That means greater control of the contrast and colour but within a compact and manageable file size. Since ProRes RAW directly encodes the Bayer pattern image from the camera sensor, the format provides access to the full high dynamic range imagery in our software. ProRes RAW was introduced at NAB last year and uses the same rich underlying technology as existing ProRes codecs, offering powerful performance with all the benefits of pristine image quality along with the ease of use that ProRes has brought to conventional video. We naturally wanted to provide native support as soon as possible.” “Apple ProRes RAW is a powerful, very high quality, standardised way of handling raw camera outputs that is ideal for highdynamic-range (HDR) content creation, and controlling the colour from set to post is extremely important to production and post pipelines. “Our philosophy has always been to provide the tools that our users need,” said Wolfgang Lempp, CEO at FilmLight. The high-quality ProRes RAW image format is now available on cameras from a wide range of vendors, including Canon, Panasonic and Nikon via Atomos recorders, and directly on the DJI Inspire 2 with a Zenmuse X7 camera. This is one of the first full implementations of the ProRes RAW format from a world-leading professional colour grading application. The latest version of the core Baselight software, version 5.2, and Daylight now support native access to the ProRes RAW format.
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