Recently, I was asked if shooting Log was like shooting Raw. A short answer is, “Well, yes and no,” which I know isn’t terribly clear. Raw recording is very different than Log, but they have similar applications. To really answer the question, and to understand the difference between all of these formats, we need a little bit of background. ARRI’s ALEXA camera is unique in that it can output Raw, uncompressed and record in a Log format, so I’ll use that camera as an example throughout this discussion. Let’s start with Raw, which comes first for many reasons.

Raw Like Sushi

The idea of Raw recording for motion pictures wasn’t popular until the release of the RED ONE camera a few years ago. RED brought the idea of Raw recording to the masses, though they weren’t the first. Both ARRI and DALSA had cameras that could output Raw sensor data. Raw recorders weren’t exactly common on-set gear though, so we have to hand it to RED for getting the Raw party started in the motion picture business.

So what is Raw anyway? Simply put, it’s just sensor data before any image processing. In a single-sensor camera, like the ALEXA, color is produced by filtering each photosite (or pixel) to produce either red, green or blue values. The color pattern of the photosites most often used is the Bayer pattern, invented by Dr. Bryce E. Bayer at Kodak. The Raw data in a camera like this represents the value of each photosite. Because each pixel contains only one color value, Raw isn’t viewable on a monitor in any discernible way. In a video signal that we can see on a monitor, each pixel contains full color and brightness information; video can tell each pixel on a monitor how bright to be and what color. This means that Raw isn’t video. Raw has to be converted to video for viewing and use. This is usually done through a de-Bayer process, which determines both color and brightness for each finished pixel in your image. The converting of Raw information into video can be time-consuming for post-production, though great tools are available to make it fairly painless. The upside to Raw recording is that no typical video processing has been baked in. The sensor outputs exactly what it sees—no white balance, ISO or other color adjustments are there. This, along with a high bit rate, allows for a huge amount of adjustment in post.

Every camera has a “Raw” step in the image-capturing process. The sensor information is always gathered before converting to a video output, but not all cameras let you record or output that data. The cameras from RED record exclusively Raw data. Sony’s new F65 can record in Raw or HD video, and the ARRI ALEXA can output Raw data over an SDI connection, while recording video internally at the same time. These cameras are converting the Raw data into video for monitoring; the ALEXA adds the ability to output the Raw data at the same time.

So if the Raw data is the real information coming off the sensor, does that mean that it’s uncompressed? This is where things get a bit trickier.

How Uncompressed is it?

Raw data isn’t necessarily uncompressed. In fact, it’s usually compressed. The RED cameras shoot in REDCODE, which has compression options from 3:1 to 18:1. Likewise, Sony’s F65 has 3:1 and 6:1 compression options in F65RAW mode. The Raw data is compressed in much the same ways that traditional video is compressed, and the process does have some effect on image quality. How it shows up in the finished video output can be hard to detect, and the less compressed options in both of these cameras are often considered fairly lossless (limited quality loss). On the other hand, ALEXA outputs uncompressed Raw data, which can be recorded externally. This would be the closest thing to a true uncompressed signal.

So what about uncompressed video? The term “uncompressed” obviously implies a lack of compression, but it isn’t exactly clear what this means in terms of video. As we said before, video is derived from Raw data off a masked single sensor, or something like a 3-CCD imaging block, and usually something is lost along the way. Raw data is usually at high bit depth, between 12- and 16-bit, but video is usually around 8- or 10-bit. In RGB (4:4:4) video, each pixel contains color and brightness information, which would be rather large with 16-bit depth. So, video is generally reduced in bit depth. Additionally, color information is generally reduced as well, from 4:4:4 to 4:2:2. These are both forms of compression that happen in the camera, even before recording. A standard for HD-SDI output on a professional camera is considered to be uncompressed; however, the specification for a single HD-SDI output in a 1920×1080 resolution is 10-bit 4:2:2. Is HD-SDI not uncompressed then? Well, it’s still uncompressed in the sense that there has been no block, wavelet or temporal-based compression applied. Therefore, we can call it uncompressed 10-bit 4:2:2 video—sounds better than color and bit subsampled video, doesn’t it?

