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. ![]() 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. 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. I rate that result in 12bit as professional-standard cinema. Whereas with 12bit, the image maintains almost the full dynamic range of the sensor without issues… The results can be seen below… You’ll see a lot of false colour and banding in the deepest blacks. When a region is VERY darkly exposed, it falls into the jaws of the 8bit clipping point where data gets lost. 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. ![]() It’s the 12bit that makes all the difference and performs closely to 14bit RAW stills in terms of dynamic range. I found that the 8bit internal 4K Cinema DNG RAW and 10bit external performed similarly. 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. ![]() 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.
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