RAW is a capture format that stores unprocessed sensor data from the camera, deferring Debayering, color grading, and white balance correction to post-production.
RAW (English for "raw") does not refer to a single file format, but a recording principle: the camera writes the digitized data from its image sensor to the storage medium with largely no in-camera processing. Unlike fully "developed" codecs (e.g., ProRes, H.264/H.265, or XAVC), demosaicing (debayering), white balance, color rendition, sharpening, and gamma interpretation do not occur in the camera, but only downstream in post-production.
Most cinema sensors are Bayer sensors: in front of each pixel is a color filter for red, green, or blue. In the RAW workflow, this Bayer pattern is stored directly; the interpolation to a full-color image (demosaicing) is deferred to playback or color grading and handled by software. This preserves the originally captured sensor information.
RAW material is typically stored with a higher bit depth than compressed 8-bit distribution formats. Typical RAW implementations work with 10, 12, or 14 bits per channel, allowing for significantly finer tonal gradations. The sensor data is usually encoded with a logarithmic curve (Log) to efficiently represent the wide dynamic range ("exposure latitude").
| Format | Manufacturer / Origin | Characteristics |
|---|---|---|
| ARRIRAW | ARRI | Uncompressed or unprocessed sensor data, 12-bit Log (ALEV3 sensors) or 13-bit Log (ALEXA 35 / ALEV4), high exposure latitude |
| REDCODE / R3D | RED | Wavelet-compressed RAW, selectable in multiple compression levels |
| Blackmagic RAW (BRAW) | Blackmagic Design | 12-bit, partial in-camera demosaicing, parameters editable as metadata |
| Apple ProRes RAW | Apple | Compressed RAW codec, stores Bayer sensor data directly |
| CinemaDNG (CDNG) | open standard (Adobe) | Often single-frame sequence, uncompressed or compressed |
RAW is considered the standard for high-quality cinema and commercial productions because it offers the colorist the greatest latitude in color grading: over- and underexposed areas can be better recovered, and white balance and color look can be completely reinterpreted. Since the final look is created in post, reliable monitoring on set (e.g., via a LUT/viewing profile) is important to assess the subsequent image impact.
The price for this is high storage requirements, fast media, thoughtful data management (DIT, backups), and computationally intensive debayering in post-production. For productions with limited storage, fast turnarounds, or lower grading needs, compressed recording codecs are therefore often chosen.
RAW gibt mir die Freiheit, bei schwierigen Lichtverhältnissen zu filmen, weil ich Belichtung und Weißabgleich nachträglich um mehrere Stops korrigieren kann, ohne Bildinformationen zu verlieren. Die 14 Stops Dynamikumfang der ALEXA in ARRIRAW lassen mich Details in Schatten und Lichtern bewahren, die bei komprimierten Formaten unwiederbringlich verloren wären. Allerdings muss ich die Karten häufiger wechseln und brauche ein Vielfaches an Speicherplatz.
Mit RAW kann ich in der Postproduktion die visuelle Stimmung meines Films noch fundamental verändern – ein sonniger Tag lässt sich zu einem bedrohlichen, kühlen Szenario umwandeln. Diese Flexibilität gibt mir kreativen Spielraum bis zum finalen Grading, allerdings verlängert sich dadurch der Postproduktionsprozess erheblich. Ich muss früh entscheiden, ob diese Gestaltungsfreiheit die zusätzlichen Kosten rechtfertigt.
RAW-Workflows verdreifachen meine Datenkosten und Postproduktionszeit – bei einem 90-Minuten-Film in 4K entstehen schnell 50TB Rohmaterial plus Backups. Das bedeutet teure Raid-Systeme, längere Download-Zeiten für remote Coloristen und höhere DIT-Kosten am Set. Dafür reduziere ich das Risiko von Neuaufnahmen durch falsche Kameraeinstellungen, was bei Schauspielerhonoraren die Mehrkosten rechtfertigen kann.
1. Was beschreibt „RAW" am besten?
2. Zu welchem Department gehört „RAW"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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