The ALEXA can output uncompressed video over its HD-SDI outputs, either in 10-bit 4:2:2 (over Single-Link HD-SDI) or 10-bit 4:4:4 (over Dual-Link HD-SDI). Oddly enough, the camera can record in 12-bit 4:4:4 ProRes internally, but a standard HD-SDI only supports 10-bit. In this case, the uncompressed output is more limited in bit depth because ARRI is conforming to the standards of the signal.

But if Raw is Raw and video is video, then what the heck is Log recording?

Examples of Raw, Log and Rec. 709 video formats.

Bump on a Log

The new Sony, Canon and ARRI cameras all have a Log recording mode. When the Log modes are activated, the image becomes flat and desaturated, but you can still see it on a monitor. This should clue you in that Log recording is just standard video recording in the sense that all pixels display color and brightness information. Log isn’t Raw; it’s video. However, it’s a special way of capturing that maximizes the tonal range of a sensor.

The idea of Log recording came about with Kodak’s Cineon system for scanning film. The system scanned film into a Log format that corresponded to the density of the original film. This maximized the information from the film that could be stored in the video format. Because this information has many shades of gray—very low contrast—it needs to be corrected for proper viewing on a monitor.

Sony, Canon and ARRI have all taken the idea of Log film scanning and applied it to their sensors. They map a “Log” gamma curve that pulls the most information off of their sensors. Sony calls their map S-Log, Canon’s is Canon Log, and ARRI’s is LogC. Each is designed for a specific camera, but all have a similar result. Because Log is a video image, manipulations like white balance and ISO are baked in. A transform of this video data, known as a lookup table (LUT), is required for proper viewing, which makes the video look more “normal” to us. A standard LUT converts the Log video to standard (Rec. 709) HD video.

The ALEXA converts its Raw data into LogC video; this information can be recorded or sent out over HD-SDI. A LUT can be applied for viewing and also can be recorded if desired. Because of this, any step in the chain—Raw, LogC video or standard video—can be recorded.

Putting it all Together

So, going back to our original question, “Is shooting Log like shooting Raw?” The answer is still “yes and no.” Hopefully, now you can see why. Raw is not Log because Log is in a video format, and Raw is not video. Raw data has no video processing baked in and has to be converted into video for viewing. Log is video and has things like white balance baked into it. They’re very much not the same; however, they’re both designed to get the most information out of the sensor. Raw is getting everything the sensor has to offer; likewise, Log curves are designed to get the most tonal range out of the sensor. While they’re very different formats, they have the same general application. Both Raw and Log can be uncompressed, but that depends on the recording device. These terms, and many others, have all become part of our vocabulary in this digital cinema world. Hopefully, this article has helped you navigate them just a little bit better.

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This resource is based on an article written by Andy Shipsides for HDVideoPro Magazine. To learn more about topics such as video formats, check out our Understanding HD Series offered by AbelCine’s Training Department.

Recently, we had a chance to talk to Scott about his vision for the project and shooting with the Arri ALEXA.

What was your overall creative vision for the Red Bull open?

My idea for the Red Bull open was multi-layered, as I wanted to show not only the dynamic sports and athletes in motion; I wanted the viewer to be a part of it, to take them on a little ride.

What made you choose the ALEXA for this project? 

Choosing the ALEXA for the Red Bull project was an obvious choice. With the flexibility of the 120fps frame rate and the type of “in the moment” action athletes I was working with, there was no other option.

Did you find the experience of shooting with the ALEXA an easy one? 

For me, the ALEXA is a game changer. The unrestricted visions this camera can offer are unstoppable. It’s simply the best newly designed camera by far. Its design is so fluid you forget about the device entirely and focus on the subject and imagery. The camera is just an extension of me.

Were there any challenges you faced with this project, as far shooting in remote locations, with limited lighting, etc…

I wouldn’t say “challenges.” I would say there were choices we made, and the ALEXA helped make those choices doable. For instance, utilizing the 800 ISO low light sensitivity range with my nighttime signature visuals of a helicopter with spot lighting chasing motorcross bikes across a desert was a perfect match.

