Nikon USA YouTube has released a video titled “Why Film in N-RAW? Insights from Cinematographer Mitch Blummer on Shooting and Editing RAW Video”, demonstrating the advantages of the current Nikon’s raw (N-RAW). Is REDCODE RAW coming soon?
One of the major reasons for the RED Digital Cinema acquisition is the bypass of the compressed RAW patent, and utilizing 16-bit REDCODE RAW in Nikon’s top-tier mirrorless cameras. As part of that, Nikon will release a new cinema camera, but this will take time, as opposed to implementing REDCODE RAW capabilities.
From N-RAW to REDCODE. When?
“The fact that a compact camera can do a 12-bit raw internally is a special thing for cameras in this class. I am excited to see what more Nikon does with this technology”. That was the ending statement of the cinematographer behind Nikon’s new N-RAW educational video. In the video titled “Insights from Cinematographer Mitch Blummer on Shooting and Editing RAW Video”, Mitch Blummer leveraged the compact Nikon Z6III’s internal 12-bit N-RAW recording capability. “See how N-RAW played a critical role in the post-production workflow, with impressive benefits like smaller, more manageable file sizes and flexible control while color grading,” says Nikon. Explore the video below:
Nikon also published another video that teaches you how to color grade Nikon N-RAW with N-Log in DaVinci Resolve. Check it out below:
Will Nikon’s top mirrorless be capable of shooting R3D?
One of the major reasons for the RED Digital Cinema acquisition is the bypass of the compressed RAW patent, and utilizing 16-bit REDCODE RAW in Nikon’s top-tier mirrorless cameras. As part of that, Nikon will release a new cinema camera, but this will take time, as opposed to implementing REDCODE RAW capabilities. N-RAW is not bad, but it’s 12-bit. R3D is 16-bit. Thus we believe in a year, Nikon will release a firmware update that allows to shoot R3D files internally. That will diminish sales of DSMC3 and Komodo bodies, but again it will take a year or so. Meanwhile, RED is going to release a firmware upgrade to the Raptor [X] which includes a solid amount of goodies. RED gives the impression of business as usual. Anyway, this is our prediction and we might be very wrong about this. However, our predictions about RED were almost always accurate. Thus, expect a Z9 or Z9 Mark II, that can shoot REDCODE RAW. In that case, N-RAW will be expendable. So what do you think? Does Nikon Lay the Groundwork For REDCODE RAW?
![RED (Nikon) V-Raptor [X] 8K VV is Netflix Approved](https://ymcinema.com/wp-content/uploads/2024/05/red-v-raptor-x-nikon-netflix-approved-480x384.jpeg)
How many times do we have to explain here in the comments that REDCode Raw is NOT 16bit, but also 12bit (like N-Raw and the video raws of almost all other camera manufacturers). RED only advertises it as 16bit because it’s Raw stored in 12bit logarithmic values that are unpacked into 16bit linear raw on playback (which is what most other manufacturers do, too, and what you can also do with Nikon’s N-Raw).
If Y.M.Cinema keeps posting this nonsense, you will make readers conclude that it’s intentional clickbait. I’m probably not the only reader you’ll lose.
^ This
REDCode Raw has the reputation of best color science, but my tests show a much better color accuracy in N-RAW.
Nikon please think twice and test it carefully before implementing R3D. This could backfire.