Raw Recording

Definition

Raw Recording (German: RAW Aufnahme) means the direct, uncompressed storage of raw data from the image sensor – without debayering (color interpolation), without color science application, and without video encoding. Each pixel is stored in its original form as captured by the sensor.

This is in contrast to codec-based recordings (ProRes, H.264, etc.), where:

• Color interpolation (demosaicing) is applied
• Data is compressed
• LUT/Gamma curves are embedded

Physical Principle

How RAW Works

Recording Chain (with RAW):

[Photons hit sensor]
 ↓
[Bayer filter sorts colors]
 ↓
[Electronic charge in pixels]
 ↓
[Analog-to-Digital Conversion (14-16 bit)]
 ↓
[RAW Storage] ← END OF CHAIN HERE
 ↓
[Post-Production: Debayering, Grading, Gamma]

Bayer Mosaic Pattern

Color distribution in the RAW sensor:

┌─────────┬─────────┬─────────┬─────────┐
│ GREEN │ RED │ GREEN │ RED │
├─────────┼─────────┼─────────┼─────────┤
│ BLUE │ GREEN │ BLUE │ GREEN │
├─────────┼─────────┼─────────┼─────────┤
│ GREEN │ RED │ GREEN │ RED │
├─────────┼─────────┼─────────┼─────────┤
│ BLUE │ GREEN │ BLUE │ GREEN │
└─────────┴─────────┴─────────┴─────────┘

Pattern: RGGB (Bayer Pattern)
Reason: Eye is sensitive to green, hence 2x Green
Result: Raw mosaic needs to be debayered in post

Technical Specifications

RAW Format Standards

Data Size

Examples for 1 hour of recording at 24fps:

ARRI Alexa 35 (Super35 RAW):
 Format: 2880 x 1620 pixels
 Codec: ARRIRAW Lossless Compression
 Rate: 24fps = ~1.1 GB/min
 1 Hour: 66 GB

RED Komodo (6K RAW):
 Format: 6144 x 3160 pixels
 Codec: RED Lossless
 Rate: 24fps = ~1.5 GB/min
 1 Hour: 90 GB

Canon EOS R5C (8K RAW):
 Format: 8192 x 4320 pixels
 Codec: CinemaDNG
 Rate: 24fps = ~2.5 GB/min
 1 Hour: 150 GB

Comparison to Codec:

Same scene as ProRes 422 HQ:
 Format: 2880 x 1620 (similar)
 Rate: 24fps = ~200 MB/min
 1 Hour: 12 GB (5.5x smaller!)

Bit Depth and Dynamic Range

12-Bit RAW:
 Max Value: 4096 (2^12)
 Dynamic Range: 12 Bits × log2(2) = 12 Stops
 Examples: ARRI RAW, RED RAW, Blackmagic RAW

16-Bit RAW:
 Max Value: 65536 (2^16)
 Dynamic Range: 16 Bits = 16 Stops (theoretically)
 Examples: Sony RAW, High-End RED

14-Bit RAW:
 Max Value: 16384 (2^14)
 Dynamic Range: 14 Bits = 14 Stops
 Examples: Canon, Panasonic RAW

Advantages of RAW Recording

1. Maximum Post-Production Flexibility

Error Corrections Possible in Post:

Exposure Errors:
 ARRI RAW overexposed by +1 stop:
 → In Resolve: Exposure corrected by -1 stop
 → Result: Clean shadow details, no clipping
 → With ProRes: Highlights already lost, not recoverable

White Balance Errors:
 RAW shot at incorrect Kelvin:
 → In Resolve: Color Temperature corrected
 → Result: Perfect white balance
 → With ProRes: Color already baked into grading, difficult to fix

ISO Corrections:
 RAW shot at ISO 320 instead of 160:
 → In Resolve: Exposure corrected by -1.5 stops
 → Result: Original light behavior
 → With ProRes: Noise already compressed, correction is dirty

2. Maximum Grading Flexibility

Scene: Sunset Interior (warm, but dramatic)

RAW Workflow:
 1. Capture: Neutral exposure
 2. Grading Studio: Extreme warm grade possible
 - Orange/Red grading without artifacts
 - Shadows remain clean
 - Extreme S-curves without posterization
 3. Output: Cinematic masterpiece

ProRes Workflow:
 1. Capture: Exposure already interpreted
 2. Grading Studio: Limited warm grade possible
 - Too aggressive warm: Artifacts visible
 - Shadows become noisy with lift
 - Banding in highlights with curves
 3. Output: Good result, but limited

3. Future-Proofing

Archiving:
 RAW is the format of the future
 → 10 years later: New grading software
 → Old RAW files: Still fully usable
 → New grades possible with modern software

ProRes Workflow:
 → 10 years later: ProRes 422 possibly outdated
 → Re-decoding: Potential quality leakage
 → RAW files available: New grades always better

Disadvantages and Challenges

1. Massive Data Size

Practical Problem:

1 Hour of RAW 4K footage:
 → Storage: 60-150 GB
 → 5 Hours of shooting: 300-750 GB
 → Multiple cameras: Quickly 1-2 TB per day

Consequences:
 - Most expensive storage devices necessary (R5 Card, CFAST, SSD)
 - Backup costs are enormous
 - Transfer times are long (bottleneck)
 - Redundant storage planning is critical

2. Backup and Data Security

RAW Data Management Requirements:

Standard Strategy (3-2-1 Backup):

Camera Storage:
 → Original RAW file
 → Backup 1: External drive (on-site)
 → Backup 2: External drive (off-site)

Practicalities:
 → Daily copy operations (4-6 hours)
 → Multiple technicians for control
 → Costs: Data Manager (~€150-250/day)
 → Risk: Still considerable (RAID is critical)

Result: RAW production costs 3-5x more for data handling

3. Post-Production Complexity

RAW processing requires specialized tools:

Debayering (RAW → RGB Conversion):
 - ARRI LogC Debayering (ARRIRAW)
 - RED Debayering (RED Cinetools)
 - Blackmagic Debayering (DaVinci native)
 - Different algorithms = different results

Result: Colorist must be specialized
Cost: Senior Colorist (+50% more expensive than standard)
Timeline: +30% longer grading time

RAW Recording in Practice

Pre-Production

Decision: RAW Yes or No?

