This gives us high enough quality media to work with in post, preserving detail where we need it but it doesn’t eat through our capture cards as quickly as HQ or RAW would. This does obviously mean that you will use more storage.įor example on our BlackMagicDesign URSA Mini Pro 4.6K cameras we always aim to shoot no lower than ProRes 422 in the film colour space (you can read our review of these cameras here). The higher quality codec, bit depth and data rate you record at the more room your have to work in post. This brings us on to bit depth and dates rate at which your footage was recorded. When you’re working with compressed DSLR footage and that footage already has a grade naked in from the camera itself then you have very little dynamic range to work with and any correction you do to the footage will likely start to introduce artefacts, tearing or banding. Flat footage gives you the widest dynamic range to work with in post as all of the colour information is there for you to work with. The reason we assume this is because it is much more difficult to adjust/correct footage that already has colour information baked into the image. For this tutorial we are going to assume that or your client have shot in a flat colour profile, be that S-log, C-log or even RAW.
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