USER REVI EW | BLACKMAG I C DES IGN RAW PART 2
BLACKMAGIC DESIGN RAW PART 2 In the first part of our explanation of Blackmagic’s new Raw format we described the capture – in this second part we investigate the workflow PRICE FREE DOWNLOAD
WORDS ADAM GARSTONE
Blackmagic’s menus – they are clear and logical (to me, at least) and this is no exception. As ever, with Blackmagic’s cameras, frame rates and codecs can be freely mixed on the same card. COMPRESSION CHOICE The different compression capabilities of the codec give some flexibility in the cards you use, too. Hypothetically, it’s possible for the Q0 codec to exceed the write data rate of even a reasonable CFast card at full resolution, 30fps or above. In practice, I never had this happen, even at 60fps (using 128GB Lexar 525MB/s cards). On a 128GB CFast card, you get around 19 minutes of Ultra HD at 25fps at 3:1 constant bit rate compression, 33 minutes at 5:1, 53 minutes at 8:1 and 79 minutes at 12:1.
RIGHT BRAW offers lossless images ideal for high resolution, high frame rate and high dynamic range workflows.
s we saw in the first part of this piece, Blackmagic’s new Raw codec (BRAW) has
several interesting features that should make it an attractive, if not vital facet of capturing fantastic images with this popular camera. Perhaps the most important, practical consideration, however, is how the new codec will fit in with a project’s overall workflow: there’s no point in shooting BRAW if it causes a nightmare in post production. On the camera, the use of BRAW couldn’t be easier. There is a new section for Blackmagic Raw in the codec and quality part of the Record menu. Select either Constant Bit Rate or Constant Quality (meaning variable bit rate, of course) and the corresponding compression settings appear. I’ve always been a fan of
BELOW The codec moves part of the de-mosaic processing from the computer’s
With Constant Quality, Q0 gives around 19 minutes at the same resolution and frame rate, Q5 around 79 minutes. Of course, the variable bit rate codec makes it harder to predict the final data rate, and hence the storage time per card. SDHC Interestingly, if you shoot Ultra HD at 25fps, at compressions of 5:1 or higher, you can record onto a Class 10 U1 SDHC card. Yes, that’s right folks. Proper, 12-bit camera Raw files onto SD card. You might, for instance, shoot all the general rushes on cheap SD cards and keep a couple of more expensive CFast cards for slow mo – the URSA Mini Pro has a simple toggle switch to change between card types, so both can be loaded in the camera together. Image quality with all the codec settings is excellent. With a well-lit, bright scene it is hard to tell the difference between the compression levels – they all seem to produce
CPU into the camera itself.
62 DEF I N I T ION | DECEMBER 20 1 8
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