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SMPTE Meetings and Conferences ( October 2014)
[ACTIVE]

Camera Raw Workflows — Like Film, but Digital

Metadata

Publisher
SMPTE — White Plains, NY
Doc Type
Conference Paper
Content Type
Original Research
Volume
2014, No. 10, pp. 1–11
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.
Publication Date
2014-10-01
DOI
10.5594/M001559
Link
https://doi.org/10.5594/M001559
Author(s)
Edward Reuss66 Hollins Drive, Santa Cruz, CA 95060 edreuss@gmail.com
Lars Borg1050 B Pu'u Road, Kalaheo, HI 96741 USA borg@adobe.com
Keyword(s)
Workflow, Video Compression, JPEG2000, VC-5
Copyright
© 2014 Society of Motion Picture and Television Engineers, Inc.

Bibliographic Reference(s)

  • SMPTE ST 268 [Active, Stabilized]
  • CinemaDNG Image Data Format Specification, Version1.0.0.0 , Adobe Systems Incorporated , September 2009 . EXTERNAL
  • SMPTE ST 2073-1:2013 SMPTE Standard VC-5 Video Essence Elementary Bitstream , Society of Motion Picture and Television Engineers , July 29, 2013 . EXTERNAL
  • Newman D. , “10 bit log vs 12 bit linear” , GoPro CineForm Insider , September 21, 2007 . http://cineform.blogspot.com/2007/09/10-bit-log-vs-12-bit-linear.html EXTERNAL
  • Behar S. , “Understanding Canon Cinema RAW” , Canon Digital Learning Center , January 31, 2014 . http://www.learn.usa.canon.com/resources/articles/2013/understandingcanoncinemaraw.shtml EXTERNAL
  • Reuss E. , “VC-5 Video Compression for Mezzanine Compression Workflows” , SMPTE Annual Technical Conference , Los Angeles, CA, Oct. 2013 . EXTERNAL
  • Clark R.C. , “Digital Camera Reviews and Sensor Performance Summary” , September 21, 2014 . http://www.clarkvision.com/articles/digital.sensor.performance.summary/#full_well 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
  • ISO/IEC 15444-1, International Standard, Information Technology – JPEG 2000 image coding system: Core coding system, Second edition, International Standards Organization/International Electrotechnical Commission , 2004-09-15. EXTERNAL
  • ISO 12234-2:2001, TIFF-EP Tag Image File Format/Electronic Photography, International Standards Organization , 2012-11-13. EXTERNAL
  • REDCODE RAW , Red.com, Inc., 3 Oct. 2012 http://www.red.com/learn/red-101/redcode-file-format EXTERNAL
  • SMPTE RDD 30 : 2014 , ARRIRAW Image File Structure and Interpretation Supporting Deferred Demosaicing to a Logarithmic Encoding, Society of Motion Picture and Television Engineers , August 16, 2014 . EXTERNAL
  • SMPTE RDD 31 : 2014 , Deferred Demosaicing of an ARRIRAW Image File to a Wide-Gamut Logarithmic Encoding , Society of Motion Picture and Television Engineers , August 16, 2014 . EXTERNAL
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Edward Reuss and Lars Borg; Camera Raw Workflows — Like Film, but Digital, SMPTE Meetings and Conferences ( October 2014); SMPTE, 2014. Available at https://doi.org/10.5594/M001559
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Edward Reuss and Lars Borg; Camera Raw Workflows — Like Film, but Digital, SMPTE Meetings and Conferences ( October 2014); SMPTE, 2014. Available at https://doi.org/10.5594/M001559

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Edward Reuss and Lars Borg; Camera Raw Workflows — Like Film, but Digital, SMPTE Meetings and Conferences ( October 2014); SMPTE, 2014. Available at https://doi.org/10.5594/M001559
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<span class="citation">Edward Reuss and Lars Borg; <cite>Camera Raw Workflows — Like Film, but Digital</cite>, SMPTE Meetings and Conferences ( October 2014); SMPTE, 2014. Available at <a href="https://doi.org/10.5594/M001559" target="_blank" rel="noopener">https://doi.org/10.5594/M001559</a></span>

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Edward Reuss and Lars Borg; Camera Raw Workflows — Like Film, but Digital, SMPTE Meetings and Conferences ( October 2014); SMPTE, 2014
doi: 10.5594/M001559
url: https://doi.org/10.5594/M001559
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Edward Reuss and Lars Borg; <cite id="bib-10-5594-m001559">Camera Raw Workflows — Like Film, but Digital</cite>, SMPTE Meetings and Conferences ( October 2014); SMPTE, 2014
<span class="doi">10.5594/M001559</span>
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