John Brawley Posted July 23, 2018 Share Posted July 23, 2018 4 minutes ago, kye said: I'm curious to understand a bit more about how RAW differs to Prores in post. To preface this, I'm a Resolve user and I don't know much about PP or FCPX, so maybe there are larger differences there? In terms of Resolve, when you shoot DNG sequences: the sequence appears in the media browser and other windows as one item, the same as a clip, and behaves like one throughout the RAW panel is available (which isn't for other file formats obviously) but I think the defaults are just to defer to the camera metadata, so you don't have to change anything here if you don't need / want to (this is the part I'm less familiar with so maybe there are things you need to do here?) everything else behaves the same way a clip would Assuming the above is correct and I'm not missing something, where is the extra difficulty? Is it in extra processing power required to debayer the files perhaps? Or does PP / FCPX not handle image sequences as clips? People online talk about image sequences from time lapses as an extra bother because you have 'lots of files' or 'you have an extra step to combine them' but in Resolve that's completely automated. The issue is logistics. The show I’m on now shoots in Atlanta but editorial is in LA. Dailies needs to be available next morning synced and ready to edit. We shoot three cameras on almost every scene. We shoot about two hours per camera per day of footage. Ar least once per episode we shoot 2 units so you can double that again. That’s a lot of footage that has to be graded, transcoded to DNX (Avid) and stored safely in three locations (archives). Every day. For weeks and weeks. RAW data rates would swamp a production. The network I currently shoot for AIRS in 720 and masters at 1080. They don’t need RAW. There’s ZERO advantage, especially if you’re shooting a nice 12bit file like ProRes 444. JB Aussie Ash, kye and Andrew Reid 2 1 Quote Link to comment Share on other sites More sharing options...
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