HockeyFan12 Posted June 16, 2017 Share Posted June 16, 2017 1 hour ago, Bkn Soc of Cinematography said: Until it shoots 10 bit log, it's a non starter for me. I agree with Andrew in that RAW can be hassle even in a pro environment. I work on a lot TV shows in the US. Episodic, dramatic stuff for networks and such. Virtually all the shows (except Netflix), despite their multimillion dollar budgets, shoot pro rez on Alexa in Log C. They could shoot RAW but don't want to lose the time and endure the hassle of RAW. The bigger the show, the more money that time costs. In what role? Just curious. Camera department? If so I have a few questions. From what I've seen this is 100% true. Different flavors of raw are different flavors of pain so I try not to generalize that every raw workflow is a nightmare. But I would prefer 10 bit log prores over any other format as well. TheRenaissanceMan 1 Quote Link to comment Share on other sites More sharing options...
Asmundma Posted August 6, 2017 Share Posted August 6, 2017 Take a look at RED webpages, a lot of films are shoot with RED Cameras. So I guess, if you really are professional, RAW is the thing. Those who are not there yet, are still on the 8 or 10 bit track. Soon you can head over to Apple Store and buy a RED Raven. webrunner5 1 Quote Link to comment Share on other sites More sharing options...
deezid Posted August 6, 2017 Share Posted August 6, 2017 6 minutes ago, Asmundma said: Take a look at RED webpages, a lot of films are shoot with RED Cameras. So I guess, if you really are professional, RAW is the thing. Those who are not there yet, are still on the 8 or 10 bit track. Soon you can head over to Apple Store and buy a RED Raven. Always great to not have to deal with internal processing. The most stunning example is the FS700. Internal: Crap, External: Actually still quite amazing. Even on new cameras like the FS7/5, C200/300MKII the RAW is way better. Only cameras where there is no visible difference between RAW and compressed are the Blackmagic Ursa Mini Pro or 4.6k or the Varicam LT/35. Quote Link to comment Share on other sites More sharing options...
Don Kotlos Posted August 24, 2017 Share Posted August 24, 2017 From Matthew Allard at newsshooter: "Well today I found out directly from the Canon C200 engineers that the new codec that will be introduced early in 2018 will be XF-AVC YCbCr 4:2:0 8bit, and it will be a free upgrade (if you can call it that). It will also be recorded to the SD cards and not the CFast card." http://www.newsshooter.com/2017/08/24/new-codec-coming-to-the-c200-in-2018-will-only-be-420-8-bit/ Quote Link to comment Share on other sites More sharing options...
Recommended Posts
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.