#Slimraw alternatives full#
#Slimraw alternatives pro#

slimRAW converts uncompressed CinemaDNG raw video to losslessly or lossily compressed CinemaDNG. slimRAW can also recompress and optimize size of CinemaDNG video that is already losslessly compressed, or convert lossy raw to lossless raw for increased compatibility with CinemaDNG video production software. slimRAW doubles as a CinemaDNG raw video DIT utility: it can offload raw video from camera or recorder media to two storage locations simultaneously with on-the-fly lossless or lossy compression, checksum generation and verification, while preserving all the original metadata.

#Slimraw alternatives pro#

SlimRAW optimizes DNG stills and enables importing DNG stills and timelapses in Adobe Premiere Pro CC.

#Slimraw alternatives full#

SlimRAW is available for Microsoft Windows and Apple OS X.With the Sigma Fp it is definitely worth shooting 12bit RAW to a USB C SSD drive to make full use of the dynamic range. If you don’t need to boost the shadows by 3-4 stops, or under expose by 3-4 stops to prioritise a particularly bright part of the frame, the 8bit RAW to SD card offers beautiful results. I found that the 8bit internal 4K Cinema DNG RAW and 10bit external performed similarly. It’s the 12bit that makes all the difference and performs closely to 14bit RAW stills in terms of dynamic range. When a region isn’t too darkly exposed, like the fox picture in the shot below, you can raise the shadows without too many issues in 8bit. When a region is VERY darkly exposed, it falls into the jaws of the 8bit clipping point where data gets lost. The results can be seen below… You’ll see a lot of false colour and banding in the deepest blacks. Whereas with 12bit, the image maintains almost the full dynamic range of the sensor without issues… I rate that result in 12bit as professional-standard cinema. So, whilst it’s not true to say you can’t push the 8bit RAW files around to a dramatic degree, you do need to get a decent exposure across the frame in-camera for 8bit. The fact you can with the 12bit RAW however, says a lot about the quality of that! You cannot rescue something which is completely black, like you can with, say, a medium format 16bit RAW file.

All you need to do, is avoid raising the shadows too far… If you are happy with your exposure in-camera and just want uncompressed image quality with a fine film-like noise grain, along with the colour grading benefits of RAW as well, the 8bit 4K to SD card is going to give you beautiful results. I’d rate the Panasonic S1 and S1H V-LOG as having a bit more dynamic range than the Sigma Fp’s 8bit and 10bit RAW. I can see why Sigma dropped the 10bit RAW to SD card as it doesn’t really offer the obvious benefits to the image of 12bit, whilst pushing write speeds past the limit of what’s reliable. I feel that Sigma can further improve the firmware to remove the strange green noise floor in 10bit and 8bit RAW. Straight off the card the 4K 8bit RAW looks identical to 4K 12bit RAW video recorded via USB C to an SSD, and even a 14bit RAW still frame shot in photo mode. On a shoot I tend to prioritise either the highlights or shadows in-camera, not both, then I keep a good amount of contrast in the grade… So 8bit RAW quite suits me.