![]() ![]() To make it viewable, the data has to be converted to a video first using something known as the “de-Bayer process,” during which the color and brightness for each finished pixel in your captured image are determined. Every camera has to gather that sensor information before it can be converted into a video output, but only some cameras will allow you to tap into and record that RAW data.Īnd remember―because it’s quite literally RAW data, it simply isn’t viewable on a monitor. Every camera out there has a RAW step in the image-capturing process. RAW takes the data from the photosites and records all of it before the camera initiates any conversion to video format, codecs or color sampling schemes. In simple terms, RAW footage is not video. Shooting in RAW or LOG video format is a way to preserve more of the information and extend the dynamic range. In this conversion process, the data is compressed, and inevitably, some information is lost. MP4) and color sampling scheme such as 4:2:2. This raw data is converted into RGB video by your camera’s electronics, and then it’s converted into a digital video format, recorded using a codec (like H.264. ![]() This allows your camera to capture a wide exposure of light from dark shadows to bright highlights, but the data is a lot more than can be squeezed into a standard video format. ![]() Each photosite captures the light that travels through your lens and hits the sensor, converting it to data that is separated according to the color components. Basically, this pattern is a checkerboard filter that separates light according to red, blue and green wavelengths (which is why you see RGB used so much in color grading). Image by: en:User:Cburnett ( CC BY-SA 3.0)Īnd the Bayer pattern? It was named after Bryce Bayer, a Kodak color scientist who developed the system we now call the Bayer pattern. They hold light for a moment before converting that light into a digital signal that can be read by the electronics within your camera. Well, photosites are simply light collectors. Nearly all of these sensors will be using a Bayer pattern array of photosites. Inside our cameras is a single CMOS sensor. RAW, we need to understand what’s happening inside our cameras when we press record. Both do a great job in this, but there are some key differences. Essentially, both RAW and LOG are designed to produce very flat footage that gives you the best options for color grading. What is LOG video format? What is RAW footage? Which is best? You may have even heard some people claim that both are practically the same. So, we’re here to help by breaking things down with the essential guide to shooting in LOG and shooting in RAW. RAW’ thing may well be a little daunting. If you’re just getting started, understanding the whole ‘LOG vs. With so many incredible new cameras offering different formats and ways of recording footage, it can be hard to keep up. This is a discussion that keeps on cropping up throughout the industry. Try another browser if the NoFilmSchool article doesn't link.LOG vs. Let me repeat: the pictures are really nice. And Sigma solved the problem of overheating, which Canon and Sony are still fighting with. If you are aware of the massive file sizes, it's a viable solution in my eyes, together with Peter's advice. It's great, though, that you can now record to huge SSDs. Yes, I know about SlimRAW, but that makes the workflow in post more complicated.Īnd then, external RAW recording is counteracting the compactness of the camera and introduces a source of failure with that flimsy HDMI port. Just like BM, Sigma can't afford to fight over in-camera compression with Red. But at the time, the solution Rick kindly linked was not obvious and we were fighting with the DNGs not being displayed correctly in DR.īTW, there's this confusion with CDNG (most people use this abbreviation for Cinema DNG now) vs. When we tested the camera, I really liked the stills quality and the colours. ![]()
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