“Over the last decade, nearly every professional in the media and entertainment business has developed an opinion on the pros and cons of shooting camera raw. Some are unrelenting supporters of raw, while others protest that it’s just another buzzword. Whatever your position, you might think that after so many years of debate the industry would have collectively agreed on an answer by now. But when a disagreement goes on for this long without easily quantifiable or definitive answers, it probably means the topic is a lot more complex than it appears.” — Source: Frame.io Insider.
- Myth #1. “We can’t shoot raw because the backup and archiving costs are too significant.”
- Myth #2. We must shoot raw because it provides more latitude and freedom in color.
- Myth #3. Shooting raw doesn’t supply any qualitative improvement over ProRes.
WHY THIS MATTERS:
Cioni founded one of the first post houses to deploy a true end-to-end raw workflow back in 2007, and over the years, he and his team have performed budgetary comparisons across hundreds of projects. “The biggest problem as I see is when you don’t know when shooting raw improves or complicates your production workflow — and how to assess its advantages or disadvantages,” he writes. “While we believe raw is always the ideal, it doesn’t mean that we blindly encouraged everyone to use it. All that to say, in order for us to ask the right questions about raw workflows, we need to first recognize that there isn’t always a single answer. One of the most important aspects of finding the “best” answer is knowing when it applies and when it does not.”