On Fri, Apr 6, 2018 at 01:58 am, Daniel Rozsnyó wrote:
Generally speaking, any 422 codec can be turned into RAW codec with just a definition of mapping the pixels/color channels, because the grouping of 4 components - either YYCbCr or RGBG. The RAW will be however 1/2 of the size of the 422, because it has no chroma data to compress (same applies to mapping RAW into SDI - the link rate required is just half. Canon did it, we did it and Blackmagic discovered that as well).The label ProRes RAW will probably add some confusion, as it does not seem to handle RAW from many cameras. I think ProRes Bayer would have been more accurate. It is a possible compression of the sensor raw, and most raw codecs are compressed in some form or another anyway. It is un-De-Mosaic-ed (my term) and it may prove to be very useful. It is a way to reduce the file size but adding more computational time for the option of white balancing. A new slew of cameras may no longer need to record RGB codecs. Reductions in hardware on cameras could be a cost reduction as well?
I'm certain "RAW" will now permanently change to mean a Bayer pattern, whether I agree or not. This has happened to some extent already.
Big budgets projects will likely ignore a ProRes Raw, as the original raw workflow will remain the same unless there is no quality compromise. That is doubtful. And I don't think that is the target, but I may be wrong.
If I am wrong, the DIT may now have the job of converting raw files from certain cameras to ProRes Raw for edit.
Still, with Aces type workflows becoming more popular, and inclusion of metadata, there is a chance this can work well, and eliminate the workflow step of creating dailies on many medium to small productions. With a little luck, more products may include a simple hand off to a quality colorist as a final step. At minimum, some poorly white balanced shots can be matched.