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[raw-log-hdr] Apple ProRes Raw and Raw HQ

David Rasberry
 

Linear raw Bayer formats are a relatively space efficient method of storing full range sensor output with minimal compromise. Only the luminance value for each pixel is written to the file. So it is one third the size of a comparable RGB or 4:4:4 YUV encoded video file uncompressed. The file header contains the data necessary for a deBayer algorithm to reconstruct a full color image. 
There is an inevitable  trade off between speed and quality with deBayer algorithms. The real time algorithms used in video cameras trade off some degree of visible artifacts and color resolution in favor of computational efficiency. In a video world of mostly sub sampled spatially and temporally compressed lossy video codecs this is probably not of much importance.
In post deBayer processing of raw CDNG files, Scratch and Resolve have hit the sweet spot between quality and efficiency IMO. Other NLE's are not as good. Resolve will run uncompressed 2k DCI raw from my Bolex in 24fps real time on my laptop. (Just barely).
The very best deBayer algorithms used by stills processors like Capture One Pro or Raw Therapee are very computation intensive by comparison, but can produce visibly better results. Better color resolution and virtually no visible artifacts. But the same file that runs real time in Resolve will take 2 to 3 seconds per frame to batch process
It will be interesting to see how ProRes raw fairs in quality vs efficiency and file size compared to say Red's well known raw codecs.

To me raw formats are not well suited for direct shoot/edit/deliver workflows in an NLE. If you don't have the necessity, time or skills to grade minimally processed linear sensor data effectively in post what is the point? It seems many colorists don't know how to get the most out of them either.

David Rasberry

 

I agree, especially as (particularly corporate) clients have got used to seeing a first pass looking perfect.  If your shooting for theatrical/TV release thats not such an issue.   But for anyone outside the traditional industry, its going to be quite a shift to get clients back into the mindset of offline and online again.  Trying to explain (and get clients to pay for) that the first pass is a quick debayer and then ask them to tell the difference is going to be an uphill struggle.

Michael


Michael Sanders
London Based DP.

+ 44 (0) 7976 269818




On 8 Apr 2018, at 21:56, David Rasberry via Cml.News <taoistinsc=yahoo.com@...> wrote:

To me raw formats are not well suited for direct shoot/edit/deliver workflows in an NLE. If you don't have the necessity, time or skills to grade minimally processed linear sensor data effectively in post what is the point? It seems many colorists don't know how to get the most out of them either. 

Jonathon Sendall
 

It’s always about giving choices though I find, if they’re not that savvy post wise. As a result of the same client problems I now shoot with two sources recorded. One a LUT image, and original source files either in log or raw. If they find the LUT image satisfactory all good. If not they have the option of digging into the original files. I usually offer a quick grade at a reasonable cost. To tempt them, if needed, I’ll throw at them a couple of graded frame captures.

Jonathon Sendall
DP, London

Bob Kertesz
 

To me raw formats are not well suited for direct shoot/edit/deliver
workflows in an NLE. If you don't have the necessity, time or skills
to grade minimally processed linear sensor data effectively in post
what is the point? It seems many colorists don't know how to get the
most out of them either.
Not a lot of real colorists left. Here's one way to tell: Are you
working with a professionally calibrated monitor that's checked for
accuracy at minimum weekly, located in a suitable environment for
determining what the hell it is you're looking at? No? Then you're not a
colorist. Dilettante maybe, wannabe possibly, but not a colorist.

One of the wonders of 'democratization' (I abhor that term) is that
people can just keep adding slashes and functions behind their name:

Producer/Director/DP/Gaffer/Mixer/DIT/Craft Services/Colorist

If you're going to send me hate mail (and you know you want to), make it
creative and clever or I'll have to reproduce it here on the list.

-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California

DIT, Video Controller, and live compositor extraordinaire.

High quality images for more than four decades - whether you've wanted
them or not.©

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