✓ Use RAW if:
 - Budget > €1M
 - VFX-Heavy Project
 - Premium Grade Required
 - Data Infrastructure Available
 - Large Team (Data Manager + Colorist)

✗ Avoid RAW if:
 - Budget < €500k
 - Fast Turnarounds (Streaming)
 - Simple Image Design
 - No Data Infrastructure
 - Small Team

Shooting

RAW Workflows on Set:

Typical Workflow (ARRI Alexa):

Set up:
 1. Camera with SSD (LTO not practical on location)
 2. Two external RAID drives (backup)
 3. Data Manager monitors transfers
 4. Daily backup routines

Recording:
 1. Record RAW to camera SSD
 2. After scene: Transfer to Backup 1 (local)
 3. After shooting day: Transfer to Backup 2 (secure)
 4. Verification: Checksums verified (not read!)

Practical Times:
 - 1 hour recording: 60-90 GB
 - Transfer Backup 1: 20-30 minutes (via USB 3.1)
 - Transfer Backup 2: 20-30 minutes
 - Verification: 10 minutes
 → Total: 60 minutes daily backup for 60 minutes of material

Post-Production

RAW Grading Workflow:

Standard DaVinci Workflow:

1. Import RAW Files
 - ARRIRAW: Natively supported
 - RED RAW: Natively supported
 - Others: Converters needed

2. Debayering Settings
 - ARRI LogC is automatically applied
 - RED Color Science is automatically applied
 - Custom LUT optional

3. Grading on Log-Space
 - Do not grade on Rec.709!
 - Log provides maximum flexibility
 - Final output LUT in delivery

4. Export
 - DCP (Digital Cinema Package)
 - ProRes 422 HQ (Archive)
 - Rec.709 Master (Television)
 - All from RAW source!

RAW vs. ProRes Comparison

Practical Example: Scene with Critical Lighting

Scene: Night Interior with HMI backlight

Setup:
 - ARRI Alexa 35
 - Expose: -0.5 Stops (Highlight Protection)

RAW Option:
 → Capture ARRIRAW
 → Shadows can be fully recovered: +1.5 Stops
 → Highlights remain clean: Details in window visible
 → Grade: Extreme contrasts possible
 → Result: Cinematic Masterpiece

ProRes Option:
 → Capture ProRes 422 HQ
 → Shadows can be lifted a maximum of +0.5 Stops
 → Highlights already compressed (Compression)
 → Grade: Limited contrast possibilities
 → Result: Good look, but not optimal

Winner: RAW offers significantly more latitude

RAW Format Comparisons

ARRI ARRIRAW

Advantages:
 ✓ Lossless compression (moderate file size)
 ✓ Industry Standard (since 2010)
 ✓ Broad post-software support
 ✓ LogC color space established

Disadvantages:
 ✗ Proprietary format
 ✗ Requires storage on special SSDs
 ✗ Most expensive SSD devices (ALEXA dock)

Typical Use: High-budget features, standard industry

RED RAW

Advantages:
 ✓ Highest resolution (6K-8K)
 ✓ Flexible color science
 ✓ REDcine-X Pro tools are very powerful
 ✓ Large user community

Disadvantages:
 ✗ Very large files (Red Dragon larger than ARRIRAW)
 ✗ Stores on RED memory cards (proprietary)
 ✗ REDcine-X requires special windows

Typical Use: High-resolution projects, VFX, zoom-heavy

Blackmagic RAW

Advantages:
 ✓ Open format approach
 ✓ Native DaVinci support
 ✓ Cheaper than RED
 ✓ Moderate file size

Disadvantages:
 ✗ Newer format (less established)
 ✗ Fewer camera options
 ✗ Smaller color science community

Typical Use: Budget-conscious productions, DaVinci users

Future Development

RAW Future (2025-2030):

More cameras with RAW:
 - Panasonic S-Series (planned 2025)
 - Canon Cinema EOS (planned 2026)
 - Sony Cinema (planned 2027)
 → RAW will become the standard, not the exception

File Size Reduction:
 - Better compression (12→10 bit lossless)
 - Smaller sensor formats
 → Data management becomes easier

Cloud Integration:
 - Proxies in the cloud
 - Remote grading
 → Data transfer centralized

Practical Rule of Thumb

RAW Decision Matrix:

┌─────────────────────────────────────┐
│ Budget │
├─────────────────────────────────────┤
│ < €500k → ProRes │
│ €500k-2M → ProRes or RAW │
│ €2-5M → RAW preferred │
│ > €5M → RAW standard │
└─────────────────────────────────────┘

┌─────────────────────────────────────┐
│ Project Complexity │
├─────────────────────────────────────┤
│ Simple (Drama) → ProRes OK │
│ Complex (VFX) → RAW necessary │
│ Very Complex → RAW mandatory │
└─────────────────────────────────────┘

See Also

• ProRes – Alternative codec to RAW
• Log Gamma – Tone curve for RAW recordings
• Dynamic Range – RAW maximizes DR
• Color Grading – Specialty for RAW
• Data Management – Critical for RAW
• DCP – Final output from RAW