Did you use any other gear to help you capture your vision?

I did mix up the formats a bit in order to express everything in the way that I wanted to. I love to introduce the beauty and grain of 35mm film for some of my landscape images, for expressing earth and sky. The Phantom was the so-called “icing on the cake,” as I was able to capture moments at super sick high-speed frame rates to find those details the naked eye can’t see – like the ice particles in the crashed ice sequence. Absolutely crisp.

What was the best part of shooting with the ALEXA?

When using ALEXA, the word “challenge” does not even fit in the camera vocabulary – the ergonomic design, user-friendly settings, menus and adjustments. With the digital film SxS cards, it only takes only seconds to reload. From the Arctic Circle to Samoa to hot African deserts, the camera has performed perfectly.

Watch the Red Bull Signature Series show open, or click here to learn more about Scott Duncan.

Scroll bar available at the bottom the chart to view more specs.

The first thing I wanted to test was the FS700′s low light performance; I checked the camera’s noise levels and how it performed at its highest ISO. In the first part of the test, I shot a lit chart at ISO levels from 500-16000 (in 1 stop increments) and maintained a consistent exposure. The FS100 has very low noise levels, so I wanted to compare the two cameras. Besides the noise level changes, also note the color and resolution performance on the chart. 

In the second part of the test, I brought out a single candle source and increased the ISO levels through the same range. You can see how the FS700 compares to the FS100. Also, watch how the camera handles highlights as we get to the higher ISO levels.

For the second test I wanted to see the dynamic range of the camera, so we put it on the scopes to see how it did. The FS700 has much the same dynamic range as the FS100 (11.5 stops), but with the addition of Cine gamma modes. These modes give a nice smooth roll-off in highlights, which can be seen in some of the footage and in the candle light test above.

In the third video, I wanted to have some fun shooting slow-motion with the camera. I started out by striking a lighter at frame rates from 240-960fps. The loss of image quality in 480 and 960 is apparent, but the 240 fps footage really holds up well. We also had a request for some “Matrix style” moves with the camera, so we did a quick spin around with Jeff Lee on the roof at 240 fps.

Other Questions on the FS700

Q: How accurate are the ND filters?  
A: From my testing, the ND filters were very accurate and did not introduce color shift (properly neutral). I tested this with a waveform monitor to confirm the stop change was accurate. 

Q: Are there any sensor crop modes for extra telephoto?
A: No, there are no sensor crop modes for normal HD shooting. The sensor is only cropped when shooting at 960 fps.

Q: Does the camera have a stills mode?
A: Yes it does. The camera can grab stills at a higher resolution than in video recording: 3,840 x 2,160 in 16:9 / 3,248 x 2,160 in 3:2.

Q: I’ve heard the HDMI outputs 24/24/30p, is this accurate?
A: Yes, the camera will output a progressive signal over HDMI, which I tested with the PIX240 to confirm that it worked.

I hope you found these tests helpful. If you have any comments, questions or suggestions for further testing, leave a note on our blog, CineTechnica.

Jim used the compact Miro camera to shoot super slow motion sequences for a series he is producing that emphasizes the mental conditioning required to perform stunts. This project, Days Out, is still in production, but Jim has released a short clip of Miro M320S shots taken at Camp Woodward, as well as other shots taken around Manhattan. Jim also put together a behind-the-scenes clip, which shows the camera in action. 

Days Out Behind the Scenes with the Phantom Miro

Days Out Teaser

The new Miro M320S made its debut at NAB in April. The camera can capture over 1500fps at 1920×1080. Its low light capability (1100 ISO) allows it to produce very high quality images at these extraordinary frame rates.

To learn more about Jim Geduldick’s experience using the Miro, visit ProVideo Coalition for Dan Carr’s interview – Phantom Miro – First Footage & Interview with Jim Geduldick.

