Ryan Earl wrote:I'll take it if there is no other 12-Bit option.
It's 16 bit lin typically. When BMD was doing DNG it was anyway. Arri are 12 bit LOG. DNG by the way is really just a TIFF file with some metadata. cDNG is the same file with timecode and audio.
DNG is totally horrible as a workflow. You might take it but no one else does. And the market has spoken on that. Most long form shows shoot some form of compression, RAW or encoded.
It has a ceiling that you're already up against when shooting 4K.
The biggest issue though is imagine a 12K sensor that records uncompressed. Imagine what that data rate is. Imagine what kind of media would even work in that scenario. 80MP uncompressed at 60 FPS? Someone do the maths per second on that....
It's totally impractical and exceeds even todays current media and processing.
You can see that about 4-5 years ago, when DNG got dropped is also when they started working on larger than 6K sensors. And the future is only more K's.
And before you say you don't need any more than 4K, there are other advantages to larger than delivery resolution acquisition.
BMD had to do compression to deal with higher resolution sensors that offer other advantages (like no cropping at different resolutions) and to optimise playback on even modest computers.
I'm shooting a series now for Apple TV+. The budget is more than $120 million. We don't shoot uncompressed. We don't even shoot RAW. We shoot ProRes 444. Because three, sometimes four cameras shooting two hours each a day in footage quickly swamps a production. Editorial is in LA. We are shooting in Miami. How do you push 6 hours of uncompressed DNG over even a high speed connection each night?
This "purist" idea of uncompressed really is only practical in a very small set of shooting circumstances. If Apple can't make it work, most BMD customers don't want that frustration either. The massive success of the pocket cinema cameras is down to BRAW.
By the way I use the 12K alongside the Alexa Mini LF ProRes 444 files. They are about the same data rate per min.
1TB = 1 hour of footage.
Ryan Earl wrote:I haven't tried the Kinefinity Edge 6K, but they have seemed to go with DNG too after the RED lawsuit and still include ProRes 4444 XQ. ProRes RAW HQ would have compressed to lower 12 bit file sizes?
As mentioned, DNG is an open source codec, with many frustrating bottlenecks. If that works for you then great. It doesn't work at all for most, especially in the typical BMD user scenario.
ProRes offers many flavours and is very robust and well proven. ProRes RAW can't be used internally on any camera.
Ryan Earl wrote:
They are naming N-RAW in the new lawsuit;
"Nikon instructs, teaches, aids, and/or encourages others to use, test, assemble, distribute, repair, or otherwise handle the accused products. For example, it directs users of its Z9 cameras to download Z9-related manuals from Nikon’s Download Center, then teaches them how to record a motion video in the N-RAW "
I hadn't seen that.
I'm assuming that they would also have issue with ProRes RAW as well, seeing as Apple have already tested the patent and not been able to get past it. So the courts have ruled against ProRes RAW and yet here it is in a camera. Therefore it's already a problem on top of a "new" raw video codec like N-RAW.
JB