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    "abstract": "If you liked working with film, then the techniques to control exposure will feel very familiar to you in camera raw formats. This paper presents how all camera raw formats work in common, and also the different approaches used by several vendors to preserve the highest fidelity image information, while managing the large amounts of data required to represent those images. Camera raw workflows provide a variety of techniques to convert from the sensor data into RGB and YCbCr image formats suitable for mastering, along with methods for generating a specific “look” to the images. Similar to film, the tremendous dynamic range afforded by a camera raw format permits a wide range of exposure during acquisition, which must be mapped into the limited dynamic range of the final output formats in the workflow. However, looks and camera specifications can be deceiving and one must know what is happening within the workflow to obtain the best image quality.",
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    "authors": [
      {
        "affiliation": "66 Hollins Drive, Santa Cruz, CA 95060 edreuss@gmail.com",
        "name": "Edward Reuss"
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        "affiliation": "1050 B Pu'u Road, Kalaheo, HI 96741 USA borg@adobe.com",
        "name": "Lars Borg"
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      "holder": "Society of Motion Picture and Television Engineers, Inc.",
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        "confidence": "high",
        "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/ORIGINAL SAMPLES/Conferences/smptem_2014_10/smptem_2014_10.xml/10.5594_M001559.xml)",
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      "source": "parsed",
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      "confidence": "medium",
      "note": "Composed from venue title, volume/issue and date",
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      "updated": "2026-05-22T21:44:19.125Z",
      "version": "smpte-conference-paper-nlm@v1"
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    "docTitle": "Camera Raw Workflows — Like Film, but Digital",
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      "confidence": "high",
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      "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/ORIGINAL SAMPLES/Conferences/smptem_2014_10/smptem_2014_10.xml/10.5594_M001559.xml)",
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      "Workflow",
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      "VC-5"
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      "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/ORIGINAL SAMPLES/Conferences/smptem_2014_10/smptem_2014_10.xml/10.5594_M001559.xml)",
      "source": "parsed",
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      "version": "smpte-conference-paper-nlm@v1"
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    "pages": "1–11",
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      "confidence": "high",
      "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/ORIGINAL SAMPLES/Conferences/smptem_2014_10/smptem_2014_10.xml/10.5594_M001559.xml)",
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      "confidence": "high",
      "note": "Normalised to registry \"SMPTE\" convention from NLM publisher-name (The Society of Motion Picture and Television Engineers)",
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      "updated": "2026-05-22T21:44:19.125Z",
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        "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/ORIGINAL SAMPLES/Conferences/smptem_2014_10/smptem_2014_10.xml/10.5594_M001559.xml)",
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      "confidence": "high",
      "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/ORIGINAL SAMPLES/Conferences/smptem_2014_10/smptem_2014_10.xml/10.5594_M001559.xml)",
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      "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/ORIGINAL SAMPLES/Conferences/smptem_2014_10/smptem_2014_10.xml/10.5594_M001559.xml)",
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