Join Jason Osder for an in-depth discussion in this video Raw, part of Premiere Pro Guru: Transcoding Workflows.
- Thinking through our different choices in the field for transcoded workflows, and what happens in the actual shooting phase, we ought to talk about shooting raw. Now, different camera companies handle this differently, but generally when we talk about shooting raw, we're bypassing all of the specific settings that the camera can add in order to get the raw reading off of the sensor, and then adjust all those parameters later in post.
So things like color space and exposure are just native to the way they hit the sensor, and then we can adjust them later with different tools. For instance, Sony has their own software to do with their raw formats, and also, Blackmagic, that's a camera maker and a software maker, uses the Resolve software package to make adjustments to their raw files. While we're talking about raw file types, I just wanted to make the comparison very, very clear by looking at two files side-by-side, and I don't mean the video.
I mean their actual parameters as files. Here you see an R3D file, which is the RED raw file type as compared to a transcoded file, which is a QuickTime movie. In this case, it happens to be the ProRes proxy file, so that would be a more compressed editing format, but what I really want you to see is the drastic size comparison. Almost a ten to one, and you can that right here in the file kilobyte size, and then also, as you click on the files you can see the details down below, so this is a 109 megabyte file, that's the QuickTime, as compared to 1.02 gigabyte file, so almost a ten-fold difference between the raw file type and the proxy, so it's good to know about that sort of file size difference when you're planning things like your storage needs.
Also, do be aware that this exact comparison RED raw compared to ProRes proxy, that's not always what you're going to be dealing with, it may be ten to one, it may be a little more, it may be a little less, but it will be drastic. Now, raw files tend to be rather large, and they can be rather complex. This has implications for transcoding, and we'll get into all of the details there. I can't tell you exactly what it means on every project, but if you make a decision to shoot raw, it's going to have implications down the line.
Some things to be aware of when you make that raw choice, a lot of what I'm talking about I have to speak generically, because it is specific to the Blackmagic, the ARRI, the RED, the Canon workflow, and you just need to be aware of that. In many cases you may have to study techinques that are specific to that brand. I'm trying to give the concepts, and think about how it all relates to post in Premiere Pro. These proprietary technologies, you want to be aware of, and sometimes they exist as plug-ins, as codex, as standalone pieces of software, and frequently this will go specifically if you're shooting RED, or if you're shooting Blackmagic, and you'll have to know that stuff.
So just some things to be aware of, especially on the proprietary side, and just to know that shooting raw has some benefits, but also some implications, and maybe some liabilities. We'll talk specifically about what some of those are in other movies.
- Different kinds of transcoded workflows
- Codecs and formats for shooting
- Important definitions: log, raw, and more
- Using Premiere, Media Encoder, and Prelude for transcoding
- Creating transcoded presets
- Transcoding subclips
- Rendering and replacing clips
- Transcoding at the end of an edit