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Shooting Raw with the Sony F55 and R5 Recorder

Matt Allard of News Shooter writes up his experiences shooting raw with the Sony F55 and R5 recorder.

The Various Flavors of Raw

I’m sure many of you remember NAB Show 1996 where Sony and Panasonic introduced their DVCAM and DVCPRO formats. What was fascinating is both companies made great efforts to distance their new “pro” formats from “consumer DV.”

Now that quite a few raw cameras have come to market, we are in a different situation. Rather than companies working hard to create proprietary differences between their products—when at their codec heart—they are quite similar; we have companies not differentiating on the basis for their recording “format.” Instead, sensor size, sensor resolution, lens mount, and dynamic range are now key differentiators.

Raw: What It Is and What It Is Not

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The Pros and Cons of a 2K Raw Workflow

Matt Allard of News Shooter gors through the pros and cons of a recent workflow recording 2K raw at 240fps from the Sony FS700 through Convergent Design's Odyssey 7Q.

He writes, "At the end of the day time is money and RAW is not something you can take shortcuts with. Given the noisy FS700 S-log2 output I am not planning to shoot RAW at high frame rate with it again anytime soon. I’m hoping that with the new compressed codecs coming to the 7Q soon, you will be able to use them in combination with continuous high frame rates. For me and many others I think this will be a far smoother and faster work flow. Despite these difficulties the Odyssey 7Q has performed flawlessly so far and the OLED monitor is a joy to use."

An In-Depth Guide for Shooting Raw Footage

Peter Haas of RedShark News provides a handy guide for how to handle a raw workflow, and what might be an appropriate time to avoide shooting raw altogether.

He writes, "Shooting raw video seems to be a very loud and persistent buzz from the filmmaking and shooter forums these days, especially so since Magic Lantern announced they had successfully hacked Canon DSLRs to shoot 24 frames per second (fps) in the raw image format.  While there is a lot of information out there about technical side (what memory cards to use, how to install the firmware, etc.) there is another whole side to adopting raw image formats because this migration is going to completely change how you shoot."

Read the full story here.

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A Prep Guide for Shooting Raw

Peter J. Haas of RedShark News writes up a guide for preparing to shoot raw.

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How to Prepare for Shooting and Working with Raw

Cinematographer Ryan E. Walters writes up a tutorial on how to prepare for shooting raw -- specifically on the Blackmagic Cinema Camera -- including tips on pre-production, on set, and post-production. He writes, "Don't let this DSLR-like camera fool you. It isn't as straightforward as you may think. Here is what you can expect, and what you should prepare yourself for as you make the switch from compressed formats to RAW...."

Read his full post here.

Free Downloadable RED, XDCAM, GoPro, DSLR and Raw Files for Testing Purposes

Cinematographer Tom Guilmette has graciously provided 10-second downloadable files in a variety of formats that you can ingest into the NLE of your choice for testing purposes.

Not All Raw is Created Equal

Raw video output is supposed to give you the most latitude when it comes to changing the "look" of your footage in post, but Alister Chapman explains why different raw cameras will still give you different outcomes. He writes, "With traditional video cameras a lot of the 'look' is created by the cameras color matrix, gamma curves and other internal processing, but a raw camera bypasses all of this outputting the raw sensor data. With an almost infinite amount of adjustment available in post production why is it that not all raw cameras are created equal?

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Breaking Down the Blackmagic Cinema Camera's RAW Workflow

DP John Brawley explains what it really means to shoot RAW with the Blackmagic Cinema Camera. He writes, "Shooting RAW is a bit like the electronic equivalent of shooting film because you get to choose a great deal of how the image is processed in post later instead of letting the camera make those decisions for you in a generic way when it’s being recorded.

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