Re: Apple ProRes Raw and Raw HQ

Paul Curtis
 

Some excellent points being made.

As i mentioned i think a better choice would have been a full range mezzanine codec that just works. IMHO i think camera manufactures should retain the debayer process because that's where some of the camera magic comes from and it can also benefit from specific sensor implementations, after all not all sensors are the same debayer pattern nor should they be. (Wasn't the sony RGBW at some point?)

I think the key is to store the full range light in linear (with compression) then it is so easy to take that where you want to go and no room for stupid gamma or colourspace issues.

We should not be working in 709 any more, the tail ends of the gamma curve just compress usable highlight and shadow detail, it's a delivery gamma, not a workflow one.

Also some of us need all the full range linear in post.

So if Apple had slammed down a ProRes Linear intermediate codec, with VBR and maybe a couple of quality settings and found a way to read that data in 'simple' mode for decimating the output for speed then i for one would be all over that. Basically EXR and ACES for the masses, with Piz or DW compression.

I just don't get what ProRes RAW will bring professionals

cheers
Paul

Paul Curtis, VFX & Post | Canterbury, UK




On 8 Apr 2018, at 03:42, Alexander Ibrahim <alexander.ibrahim@...> wrote:

The short answer Leonard is that ProRes Raw won’t change that equation. 

The longer answer is the FS7 raw output can be represented extremely well with ProRes Raw (or Raw HQ) 

The F5 and F55 raw recorded internally will have more data and be of better quality, so the question is if it matters in your application. 

The limitation is hardware i/o standards, which at present limit raw output to 12bit. 

If we get better i\o standards ProRes Raw will be likely be updated to handle higher bit depth. 


Alexander Ibrahim
Sent from my mobile phone. 
Please excuse typos and brevity. 

On Apr 7, 2018, at 14:44, Leonard Levy <nsll@...> wrote:

This is all a little confusing to me and gets a bit beyond my tech knowledge. How well will the new ProRes Raw codec interface with a camera like the FS7 that outputs 12BIT Raw, but that’s generally been disparaged compared to the 16Bit raw of the F5 and F55. 
Adding to my confusion on that is that the Atomos recorder as I understand only accepts 12bit Raw in first place so how will that interface with  say the F5 compared to the FS7?

Leonard Levy, DP
San Rafael, CA





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