Video editors often speak with reverence about RAW footage, a format prized for preserving the maximum possible image information straight from the camera’s sensor. They demand RAW as a purist attempt to work with absolute colour control and manipulation of light and shadow the moment it was shot. Never will we be able to transport ourselves back in time but in terms of what gives video editors as much creative possibilities RAW means that the RGB values from the photosites are preserved. That the image data hasn’t been demosaiced, deBayered or converted into pixels.

Imagine RAW as a file format that contains minimally processed sensor data, whatever your settings were (white balance, gamma, picture profile, LUT etc) would be attached as metadata but would not be the actual video file. When shooting with RAW you will be able to change these settings in post production, thus having complete manipulation of the recorded RGB values. If you don’t shoot with RAW (e.g .MP4 or .mov file formats), most of the settings will be ‘baked-in’ and you will be editing this processed data.
Frame rate and compression ratio won’t be changed by using RAW. Compression ratio is found in cinema cameras and refers to how much image data is removed when the file is compressed. Just know this is found on cinema cameras and the lower the compression e.g. 3:1 (the 1 being the file size) higher quality image is retailed.

Often the artistic decisions made while shooting are preferred. So RAW provides options for colour correction and fixing errors, it is possible with different file formats such as XAVC-1 that process the data to edit the colour values that were decided while shooting but as film editors emphasise: it’s not manipulation of the true colour values. A good practice is to set colour adjustments according to the look you intend for the final video.

RAW isn’t log encoding, nor a codec

A common misconception exists when discussing RAW files and log encoding, where people confuse “uncompressed” with “unprocessed.” RAW files contain unprocessed sensor data that requires specialised post-production software to convert into viewable images, while log encoding is simply a compression method that can be applied to any image data. Many RAW file formats actually do use log encoding for data storage, so RAW and log encoding are not mutually exclusive concepts. The key distinction is that RAW files need processing software to become viewable, whereas standard video formats come pre-processed and ready for immediate playback.

To achieve proper image reproduction on displays, gamma correction is applied to the colour information captured from each scene. These gamma correction parameters are carefully chosen to ensure images appear correctly on standard monitors within typical viewing environments. This process balances both perceptual uniformity making colours appear natural to human vision and creative intent, preserving the filmmaker’s artistic vision. The result is that what you see on your display accurately represents both the technical requirements of human perception and the creative choices made during production.

RAW formats on popular cameras

Does Log allow for creative colour control?

Log encoding captures a much wider dynamic range and colour gamut than standard gamma curves by using a logarithmic function that compresses highlights and shadows in a way that preserves maximum image information. This creates flat, desaturated-looking footage straight out of the camera, but crucially retains far more colour and luminance data in the shadows and highlights that would otherwise be clipped or lost with standard recording formats. Understanding Log Encoding: Maximizing Your Camera’s Dynamic Range

When you first encounter footage shot in a log format, your initial reaction might be disappointment. The image appears flat, washed out, and distinctly unimpressive compared to the vibrant, contrasty footage you’re used to seeing straight from most cameras. However, this unremarkable appearance masks one of the most powerful tools in modern digital cinematography.

Log encoding is a recording method that uses logarithmic mathematical functions to capture and store image data. Unlike standard gamma curves that prioritize creating immediately pleasing images, log encoding is designed with a single goal: preserving the maximum amount of visual information possible from your camera’s sensor.

The logarithmic approach fundamentally changes how brightness values are distributed across the recorded file. Instead of allocating data linearly, where midtones receive the most attention, log encoding compresses both the brightest highlights and darkest shadows. This compression isn’t destructive it’s strategic, allowing more subtle gradations to be preserved in areas that would typically be lost to pure white or pure black.

That characteristic flat, desaturated appearance serves a crucial purpose. When a camera applies standard colour profiles and gamma curves during recording, it makes irreversible decisions about how to interpret the sensor data. Bright areas get clipped to white, shadow details disappear into black, and colour information gets permanently baked into the file. The real power of log encoding lies in its ability to capture a significantly wider dynamic range than standard recording formats. While conventional gamma curves might preserve 6-8 stops of usable exposure latitude, log formats can retain 12-14 stops or more, approaching the full capability of modern camera sensors.