4K RAW Data rates, R5 vs 7Q

[paulcurtis]

Sounds like that's the case PAul. Compression happens in camera to the real RAW data. IOW, the signal provided at the SDI port has already been compressed to some degree.

I'd always thought that to get 4K RAW out of the F5/F55 via SDI it required multiple connectors whereas the FS700 could squeeze it through a single 3GHDSDI because it was compressed RAW. If the 5/55 could output RAW in the same way (over a single connector) then the O7Q would be sitting on a lot more F55s (at a guess) but i don't see that.

Was curious.

cheers
Paul

 

[Colinelves]

They are all compressed the same. The compression happens in the camera, not the recorder.

No, please don't pressure Sony on this point. We are not at such a stage.

Fair enough - good luck with it though, having to work through DNGs is such a PITA - not so much the larger file sizes (I can live with that) but the post workflow is a nightmare, there just isn't support for it - unlike Sony RAW, which is very well supported: no ACES IDT, strange colour distortions in the cDNG, a reliance on reverse engineered LUTs, incomplete Adobe support etc, not to mention the fact we can't use Sony's own tools (which are very good!)

It really hobbles the FS700 - and this will inevitably be hitting sales: it's a great tool, but many will shy away from using it simply because the post workflow is unnecessarily complicated and fiddly. I can understand why they have this position (same reason they didn't want you to provide 4K Raw I suppose) but in many ways it's simply counterproductive. If Canon have proved anything with the 5D, C300 and C100 then it's this: produce a product that is simple to use and produces pleasing imagery and you'll sell them by the barrel load. Currently the FS700 can provide the latter (in droves) but is somewhat held back by an inability to provide the former - and it's a touch frustrating to know that it could provide the latter, were you allowed to provide the Raw output as Sony Raw files!

 

[Gene Sung]

I have to agree with Colin, dealing with RAW in Resolve is a pain in the butt, especially the current S-Log LUT red issue. I wish Sony would just let 7Q do what it's suppose to do, then post would be so much easier with RAW.

Coming out of NAB, the FS700 + 7Q seems like the clear winner IMO for the price. Sony just needs to play nice a little more, and Sony would sell more FS700s.

 

[cuervo]

C-D hasn't announced as much, but, I'd bet compressed 4k comes in an XAVC wrapper.
And, personally, I rather like the workflow thru Resolve, especially the easy way to generate proxy files in/out of Media Composer. But, I can definitely see the disadvantages if you're working to a tight schedule with short turnaround reqmnts.

As a side note, Avid users are up in arms with Avid announcing a shared cloud system and subscription licensing, somewhat like adobe's, but, a little more flexible. Resolve 11 has announced increased editing capability....my mind boggles.

 

[Mitch Gross]

OK guys, we learned a bit of news and it turns out that I was wrong. The structure of the FS700 RAW compression is not quite the same as that in the F5/55. So we can't just use this after all. But we are working on a path to a compressed option in the future.

BTW, don't complain to Sony. They are really being great and very cooperative. They want the Odyssey7Q to work successully and effectively with their cameras. This is also true of Canon and others. We met with numerous camera manufacturers at NAB. No one has it out for us, except maybe some of our competitors!