The URSA Mini Pro 12K sensor and Blackmagic RAW were designed together to make 12 bit RAW workflows in 12K effortless.  As an incredibly efficient next generation codec Blackmagic RAW enables shooting in 12K and editing on a laptop, a capability that simply isn’t possible with other codecs. The massive resolution of the sensor means shots can be reframed in post for delivery in 8K and 4K. It’s like a multi camera shoot with only one camera. The advanced design of the sensor and Blackmagic RAW means that work can be started in any resolution in post production instantly, without rendering, while retaining the full sensor’s color accuracy. Shooting in RAW preserves all of the camera data while on set. This opens up creative options in post, and can help not only save over and underexposed shots, but, importantly, offer much more creative colour excellence possibilities too.

Post production can be made simpler and more efficient by not converting files into other formats.  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 could also potentially degrade the image quality.

Grant Petty, CEO of Blackmagic Design on raw:

"Blackmagic RAW is a modern, high performance, professional RAW codec that is open, cross platform and free. It has been designed to provide the industry with an open, elegant and standardized high quality image format.”

With Blackmagic RAW, there are a number of compression ratios available to help fit any workflow. Compression is important, and this links to a page explaining compression, and how we can use it with these high resolutions. For example, we have found that 5:1 compression gives excellent images with lossless compression. The camera has fifteen stops of dynamic range, allowing us to preserve all of the highlights and shadows with the raw format.

Mike recently shot some footage of car ferries and boats entering and leaving the port of Dover. With this dynamic range he was able to show bright highlights  and yet good rendition in the shaded parts of the shot. The icing on the cake was the discovery that the reflections of the fair weather clouds on the sea offered even more eye candy, especially when graded with HDR.

Indeed, with the RAW workflow, capturing an image with a Blackmagic camera and finishing in Resolve is a fantastic workflow, and with the mobile lab we can see the creative possibilities of shooting and grading immediately where filming is on-going. Blackmagic RAW makes cinema quality 12‑bit, 80 megapixel images at up to 60 frames a reality: Constant quality Q0 and Q5 options and new Q1 and Q3 lock the quality level, allowing compression to adapt, matching the detail of the scene. Constant bitrate encoding options 5:1, 8:1, 12:1 and the new 18:1 are designed to give you the best possible images with predictable and consistent file size. You can record RAW to two cards simultaneously so you can shoot 12K or 8K to either CFast or UHS‑II cards, even at high frame rates.

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.

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.

12k Captured by Mike. Pre-graded through Resolve settings by Alessio Focardi. The interesting thing about these is that you can see a pretty balanced image immediately, and then apply on to this all the bells and whistles of a colour grade