This maximized the information from the film that could be stored in the video format. When the Log modes are activated, the image becomes flat and desaturated, but you can still see it on a monitor. Both ARRI and DALSA had cameras that could output Raw sensor data. In a video signal that we can see on a monitor, each pixel contains full color and brightness information; video can tell each pixel on a monitor how bright to be and what color. In a single-sensor camera, like the ALEXA, color is produced by filtering each photosite (or pixel) to produce either red, green or blue values. 709) HD video. Raw is not Log because Log is in a video format, and raw is not video. Consider this a disclaimer, and a reclamation: The story of a young woman (Garance Marillier) who develops a taste for certain off-the-menu delicacies is indeed intense.
While they’re very different formats, they have the same general application. The term "uncompressed" obviously implies a lack of compression, but it isn't exactly clear what this means in terms of video. Few movies have used pacing and composition to such an effective degree in the name of XX-centric dread (the film owes as much to Roman Polanski’s Repulsion as it does to the cinema of repulsion), or understood how to employ color so effectively – from a seven-minutes-in-heaven encounter involving blue and yellow paint to the crimson drop on a white lab coat that signals a Type-O deluge. So what is raw anyway? Simply put, it’s just sensor data before any image processing. Justine a young vegetarian goes to study at a remote vet school. Price, images, specifications, and descriptions of items are subject to change without notice. See product page for details. Raw has to be converted to video for viewing and use. Smelling salts are not required, but the ability to recognize a near-perfect movie when you see it most certainly is. But at the veterinary school where she’s enrolling as a freshman – and where her older sister, Alexia (Ella Rumpf), is a long-established alpha – the young woman discovers that no one cares about her culinary ideology. Oddly enough, the camera can record in 12-bit 4:4:4 ProRes internally, but a standard HD-SDI only supports 10-bit. Raw data is usually at high bit depth, between 12- and 16-bit, but video is usually around 8- or 10-bit.
However, it's a special way of capturing that maximizes the tonal range of a sensor. Likewise, Sony’s F65 has 3:1 and 6:1 compression options in F65RAW mode. In a video signal that we can see on a monitor, each pixel contains full color and brightness information; video can tell each pixel on a monitor how bright to be and what color.
The cameras from RED record exclusively Raw data.
She begins to take ownership of her body by consuming others’. Is wireless transmission an obstacle or an effective tool for video and sound professionals? But if raw is raw and video is video, then what the heck is Log recording? The Raw data in a camera like this represents the value of each photosite. The Best Home Speakers for Room-Filling Sound, Jerry Jeff Walker, Outlaw Country Architect and ‘Mr. Raw recording is very different than Log, but they have similar applications. © Copyright 1989–2020 AbelCine. This should clue you in that Log recording is just standard video recording in the sense that all pixels display color and brightness information. A standard for HD-SDI output on a professional camera is considered to be uncompressed; however, the specification for a single HD-SDI output in a 1920×1080 resolution is 10-bit 4:2:2. Definition of The movie is raw raw means unaltered from its original form raw = original bitrate, quality, size For foreign film, it means untranslated Because of this, any step in the chain—Raw, LogC video or standard video—can be recorded. Raw data has no video processing baked in and has to be converted into video for viewing. And now the craving starts. This is where things get a bit trickier. However, it’s a special way of capturing that maximizes the tonal range of a sensor. Sony calls their map S-Log, Canon's is Canon Log, and ARRI's is LogC. 3D Lookup Tables – A further examination of LUTs and how they work with high-end digital cine camera. RED brought the idea of raw recording to the masses, though they weren’t the first. All rights reserved. You could say the same for her partner-in-crime Marillier, who lets viewers join her heroine’s journey of carnal knowledge through carnivorous free-fall. A short answer is, “Well, yes and no,” which I know isn’t terribly clear. A standard LUT converts the Log video to standard (Rec. To really answer the question, and to understand the difference between all of these formats, we need a little bit of background.
