Do we really need RAW video? – ON THE COUCH Ep. 23 part 1 of 4 – Dan Chung, Clinton Harn, Emmanuel Pampuri

Watch previous episodes of ON THE COUCH & ON THE GO by clicking here! Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!

cinema5D-ON-THE-COUCH-sponsor-logo-banner-IBC-Photokina-new

In the 23rd episode of ON THE COUCH, I was lucky enough to sit with fellow bloggers and shooters Dan Chung, Clinton Harn from newsshooter.com and Emmanuel Pampuri from pampuri.net.

Do we really need raw video?

I started off by stating an observation: These days it’s almost as if smaller cameras (like Blackmagic cameras) mean more and higher data rates, often raw – while more advanced camera systems feature more advanced codecs (e.g. XAVC I in the FS7/F5/F55).

Dan pointed out that Panasonic is the manufacturer who addressed file size more than any other, because they come more from a broadcast perspective. People start to realize that RAW is not the holy grail for much work, and actually it slows you down – so now the future really is in efficient codecs, the right codec for the right job.

Emmanuel mentioned that people need to think about the workflow – the camera is just the first step of a longer workflow and people often neglect to look at the whole pipeline when thinking about what camera to shoot on.

Clinton talked about how he shot his first feature film recently, and they decided to shoot RED. He found working with it quite easy and loved the fact that you have different compression ratios of raw, which you can choose depending on how much post production goes into each particular scene or shot.

Dan said how it’s not practical for him as a news shooter in any circumstance to shoot raw – he shoots compressed formats like XAVC, MXF and so on … only in very difficult situations where for example he knows he has the time and budget to work on a shot with a blown out window, it makes sense for him to shoot raw to get those highlights back, for example.

 

OTC-ep23-p1_Vimeo

Backup workflows on set

Regarding backup workflow we talked about how everyone processes the massive amounts of news footage he is gathering and backing up. Much like me, Dan makes back-ups on set using small 2.5” drives, and makes three copies. One of those copies should be kept away from the other two for safety purposes. Emmanuel takes the G-Dock with the G-Drives ev for the shoots on the day, the third one is a larger drive at the hotel which is backed up to after the shooting. One of the G-Drives ev goes back to the studio via mail every day in the evening.

I mentioned how dual slot recording for instant backup takes a little bit of pressure away from backing up on set, because you end up with an instant copy of the whole card on another card. However not all cameras support this yet, the C300 and the FS7 do though.

Clinton mentioned how it makes a lot of sense to use only smaller cards in cameras – just in case something happens, you simply lose less footage. Common sense that should be applied by anyone – however it gets harder with cameras like the Sony A7s which takes 64GB SDXC cards (that take around 2.5 hours of footage) as a minimum size.

Dan summed the topic of storage up concisely by saying, “have a storage plan and stick to it – because when you don’t and when you vary the plan, that’s when things get lost or missing.”

In the next part of this episode we talk about permanent backup strategies for data – how can your data survive over decades? Check back in a few days for part 2 of this episode of ON THE COUCH.

 

 

rode_banner

filmconvert

640x70

 

 

Please visit our sponsors’ websites to keep new episodes of ON THE COUCH coming! Thanks to G-Technology, Røde Microphones, Movidiam, FilmConvert & F&V.

Watch it on Vimeo

8
Leave a Reply

Please Login to comment
avatar
5 Comment threads
4 Thread replies
0 Followers
 
Most reacted comment
Hottest comment thread
5 Comment authors
Christopher HickenNino LeitnerJonathan Recent comment authors
newest oldest most voted
trackback

[…] post “Do we really need RAW video?” – Dan Chung, Clinton Harn, Emmanuel Pampuri –… appeared first on […]

Christopher
Guest
Christopher

Great as usual. was wondering whats Mic’s you are using for during this interview ?

Kevin Alexander
Member

Great stuff. I especially appreciated the discussion about RAW. I’ve got my first narrative short film shoot coming up soon, and I’ve been trying to make up my mind about RAW vs ProRes. I’ll be shooting mostly on BMCC. The discussion gave me a lot to consider. I’m probably going to follow Dan’s advice and save RAW for a few shots where I think I might really need it.

Peter Kent
Member

I’ve been using the BmPCCs exclusively for about a year now to cover events, I found that to be the best solution for me as well but the only issue is that the camera wants the card formatted for Raw OR ProRes. So I actually have to carry an extra card (or two) dedicated for Raw for each camera. This will probably be the same for the Drives in a BmCC. My setup is usually two 128GB cards for ProRes and two 64GB cards for Raw but that’s because some clips extend over 30mins.

DOWNLOAD OUR MAVIC PRO LUT
Please enter a valid e-mail address. We will send the download to your inbox.
We hate spam! Your e-mail will be stored with cinema5D.com exclusively and you can unsubscribe from our newsletters at any time.
c5d-logo
PLEASE CHECK YOUR INBOX AND CONFIRM YOUR E-MAIL ADDRESS
THANK YOU
Please check your inbox and confirm your e-mail address.
c5d-logo
DOWNLOAD OUR DJI INSPIRE 1 LUT
Please enter a valid e-mail address. We will send the download to your inbox.
We hate spam! Your e-mail will be stored with cinema5D.com exclusively and you can unsubscribe from our newsletters at any time.
c5d-logo
PLEASE CHECK YOUR INBOX AND CONFIRM YOUR E-MAIL ADDRESS
DOWNLOAD OUR PANASONIC GH5 instaLUT B1010
Please enter a valid e-mail address. We will send the download to your inbox.
We hate spam! Your e-mail will be stored with cinema5D.com exclusively and you can unsubscribe from our newsletters at any time.
c5d-logo