RAW Files are another clever idea that has also been developed by camera manufacturers to get the best possible image quality out of digital cameras while using the least amount of data.
Images from cameras that can shoot in raw are perfect for colour grading with Da Vinci Resolve as they contain all of the original highlight, lowlight, and mid-tone information, they enable the full image latitude and HDR, and yet the files are made of reasonable amounts of data.
Post production can be made simpler and more efficient by not converting files into other formats, and, indeed Resolve is an excellent example with its capability of being able to work directly in native raw files. Why transcode to any other format? Doing so would be a waste of time, a waste of space and also a waste of money, whilst it would also potentially degrade the image quality.
4. Film Restoration in 8k with Pro Res XQ compression
Carefully controlled light compression schemes can also be applied to film originated materials as well as digital cameras, and which give the resulting 8k mastered and restored films an extremely impressive look. The standard 4k 16 bit DPX files that have been up to recently the usual mastering format, require in playback a data rate of some 405 MBytes/sec, whereas the same film scanned in 8k with Pro Res Raw XQ is a higher (but manageable) amount of data, with an incredible increase in picture quality. In numbers, the maximum quality Pro Res XQ file of an 8k film at 24 fps. is 848 MBytes/sec. On the other hand, an uncompressed 8k 16 bit dpx file would be a whopping 8018 MBytes/sec, or nearly 10 times as much data.
The point is that the 8k pro res offers visually lossless compression, or, in other words a result indistinguishable from the uncompressed version.
Those that have not yet seen the kind of result possible with 8k scanning of films state with conviction that 4k is “enough” for 35mm films. The Mobile Digital Lab pushes the benchmark from “enough” to "excellent", and for good reasons; it offers an analog style purity and subtlety with a pristine quality, in what could also be defined as a possibly better than projected film experience.
The practise of oversampling, or using higher resolutions to shoot and scan offers, in our opinion, better image quality for the finished product, and now that the technology has become eminently enabling for 8k and beyond, there’s no excuse not to use it!! It will look better!! And it won’t cost more!! Indeed, with Mobile Digital Lab it will cost less!! And I haven't even mentioned the fact that shooting in 8k or 12k offers future proofing for the production. On that note, it is also worth noting that using the aforementioned techniques renders remote working eminently more efficient as the reduced data rates mean faster transfer times over the internet.
See my experiences in digital film restoration.
5. Lossless - A type of codec for which putting an image through encoding followed by decoding results in an image that is mathematically guaranteed to have exactly the same pixel values as the original.
6. Visually lossless - A type of codec for which putting an image through encoding followed by decoding results in an image that is not mathematically lossless, but is visually indistinguishable from the original when viewed alongside the original on identical displays.