* F65RAW-Lite, F65RAW-HFR and HD SStP recording will be supported by a software upgrade.
** SR-1TS55 card will be available in summer 2012.

This diagram outlines the components of the system and how they function together.

Click image to view larger.

AbelCine Live Sports System Components

Phantom v642 – High-speed, breakthrough sensitivity and the extraordinary ability to record and playback simultaneously make the Phantom v642 the camera of choice for live broadcast and “near broadcast” applications.

• Over 2500 fps @ 1920×1080
• 12-bit
• 1200 ISO

Sony HDFA-200 Fiber Optic System – This two-channel HD camera fiber adapter allows Sony and Phantom cameras to become full-on system cameras.

• 2x 1.5Gbs transmission
• Incom, Mic, Tally, Return VF operation
• Two-camera operation features

Sony HDCU-2000L Camera Control Unit – A full rack HD camera control unit designed for use with the HDC-2000 series cameras. It also now communicates with Phantom v642 cameras within the AbelCine Live Sports System.

• 3G fiber transmission system, standard
• Built-in 3G/HD/SD-SDI outputs, HD/SD return inputs, and a down-converted analog composite monitor output
• A variety of output interfaces are offered via optional boards

Sony RCP-1500 Remote Control – Control Iris, RGB Gain, RGB Black, Master Gain, Gamma, White Balance, Black Balance and Shutter Angle with ease.

EVS Server Connectivity – The AbelCine Live Sports System fully integrates into existing EVS systems with the latest software update. The fiber-optic cable is fully compatible with all EVS “hypermotion” functions, such as partitioning, triggering and playback control of the Phantom camera’s internal RAM. (EVS is not sold as part of system)

Extreme MOBILITY

Miro is so small and lightweight it’s exceptionally handholdable. Weighing just 3 lbs without accessories, and with a petite 7.5×3.5×4” body, Miro fits easily in tight spaces.

Miro is a natural choice whenever size and weight are factors, like on small jibs, body mounts, car and bike rigs.

The portability of Miro means it can be adapted to extreme environments. Outfit it with a splash bag or housing for underwater work. Mount it to a remote controlled chopper, or use it as a wing cam for stunning high-speed aerial shots.

Miro can be installed as a remote camera in sports arenas or for nature docs. It also makes an ideal choice for stunt work or as a crash cam.

Breakthrough AFFORDABILITY

Miro is the most affordable professional high-speed digital camera. For the first time, owner-operators can add Phantom to their standard toolkit. With Miro’s portability, it’s easy to take it along and grab a high-speed shot whenever the opportunity arises. Miro works beautifully as a high-speed pick-up camera when a dedicated Phantom Flex just isn’t in the budget. With AbelCine’s HDx2 optical adapter, Miro can even serve as a high-speed, run-n-gun B-camera on 2/3” ENG shoots.

With Miro, high-speed is no longer reserved for specialty projects. Now you can add high-speed elements to low-budget indie films, regional broadcast of college sports, or medium to low budget commercial work.

Radical PERFORMANCE

Miro’s affordability does not mean that you have to compromise on quality. The M320S boasts a 12-bit, 2-megapixel CMOS sensor, 1920×1080 resolution at 1540 fps, 1100 ISO, and a 35mm depth of field. In fact, the entire Miro lineup let’s you choose the appropriate balance between top frame rate, resolution and price.

Miro is versatile. With available PL, Nikon F and EOS lens mounts, the camera integrates with practically all of your camera systems and lens inventory.

Miro stores RAW cine files onto onboard CineFlash drives, and the M320S offers the added feature of an HD-SDI output. So, whether you work in the cinema or broadcast world, Miro delivers stunning, full HD images. The CineFlash drives used by Miro are the most cost-effective data storage in the Phantom lineup, and the RAW cine files are widely compatible with most existing platforms and editing systems, for an efficient workflow. For more details on Miro and its workflow, visit our Miro FAQ page.

AbelCine has developed a line of accessories specifically for Miro that outfit the camera for any professional production environment.

