![]() ![]() Even the top end encoding will give you a substantially smaller file than other RAW filetypes, even the aforementioned propriety compressed RAW codecs from RED, Sony and Canon. But the key aspect to mention is that the data rates of the files are comparable to existing ProRes file types.Īs you can see in the chart (above), the standard ProRes RAW codec runs close to the rate of ProRes 422 HQ and the higher quality version, ProRes RAW HQ, is close to the data rate of Pro Res 4444 (remember these are proportional to resolution and framerate). You can view a PDF document online, which details all of the technical details, including how it processes the image data and how to then process the file in Final Cut Pro X. Some cameras use a third method - a proprietary compressed RAW format recorded internally - such as the RED range using R3D (REDCODE RAW) encoding, Sony using OCR in its high-end cinema cameras, and more recently, Canon’s C200 implemented a similar codec in Canon Lite RAW.Īt NAB 2018 a very impressive Apple announcement revealed the company’s own compressed RAW format, available in two variations, ProRes RAW and ProRes RAW HQ. Getting the best image quality from today’s RAW output camcorders, when using external recorders, has so far meant either recording huge, unwieldy DNG RAW files or baking in the picture profile by de-bayering into a ProRes file. ![]() The first implementation of ProRes RAW will be in the Atomos Shogun Inferno recorder. Atomos announces Ninja V and is the first to support Apple’s exciting new codec, ProRes RAW ![]()
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