The Buyers guide to...Which cameras shoot raw video?

The main headline for the Canon R5 when it was launched is that it can shoot 8K DCI raw video internally to a CFexpress card, using the whole width of its full-frame sensor. And it can shoot raw 8K 12-bit video at up to 29.97fps. It’s also possible to shoot in 4:2:2 10-bit in Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265).

In lay terms, an 8K video frame is equivalent to a 35Mp image and shooting in 4:2:2 10-bit with Canon Log means there should be plenty of scope for adjusting/grading footage post-capture. It also means that the EOS R5 can be used alongside other cameras, including Canon’s cine range, and the footage can be made to match.

Alternatively, 4K video can be recorded at up to 119.88fps in 4:2:2 10-bit in Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265) 4:2:2 10-bit in Canon Log or 4:2:2 10-bit HDR PQ. That should be great news for slow motion video fans.

If you prefer to record 4K video to an external storage device, there’s an HDMI connection that can cope with recording at up to 59.94fps.

The Canon R5 also has an HQ (high quality) mode that can be activated for 4K recording. This sets the camera to use the 8K technology and downsample the output to 4K.

Read our Canon EOS R5 Review

The Nikon Z 6 has hybrid autofocusing. This is a change from Nikon’s DSLRs which use a dedicated phase detection sensor for shooting with the viewfinder and contrast detection focusing for Live View and video shooting.

The Z 6 has 273 AF points that cover around 90% of the sensor. As a result, you can focus on areas much closer to the edge of the frame than you can with a DSLR. This means you don’t have to use the focus-and-recompose technique. In addition, you can track subjects around more of the imaging frame.

Like the Z 7, the Z 6 has five AF point selection modes. However, the choice changes a little depending upon whether you are In Single AF (AF-S) or Continuous AF (AF-C) mode. In AF-S mode you have the choice of Pinpoint AF, Single-point AF, Wide-area AF (Small), Wide-area AF (Large) and Auto-area AF.

Switch to AF-C mode and you’ll find Single-point AF, Dynamic-area AF, Wide-area AF (Small), Wide-area AF (Large) and Auto-area AF available.

In Auto-area AF, the camera attempts to detect the subject automatically. If you press the OK button a tracking point becomes visible. You can then move this over the subject, press OK again, and the camera will attempt to track it around the frame. This operates in both AF-S and AF-C mode but it only adjusts the focus in AF-C mode.

Read our Nikon Z6 Review

With a compatible Atomos recorder connected, the Nikon Z7 II can record video as Apple ProRes Raw which means you get the full benefit of the camera’s data gathering potential.

Like the Z7, the Nikon Z7II can record 4K UHD (3840 x 2160) video. However, the maximum frame rate is boosted from 30P to 60P, which is great news for slow-motion fans.

As before, it’s also possible to shoot Full HD video at up to 120p.

If you record to a memory card in the Z7II, the video is 8-Bit, but connecting an external storage device via the HDMI port enables the video quality to be increased to 10-bit 4:2:2 with (or without) N-Log.

N-Log is useful if you want to grade your footage post-capture, or if you need to match the footage to that from another camera. Handily, timecode is available to help with editing video from multiple cameras.

Focus peaking and zebra display are also available to help with nailing the focus and exposure.

Read our Nikon Z7 II Review

Nikon had already given its Z6 and Z7 cameras an impressive arsenal of video specs. Nikon embraced video technology with its first full-frame mirrorless offerings, and the Z7 can record 4K UHD (3840 x 2160) video. It’s also possible to shoot Full HD video at up to 120p.

An HDMI port is provided for connecting an external recorder. When this is used 10bit 4:2:2 video can be recorded with N-Log. The video that’s recorded internally is 8bit, so saving to an external device increases the range of colours that are captured. Once the bit depth is set to 10bit via the HMDI options in the menu, you cannot record video to an internal card.

Then, last year, Nikon released a new firmware update adding the option of raw video recording to the Z6 and Z7. Co-developed with Atomos, the firmware update – which will set you back about $200 – enables the Z6 and Z7 to record 12bit 4K UHD and Full HD raw video via HDMI to certain Atomos recorders.

Other features of the Z7 include N-Log, which results in very flat footage that’s designed for post-capture grading. It’s especially useful when you’re shooting with more than one camera as it makes it easier to match the footage.

Timecode, focus peaking and zebra display are all available.

The Z7 can shoot Timelapse movies. However, there’s also an 8K Timelapse option that allows sequences of images to be recorded and edited together post-capture.

Sigma normally uses a Foveon sensor in its cameras but it has used a conventional chip with a Bayer pattern coloured filter array for the fp. It’s a back-illuminated sensor with 24.6million effective pixels on its 35.9×23.9mm surface and there’s no low-pass filter.

Video-wise, when connected to an external SSD the fp can shoot 4K (3840×2160) footage in CinemaDNG format with up to 12bit colour. Alternatively, when an SD card is used, the more common MOV format is available.

A new firmware update pushes its 4K raw video support further and introduces new features such as raw video playback and support for Full HD raw video at 120fps.

There’s also a collection of colour styles that can be applied to stills or video: Standard, Vivid, Neutral, Portrait, Landscape, Cinema, Teal & Orange, Sunset Red, Forest Green, Foveon Classic Blue, Foven Classic Yellow, Monochrome.

The low saturation Cinema and Teal & Orange settings are particularly interesting for videographers.

Read our Sigma fp Review

Already boasting solid video capabilities, a firmware update in November 2020 added the option to record Apple ProRes RAW on an Atomos Ninja V5. The update also enabled 5.9K / 4K / Anamorphic (4:3) 3.5K 12-bit RAW Video Data output over HDMI.

Its headline video specification is that it can shoot 4K (3840×2160) footage in 4:2:2 and 10-bit LongGOP H.264 at 29.97/23.98p/25p. That’s when recording internally to an SD-type card.

It can shoot and that quality and resolution for up to 30minutes. Alternatively, if you’re happy to 4:2:0 8-bit 4K footage, you can shoot indefinitely until your memory cards are full.

If the Panasonic S5’s HMDI port is used to connect external storage, it’s possible to record 4K 4:2:2 10-bit footage at 60p. That means you can have high resolution 2x slow-motion video in 4K resolution.

There are also ports to connect an external microphone and headphones.

Read our Panasonic Lumix S5 Review

In early 2020 Panasonic announced that via a strategic partnership with Atoms it had developed new firmware for the Lumix S1H that enables the camera to output a maximum 5.9K/29.97p RAW video data to the Atomos Ninja V.

Shortly after this announcement, the Panasonic S1H became the first ‘Netflix-approved’ camera on the market.

The S1H is aimed at serious filmmakers, but its price tag is under the the £4,000 threshold, and it packs some serious firepower.

Panasonic’s flagship full-frame mirrorless camera offers 6K video recording and 10-bit 60p 4K/C4K, aided by a 35.6 x 23.8mm, 24.2-megapixel full-frame CMOS sensor. It can record 6K at 24p at a 3:2 aspect ratio, 5.9K at 30p in 16:9, as well as 10-bit 4K/Cinema 4K footage at 60p using the Super 35mm image area.

As if that isn’t enough, it can record 4:2:2 10-bit 4K footage at 30p over the full image area.

The Panasonic S1H also delivers 14 stops of dynamic range – the same as Panasonic’s cinema cameras – along with a slew of other video specifications aimed at professionals such as Panasonic’s V-Log/V-Gamut log modes, HDR in HLG (Hybrid Log Gamma), 4:2:2 10-bit HDMI output and Anamorphic 4:3 modes.