The need to use an external recorder to be able to record RAW images was supplanted by both RED’s camera line up and Canons C200’s ability to record compressed RAW internally to relatively inexpensive cards. At the time, while RED had some cameras that were somewhat affordable, the C200 offered internal recording to Canon’s Cinema RAW Light format for a mere $7,500.00, much less money than even the bottom of the line offering from RED, once you factored in building up a RED DSMC system into a usable configuration. Around the time this article was originally published in 2017, Canon introduced a camera that was capable of recording compressed RAW in camera to CFAST 2.0 cards, the Canon EOS Cinema C200. Raw recorders weren’t exactly common on-set gear though, so we have to hand it to RED for getting the raw party started in the motion picture business with their REDCODE. Both ARRI and DALSA had cameras that could output raw sensor data. RED brought the idea of raw recording to the masses, though they weren’t the first. The idea of raw recording for motion pictures wasn’t popular until the release of the RED ONE camera many years ago. Let’s start with raw, which comes first for many reasons. ARRI’s ALEXA camera is unique in that it can output raw, uncompressed and record in a Log format, so I’ll use that camera as an example throughout this discussion. To really answer the question, and to understand the difference between all of these formats, we need a little bit of background. Raw recording is very different than Log, but they have similar applications. A short answer is, “Well, yes and no,” which I know isn’t terribly clear. Recently, I was asked if shooting Log was like shooting raw. One of the more common questions I’m asked is, “What’s the difference between uncompressed video, raw and Log recording?” With so many cameras these days offering different recording options, combined with the popularity of external recorders, it’s no wonder there are a lot of questions about this topic.
The article has been updated to reflect the current state of shooting RAW video in 2021.Īt the video rental house AbelCine, where I work as the Chief Technology Officer, we offer a class on video formats that covers a variety of different terms and compression formats. New RAW formats were introduced and cameras and recording devices now offer users many more choices for shooting RAW at much lower price points than previously possible. Since the article was published, technology has continued its relentless march forward and shooting RAW in 2021 is now much less of a novelty than it was four years ago when the article was originally published. The article explained what RAW video was and what the technical and workflow ramifications were for early adopters. Editor’s Note: This article from 2017, written by AbelCine’s Andy Shipsides, brilliantly and concisely explained exactly how the then relatively new idea of RAW video worked.
0 kommentar(er)
