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Final yr, the firmware V2.0 introduced 8.3K N-RAW (inside) recording capabilities to the Nikon Z 9 and we instantly requested ourselves, how this new characteristic will impression the lab take a look at outcomes we revealed again in December 2021. Curious to know extra? Then learn on …As my colleague, Jakub mentioned in an article on the firmware V2.0, “Maybe essentially the most spectacular new characteristic of the firmware v2.0 is the addition of the in-camera RAW video codecs – 12-bit N-RAW video at as much as 8.3K (8256×4644) 60p in addition to inside 12-bit ProRes RAW HQ as much as 4.1K 60p. Regarding the notorious RED patent, I’m not fully positive how Nikon managed to incorporate inside ProRes RAW when so many different digicam producers wanted to take away the codec from their units, however it’s positively excellent news”. We used firmware model V3.00 to check N-RAW on the Nikon Z 9. (Present digicam model is 3.01 which brings small enhancements that aren’t associated to video image high quality). We didn’t take a look at ProRes RAW – for one, it’s restricted to 4.1K and secondly, you can’t import it natively into DaVinci Resolve – therefore, we discarded this feature altogether. Thanks once more to my expensive colleague Florian, who helped with taking pictures this take a look at.So with out additional ado, let’s soar into the outcomes of our Nikon Z 9 N-RAW Lab Take a look at!Nikon Z 9. Picture credit score: CineDNikon Z 9’s Rolling Shutter in 8.3K N-RAW Full FrameThere’s nothing new to report on this entrance, as we get precisely the identical outcome as with Z 9’s different full-frame codec choices:Picture credit score: CineDAs I wrote again then, that’s about 1ms higher than the Canon EOS R5 and about 2ms higher than the Sony A1. The king of the fortress for mirrorless full-frame cameras on this worth bracket continues to be the Sony a7S III with an 8.7ms rolling shutter in full-frame mode. On prime of the listing is the Sony Venice 2 with lower than 3ms.Nikon Z 9’s Dynamic Vary utilizing N-RAW at ISO800When importing the Nikon N-RAW recordsdata into DaVinci Resolve 18.1, we’ve the next choices within the Digital camera Uncooked tab (see picture beneath). Mainly, all you’ll want to do is develop the picture values utilizing “Carry” and “Achieve” to get a bit extra distinction, set the colour area to Rec709 (different choices are P3 D60 and Rec2020), and the Gamma to N-Log (with Gamma 2.4, 2.6, Linear and Rec709 as different choices) and you’re finished. DaVinci Resolve Digital camera Uncooked settings to develop N-RAW. Picture credit score: CineDIf you aren’t aware of how we take a look at dynamic vary, please head over right here. The next waveform is obtained when taking pictures the Xyla21 chart (setting “Carry” and “Achieve” again to “0”): Waveform plot of the Xyla21 chart Nikon Z 9 N-RAW. Picture credit score: CineD12 stops are seen above the noise ground, much like our earlier findings. It’s a little bit of a pity that there isn’t a newer N-Log profile accessible. N-Log, as it’s now, could be very flat within the shadows, virtually slicing off the noise ground. Imatest calculates 10.2 stops at a signal-to-noise ratio (SNR) of two and 11.9 stops at SNR = 1. Additionally, past the blue line tagged with “11.9” within the center graph beneath, there may be possibly one extra cease seen. Therefore, about 13 in whole. IMATEST outcome for ISO800 utilizing N-RAW on the Nikon Z 9. Picture credit score: CineDN-RAW is clearly utilizing much less sign processing (like noise discount) than the opposite inside codec choices we examined earlier, which is nice. Noise discount can all the time be added in post-production. Due to this fact at first look, the IMATEST outcomes are worse than, for instance, when utilizing H265 8K internally (11.6 stops at SNR = 2 and 12.7 stops at SNR = 1).Nonetheless, there’s a large benefit when taking pictures N-RAW, which is able to turn into very apparent within the subsequent part: the latitude take a look at – N-RAW is recorded at 12 bits!Nikon Z 9’s Latitude outcome taking pictures N-RAW at ISO800As written earlier than, latitude is the potential of a digicam to retain element and colours when over- or underexposed and pushed again to a base publicity. This take a look at could be very revealing, because it pushes each digicam to its absolute limits – not simply within the highlights but additionally within the shadows.Our studio base publicity is (arbitrarily) chosen as having an (ungraded) luma worth of 60% on the brow of our topic, on this case, my colleague Nino on the waveform monitor.Nikon Z 9 N-RAW base publicity. Picture