The balance you have to consider when choosing a color space is the same balance that we’ve discussed when talking about bit depth and codecs. Unless you do it properly, that can have a disastrous effect on your images.
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Some color spaces can hold a broader range of colors than others, and so if you convert from a bigger color space to a smaller color space, your software may have to chop off some of the edges to make it fit. You can always convert from one color space into another, but you have to be careful, or you may lose some information. Some are good at capturing, and some are good at displaying on monitors, while others are good at displaying on projectors.Įvery camera, when it records data, has to record it into some kind of color space (unless it’s raw video, in which case you’re able to choose your color space later). Each of them is well-suited for a particular case, but none of them is best for every situation. You can translate light into numbers in many different ways, and so there are many different types of color spaces, some of which have been around for decades, and some of which are brand new. If you’re going to be doing very minimal color-correction and no VFX, then you can probably get away with lower bit-depth, chroma subsampling, and macro blocking that come with lower-quality capture codecs.ĮFILM Senior Colorist Mitch Paulson in finishing a session. Factor 3: FinishingĪnother factor to consider is how much color-correction and VFX (collectively referred to as finishing) you plan to do. If you’re shooting solo, you may choose a lower-quality codec because it allows you to change memory cards less often and focus on the story instead.
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You may also have to upgrade your memory cards in order to be able to record the high-bitrate data. You need to be prepared to store and back up all of those files as you’re shooting. High-quality codecs tend to be higher bit-rate, which means that the files are larger.
The second factor to consider is storage space.
These cameras are the exceptions, however. Blackmagic Design (along with the Magic Lantern hack for Canon DSLRs) brought raw recording options to lower-budget cameras a few years ago.
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