Canon C70 to get internal 12-bit Canon Raw Lite recording via firmware

Like Cinema RAW Light, Log footage starts out as raw sensor data but then the gamma curve and processing parameters are baked into it at the point of capture. This doesn’t happen with a Cinema RAW Light file (.CRM). In fact, it isn’t a movie file at all, it’s simply a container for all that raw sensor data, and it has to be unpacked, debayered and modified in software before being exported in a choice of formats appropriate for ingestion into popular post-production packages.
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https://www.canon-europe.com/pro/stories/cinema-raw-light/
 
NorBro said:
Actually, it's 10-bit vs 12-bit is what they say.

Maybe it's 10-bit 4:4:4, if that exists.
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Yes, bit-depth and chroma subsampling are fully independent i believe. Crl isn't 4:4:4 at time of capture. But you can pull a 4:4:4 or a 4:2:2 clip out of it
 
Raw can't be 4:2:2. It's not 4:4:4 either. I believe it becomes 4:4:4, 4:2:2, or 4:2:0 after it is debayered

so basically, because the Bayer color filter array only lets you record an R, G, or B value at every photosite, you don't even have a full color image at the raw stage. You still have to integrate it all algorithmocally by debayering. And then you can store every color value for every pixel that you have calculated, which is 4:4:4. Or you can throw some color values out, which is 4:2:2 and lower
 
NorBro said:
I know, I'm implying I think I've always seen it become 4:4:4
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Ah well there's no reason you can't turn it into prores 4:2:2. I almost bet that's more common among black magic users than prores 4444

Or they're keeping it raw all the way until final export and it could emerge an 8-bit 4:2:0. Th2t would bother me less than editing without full color info
 
ahalpert said:
Ah well there's no reason you can't turn it into prores 4:2:2. I almost bet that's more common among black magic users than prores 4444
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They could just record that in their cameras, not many would tell the difference, ha
 
A lot of people say there's not much difference between shooting prores 4444 and raw. I mean, i suppose you have to be slightly more careful with your exposure? But white balance should still be pretty malleable. Maybe not quite as much

Brawley and Papert both said they shoot their shows in prores 4444, not raw

Incidentally, I remember reading that Deakins shot a movie (I think it was Prisoners) in arri raw for maximum flexibility. I don't know if he does that all the time. I just spotted it in a random article
 
Yea, from the first UM 4.6K in 2015 (which he had before many others), so like 6 years ago realistically because 2022 just started.

I don't know/remember if he ever used the 4K models on his shows which also had 4444 a few years before that.
 
Well also then his only raw option would have been cinema dng which is huge right? I know he's using Braw (maybe not exclusively) on the ursa 12k because its the only way to shoot 12k
 
It had 3:1 and 4:1 cDNG ratios but IIRC BM got rid of it all shortly after (FW update) because I think RED won their lawsuit at the time and then .braw eventually appeared.
 
Always good to get a major new feature. I suppose being able alter white balance, gamma and gamut in post will be helpful at times. Though personally, the 10-bit 422 files from he C70 are so great, I doubt I'd use raw very much.
 
The C70 internal CRL does put that camera on my short list now. I already like the idea of a mirrorless style camera with native internal ND and XLR.

Was looking at the CVP over under exposure test between the C70 and the R5C, and the R5C was a 1/3 stop better in the highlights, but easily a half stop worse in the shadows. Evidence that DGO on the C70 pulling its weight a little. I mean it’s no 8K ff35, but something so agile about the C70 without all the necessary add-ons that most mirrorless cameras suffer.
 
Does anyone on this forum use CRL regularly?

I've always heard about how difficult it was to work with. Maybe the 4k light version will be better? I love that you can record 4K 10 bit + Raw at the same time.

They also added new color profiles. EOS Standard and EOS Neutral (Existed on the C300 Mk2.)
 
Ben_Ericson said:
Does anyone on this forum use CRL regularly?

I've always heard about how difficult it was to work with.
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I shoot in CRL regularly (about 50-75% of the time) with the C500. Difficult in what way? The file sizes aren’t fun when it comes to storage but other than that I’m curious to hear what your concerns are and I’m happy to answer any questions that I can.
 
It was difficult in the beginning after its introduction, but after support from every NLE came and better computers (like Apple's M1) were created, it's pretty much like anything else that's straightforward.
 
digitalinnovations said:
I shoot in CRL regularly (about 50-75% of the time) with the C500. Difficult in what way? The file sizes aren’t fun when it comes to storage but other than that I’m curious to hear what your concerns are and I’m happy to answer any questions that I can.
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That's great news. My concerns were mainly work flow. A friend of mine edited a project with interviews shot with the C500 in CLR and complained about import times and playback. I am excited to try it on the C70.

What about noise levels? Is noise reduction needed?
 
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