Limitless POSSIBILITIES

Miro is truly a breakthrough, because it opens up high-speed to genres and applications where the technology would previously not have been practical.

Extreme sports, sports analysis, multi-media and art installations, web-based content, performance and event applications – with the ultimate combination of mobility, affordability and performance, Miro’s applications are only limited by your imagination.

A: At NAB 2012, Vision Research will launch the Miro M-series – the most accessible Phantom cameras ever. With an extremely compact, lightweight body and an affordable price-point, the Miro M-series offers an entry into professional high-speed digital imaging and is ideal for handheld work. The flagship of the line is the Miro M320S.

Q: What are the key specifications of the Miro M320S?

A: The Miro M320S has a sensor size near that of 35mm film and can record 1920×1080 up to 1,500 fps with an ISO of 1,100. Its maximum RAM size is 12GB. Data is transferred from RAM to an onboard CineFlash drive. An HD-SDI output is also available on this model.

Q: What is the Miro’s image quality like?

A:  When shooting high frame rates, one of the critical issues is light sensitivity, because the exposures are so quick. The new Miro cameras are rated at 1100 ISO, which is very fast, very sensitive. This means the image is well exposed without the need for massive amounts of light. Combined with Miro’s high resolution and advanced colorimetry, this makes for truly cinematic quality images when using the RAW files, as well as superb quality television when recording the HD-SDI signal.

Q: Are there other cameras in the new Miro M line?

A: Yes, the Miro M120 is a 1080p camera with a top speed of 800 fps and CineFlash recording. The Miro M110 can run up to 1,600 fps, but the resolution is limited to 720p. The Miro M310 is also 720p and runs up to 3600fps. These three cameras have NTSC or PAL video output only, whereas the Miro M320S has HD-SDI output.

» Miro Comparison Chart 

Q: What are the differences between the Miro M320S and the Phantom Flex?

A: There are several differences between the Flex and the Miro. The first is resolution. The Miro captures 1920×1080, while the Flex can capture the entire chip resolution of 2560×1440, which can then be down-resed to 1920×1080 or 2K.

When shooting 1920×1080 on either camera the sensor image size is identical, resulting in the same field of view for a given focal length lens. At the higher available resolution of the Flex, the sensor size is slightly larger than the Super-35 film format.

HQ mode, which performs a continuous black balance, is only available on the Flex. The Flex also has higher RAM capacity. At 1,000 frames per second (1920×1080), the 32GB Flex will capture 9.5 seconds of real time. The 12GB Miro can capture 3.8 seconds of real time at 1,000 fps. Miro’s maximum frame rate is 1500 fps, while Flex’s 2500 fps – both at 1920×1020.

The Flex offers significantly faster transfer time from RAM storage. The Flex is capable of recording directly to a CineMag, while the Miro cannot record directly to the CineFlash.

This is not to say that one camera is “better” than the other. The choice is a matter of your budget and application.

Q: What are the applications for the Miro M line?

A: With its compact size and affordability the Miro is ideal for a broad range of applications. It makes shooting high-speed feasible in any close-quarters situation, for example inside a car. Shooters can “fly” this camera on smaller jibs, and actually fly it in RC controlled helicopters. Underwater and splash housings become much more practical, making the Miro a good choice for filming nature documentaries and sports like surfing.

AbelCine has also developed a line of modular accessories for Miro, which allows it to fit into virtually any production environment. We’ve introduced a new concept for a handheld solution called X-Grip, giving you even more freedom when operating the camera.

Q: What are the other key camera and accessory specs?

A: Miro records to CineFlash storage drives. A 60GB CineFlash and CineFlash Dock are included with purchase, and higher capacity drives are available, if desired. Miro is available in Nikon-F, 1” C-, PL- and EOS mount versions.

The camera is powered by Sony BP-U batteries, and AbelCine has developed a Breakout Box power supply.

Q: What are the new CineFlash storage drives?

A: This new media comes at a much lower cost per GB than the CineMags used by other Phantom cameras. It offers very fast read times, and the RAW cine files are widely compatible with most existing platforms and editing systems.