credit score: CineDNow, the primary optimistic shock: with N-RAW, we are able to go to 4 stops of overexposure and convey again the picture to base publicity. As you possibly can see beneath, within the waveform the pink channel on Nino’s brow is totally intact (earlier than bringing it again to base publicity):RGB Waveform of the 4 stops overexposed picture, earlier than bringing it again to base publicity. Picture credit score: CineDWith N-Log and inside 10bit H265 8K recording, we may solely overexpose by 3 stops.Now, let’s underexpose and convey again the picture. We do that by closing the iris of the lens from f1.4 to f2, f2.8 till f8, after which we improve the shutter pace from 1/25s to 1/50, and so forth.In publish, utilizing DaVinci Resolve 18.1 there may be one other very optimistic shock. The “Publicity” slider within the Digital camera Uncooked tab goes from +5 to -5. So, bringing again the over- or underexposed photographs is tremendous simple.Right here is the three stops underexposed picture, introduced again:3 stops below, pushed again to base. Picture credit score: CineDA high-quality noise begins to look, however the picture nonetheless appears to be like actually good with none additional enhancing. Now, that is already one cease higher than the outcomes we obtained one yr in the past with inside N-Log 8K H265.As a result of N-Log is so flat within the shadows, there may be virtually no code worth distinction between the stops. Capturing 10bit H265 internally in our first lab take a look at, even 10bit didn’t present sufficient code values between the stops resulting in banding, and due to this fact a fairly dangerous latitude results of solely 6 stops.With 12-bit N-RAW, there isn’t a banding seen to date. Let’s transfer to 4 stops below, pushed again:4 below, pushed again. Picture credit score: CineDNoise kicks in, which could be eliminated by noise discount, however as you possibly can see from the screenshot beneath, a fairly excessive chroma noise (spatial) and temporal noise discount is used:4 below, pushed again, and utilizing noise discount. Picture credit score: CineDDaVinci Resolve 18.1 noise discount settings for the 4 stops underexposed picture. Picture credit score: CineDOther than that, all is nice. We’re at 8 stops latitude, which is already the most effective outcome we obtained to date for client full-frame cameras on this worth bracket – with the Panasonic S1H, S1, and S5 in addition to the Sony A1. That’s 2 stops higher than with the 10-bit inside 8K H265 codec. That’s the ability of RAW!Now, the 5 stops below, pushed again picture begins to disintegrate – additionally including a really greenish tint to the picture:5 stops below, pushed again. Picture credit score: CIneDEven heavy noise discount in publish can’t fully put it aside:5 stops below, pushed again, and noise discount. Picture credit score: CIneDDaVinci Resolve 18.1 noise discount settings for the 5 stops underexposed picture. Picture credit score: CineDAs could be seen above, we’re already utilizing a most of “100” for the spatial chroma noise discount, and numerous temporal noise discount.It nonetheless appears to be like fairly OK, nevertheless picture particulars within the shadows (for instance within the decrease right-hand nook subsequent to Nino) are fading away.That offers a strong 8 stops of latitude efficiency, with some wiggle room in the direction of 9 stops! SummaryWith the inclusion of internally recorded N-RAW, the Nikon Z 9 actually makes an enormous leap ahead. Not solely does it present sturdy ends in rolling shutter efficiency (because it did earlier than), but it surely’s now additionally able to recording 8.3K 12bit as much as 60 frames per second. As anticipated, N-RAW is noisier as a result of not a lot inside sign processing is happening – resulting in decrease IMATEST outcomes of 10.2 stops at a signal-to-noise ratio (SNR) of two and 11.9 stops at SNR = 1 (in comparison with inside 8K H265 N-Log).However trying on the latitude outcomes, the 12-bit mixed with the ability or RAW by way of publicity changes make all of the distinction. 2 if not 3 stops extra latitude in comparison with 10bit H265 recording convey it to the highest of the listing of full-frame client cameras with 8 stops of publicity latitude (with wiggle room in the direction of 9).Nikon has gone a good distance with the video options on their picture cameras, and it reveals. What do you consider this Nikon Z 9 N-RAW Lab Take a look at and our outcomes? Have you ever shot N-RAW on the Nikon Z 9? What are your experiences? Please share your ideas within the feedback part beneath.
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