Camera Raw for High Dynamic Range Workflows

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Publisher: SMPTE — White Plains, NY, USA
Doc Type: Journal Article
Content Type: Original Research
Abbreviated Title: SMPTE Mot. Imag. J
Volume: 125, No. 5, pp. 28–34
Abstract: This paper presents how all camera raw formats work in common and 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 the sensor data into RGB image formats suitable for mastering, along with methods for generating a specific “look” to the images. The tremendous dynamic range afforded by a camera raw format permits a wide range of exposure during acquisition, which can be either mapped into the limited standard dynamic range of conventional output image formats or leveraged for use in the new high dynamic range image formats. However, looks and camera specifications can be deceiving, and one must know what is happening within the workflow to obtain the best image quality.
Publication Date: 2016-07-01
DOI: 10.5594/JMI.2016.2569918
ISSN: Print: 1545-0279 | Electronic: 2160-2492
Link: https://doi.org/10.5594/JMI.2016.2569918
Author(s): Edward ReussConsultant, GoPro, Santa Cruz, CA
Lars BorgPrincipal Scientist, Adobe, Rochester Institute of Technology, Kalaheo, USA
Keyword(s): Camera Raw, CineForm, Demosaic, Dynamic Range, HDR, Image Processing, JPEG2000, Noise, VC-5, Video Compression
Copyright: © 2016 SMPTE

Bibliographic Reference(s)

VC-5 Video Compression for Mezzanine Compression Workflows [Active]
ISO.12234-2.2001 — ISO 12234-2:2001, Electronic Still Picture Imaging, Removable Media, Part 2: TIFF/EP Image Data Format, 2001 EXTERNAL
ISO 15444-1 [Active]
D. Newman, “10 bit log vs. 12 bit linear,” GoPro CineForm Insider, Sep. 21, 2007, http://cineform.blogspot.com/2007/09/10-bit-log-vs-12-bit-linear.html. EXTERNAL
S. Behar, “Understanding canon cinema RAW,” Canon Digital Learning Center, Jan. 31, 2014, http://www.learn.usa.canon.com/resources/articles/2013/understanding_canon_cinema_raw.shtml. EXTERNAL
REDCODE RAW, Red.Com, Inc., Oct. 3, 2012, http://www.red.com/learn/red-101/redcode-file-format. EXTERNAL
R. C. Clark, “Digital Camera Reviews and Sensor Performance Summary,” Sep. 21, 2014, http://www.clarkvision.com/articles/digital.sensor.performance.summary/#full_well. EXTERNAL
Digital Negative (DNG) Specification, Version1.4, Adobe Systems Inc., Oct. 2012. EXTERNAL
“F65 true 4K and beyond,” Sony Corp., 2014, https://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets-show-highend-F65.shtml?PID=I:35mm_F65:F65. EXTERNAL
SMPTE RDD 30:2014 [Active]
SMPTE RDD 31:2014 [Active]
SMPTE ST 268:2003 [Superseded]
SMPTE ST 2073-1 [Active, Stabilized]

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Edward Reuss and Lars Borg; Camera Raw for High Dynamic Range Workflows, SMPTE Motion Imaging Journal ( Volume: 125, Issue: 5, July 2016); SMPTE, 2016. Available at https://doi.org/10.5594/JMI.2016.2569918

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Edward Reuss and Lars Borg; Camera Raw for High Dynamic Range Workflows, SMPTE Motion Imaging Journal ( Volume: 125, Issue: 5, July 2016); SMPTE, 2016. Available at https://doi.org/10.5594/JMI.2016.2569918

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<span class="citation">Edward Reuss and Lars Borg; <cite>Camera Raw for High Dynamic Range Workflows</cite>, SMPTE Motion Imaging Journal ( Volume: 125, Issue: 5, July 2016); SMPTE, 2016. Available at <a href="https://doi.org/10.5594/JMI.2016.2569918" target="_blank" rel="noopener">https://doi.org/10.5594/JMI.2016.2569918</a></span>

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Edward Reuss and Lars Borg; Camera Raw for High Dynamic Range Workflows, SMPTE Motion Imaging Journal ( Volume: 125, Issue: 5, July 2016); SMPTE, 2016
doi: 10.5594/JMI.2016.2569918
url: https://doi.org/10.5594/JMI.2016.2569918

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Edward Reuss and Lars Borg; <cite id="bib-10-5594-jmi-2016-2569918">Camera Raw for High Dynamic Range Workflows</cite>, SMPTE Motion Imaging Journal ( Volume: 125, Issue: 5, July 2016); SMPTE, 2016
<span class="doi">10.5594/JMI.2016.2569918</span>
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