They're very much not the same; however, they're both designed to get the most information out of the sensor. Ducournau is the one who gives this cunning exploration of crossing the no-man’s-land between girlhood and womanhood its transgressive bite; her young star is the one who gives it a recognizable humanity amidst the amuse-bouche arterial spurt. Raw recorders weren’t exactly common on-set gear though, so we have to hand it to RED for getting the raw party started in the motion picture business. Working As A Production Professional Without Subscription Software. Girl, you’ll be a man-eating woman soon, and though references to bulimia and trichophagia suggest control issues run psychologically amuck, Justine also discovers a sense of empowerment in this taboo line-crossing. Therefore, we can call it uncompressed 10-bit 4:2:2 video—sounds better than color and bit subsampled video, doesn’t it? In order to be viewed on any device, a RAW file needs to be processed and compressed into a more traditional image format. Is HD-SDI not uncompressed then? This, along with a high bit rate, allows for a huge amount of adjustment in post. Let's start with Raw, which comes first for many reasons. Therefore, we can call it uncompressed 10-bit 4:2:2 video – sounds better than color and bit subsampled video, doesn't it? So what about uncompressed video? They both allow the film to get under your skin in more ways than one. Both raw and Log can be uncompressed, but that depends on the recording device. A deposit reserves this item and will be applied to the final purchase price. This means that Raw isn't video. You never get the sense that you’re not watching a master at work, regardless of how scant Ducournau’s filmography is. This maximized the information from the film that could be stored in the video format. They’re very much not the same; however, they’re both designed to get the most information out of the sensor. Both raw and Log can be uncompressed, but that depends on the recording device. Each is designed for a specific camera, but all have a similar result. Hopefully, this article has helped you navigate them just a little bit better. The ALEXA can output uncompressed video over its HD-SDI outputs, either in 10-bit 4:2:2 (over Single-Link HD-SDI) or 10-bit 4:4:4 (over Dual-Link HD-SDI). The sensor information is always gathered before converting to a video output, but not all cameras let you record or output that data. The sensor outputs exactly what it sees – no white balance, ISO or other color adjustments are there. A LUT can be applied for viewing and also can be recorded if desired. In This Article: The RED cameras shoot in REDCODE, which has compression options from 3:1 to 18:1.
Raw data is usually at high bit depth, between 12- and 16-bit, but video is usually around 8- or 10-bit. Well, it's still uncompressed in the sense that there has been no block, wavelet or temporal-based compression applied. Raw Like Sushi. Log isn't Raw; it's video. Your appetite for smart, savvy, sick-as-fuck horror will be sated.
Log is video and has things like white balance baked into it. The converting of raw information into video can be time-consuming for postproduction, though great tools are available to make it fairly painless. While waiting for the paramedics, Justine impulsively explores the notion of literal finger food. The incident, which happened at last year’s Toronto International Film Festival, might cause folks to view this as some sort of cinematic dare, a splatter shocker designed to test the limits of the scary-movie marine corps. It’s also after much bigger game than merely thrilling folks who’ve studied Fangoria photo spreads with Talmudic-scholar fervor. ‘Raw’ Review: Cannibal Coming-of-Age Movie Is a Modern Horror Masterpiece Intense French thriller on student with taste for human flesh is clever … A standard LUT converts the Log video to standard (Rec. With today's latest technologies, "4K" has become more than a buzzword and interest in acquiring in 4K is growing. On the other hand, ALEXA outputs uncompressed raw data, which can be recorded externally. It takes a certain type of performer to pull off the abandonment of embracing one’s dark side and barking like a dog when her sister forces her into a drunken canine act at a party, and Marillier instinctively knows where the do-not-cross line is – then fearlessly hops over it. Hopefully, now you can see why. In this case, the uncompressed output is more limited in bit depth because ARRI is conforming to the standards of the signal. AbelCine provides sales & support for AGITO, Motion Impossible's remote dolly. Send us a tip using our anonymous form. Zamzar is one free file converter that claims to convert RAW files but we were unable to get it to work. The idea of Raw recording for motion pictures wasn't popular until the release of the RED ONE camera a few years ago. The sensor outputs exactly what it sees—no white balance, ISO or other color adjustments are there. These terms, and many others, have all become part of our vocabulary in this digital cinema world. Likewise, Sony's F65 has 3:1 and 6:1 compression options in F65RAW mode. Because each pixel contains only one color value, raw isn’t viewable on a monitor in any discernible way. In RGB (4:4:4) video, each pixel contains color and brightness information, which would be rather large with 16-bit depth. As we said before, video is derived from raw data off a masked single sensor, or something like a 3-CCD imaging block, and usually something is lost along the way. So if the raw data is the real information coming off the sensor, does that mean that it’s uncompressed? Recently, I was asked if shooting Log was like shooting raw. Horror, Toronto International Film Festival. Raw data isn't necessarily uncompressed. Because this information has many shades of gray—very low contrast—it needs to be corrected for proper viewing on a monitor. Then an accident causes her sister to lose a digit. There’s a hallucinogenic quality to the deadpan scenes of Justine coming to grips with this personal channeling of passion and perversity, and a shocking aspect to the carnage that feels invasive in a way most shock artists can’t conjure. Raw has to be converted to video for viewing and use. (Nor is she potentially the only cannibal on campus.). Given the supposed rarity of true Photoshop Raw files and the lack of programs that seem to open them, we're not aware of any file converters or other utilities that convert a RAW file to any other format. The answer is still "yes and no." In fact, it’s usually compressed. The system scanned film into a Log format that corresponded to the density of the original film. This, along with a high bit rate, allows for a huge amount of adjustment in post.
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