multistream, real-time editing performance coupled with impressive image quality at reduced storage rates.
2020 signal, since ProRes can accommodate a wide range of color spaces. ProRes is capable of handling a Rec. 2020 is a color space while ProRes is a codec. Prores Apple ProRes (iCodec Pro).Rec. Ffmpeg -codecs findstr prores.
Image Credit: CineDFor comparison again, the Sony a7S III internal recorded XAVC S – I 422 Intra at ISO 12800 shows 12.1 stops at SNR = 2 and 13.3 stops at SNR = 1. The Sony FX6 shows a superb rolling shutter result of 8.7ms in full frame, UHD recording from 24 – 100 frames per second (yes, also 100fps are without crop – only at 120 fps a slight crop is applied).IMATEST DR result for the Sony FX6 at ISO12800 using XAVC-I SG3.C/SLOG3 recording. This card is on loan from NVIDIA – thank you! Sony FX6 – Rolling ShutterUsing our 300Hz strobe light, it was easy to see that both the Sony a7S III and the Sony FX6 share the same results. Lets have a look at rolling shutter results first.Quick side note: 12 bit 4K ProRes RAW files on a 4K timeline in Premiere Pro pose no problem whatsoever for our NVIDIA GeForce RTX3090 graphics card – they run buttery smooth with about 8% load using 5.8GB memory of the GPU.
The externally recorded ProRes RAW HQ files show more noise than the internally recorded XAVC-I files From the results we can conclude about 8 stops of exposure latitude But it is also at the point of breaking up, and horizontal stripes appear as well across the image.What needs to be mentioned though, the 12bit ProRes RAW files do retain colors in a much nicer way, despite the noise. Image Credit: CineDThe internal XAVC-I 5 stops under file can be saved by noise reduction (by much less of it in terms of temporal and spatial threshold).
They are at the cusp of breaking but still OKAll in all, the Sony FX6 is a solid performer in our lab test – superb rolling shutter values, and good dynamic range values are offered. The internally recorded XAVC-I 4:2:2 10bit files at 5 stops of underexposure and pushed back to base can still be saved by noise reduction. Not so because of the noise Although those are 12bit – in theory pushing up shadows with a 12bit codec should yield better results.
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