Sporting the by now legendary ALEV sensor, the ALEXA and its derivatives showed that digital could look like film, even in previously "difficult" areas like highlights and skin tones. ARRI has been a mainstay of digital filmmaking since the release of its ALEXA camera twelve years ago. ARRIRAWĪRRI, the century-old (!) cinema camera company, is as much a staple part of a movie maker's vocabulary as Panavision and Technicolor. The format has proved popular amongst commercial filmmakers and anyone whose budget doesn't stretch to the expensive "big name" cameras and likewise expensive storage arrays that you'd need for less compressible formats.Īs ever, EditReady is obsessive about quality and converts Canon RAW to a format of your choice with Canon's own color science to preserve maximum accuracy and authenticity. That's now done, and we think it will be a big deal for the Canon filmmaking community.Ĭolloquially known as Canon RAW, its actual name is Canon Cinema RAW Light - but there's nothing light about it in any way, except that it reduces the bulk of uncompressed RAW files by 60% - 80% without significant visual quality degradation. That extensive line of cameras means that many filmmakers have been calling for EditReady to add support for Canon RAW, recognizable as. Canon RAW (CRM)Ĭanon's camera range includes "traditional" cinema cameras like the C200, C300 Mk 3, and the C500 to the "DSLR shaped" mirrorless R5 and R5 C, which can capture in 8K. Also, we've expanded our existing ARRI support with the new ALEXA 35 and considerably sped up our Blackmagic RAW transcoding. Our focus this year has been on adding comprehensive RAW support to EditReady's already long list of supported formats, and our latest arrival is Canon RAW. EditReady takes you through the process smoothly and efficiently, giving you great-looking, easily usable video files to edit and grade with. But in the real world of tight budgets and deadlines, you'll want to convert camera RAW footage into a more efficient, edit-friendly "mezzanine" format, also known as proxies (See our Explainer on Mezzanines). If you've got the time and money for an end-to-end RAW workflow, it's a good option. But there's a price to pay: huge files, complicated processing even to see the images, and even more processing to view the full dynamic range in a colorspace that looks right. RAW video retains the complete information from a camera's sensor. There is a free trial available if you wish to try before you buy.July's 22.3 release adds the popular Canon Cinema RAW Light format as well as support for ARRI's new ALEXA 35 camera A quick recap on RAW I’ve used EditReady for many years and it’s a fast and reliable way to do more than just transcode. This update is recommended for all users and is free for Version 2.0 users. Saves space and time if say half of a clip isn’t needed. This is handy as well because you can transcode to a more edit friendly codec like ProRes at the same time.Īnother nice feature is the ability to scrub your clips and trim them before transcoding. With Fujifilm not fixing the 4GB file limit with this weeks firmware update on the X-T3 you can use EditReady 2.5 to span as many of the clips you like.
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