In part one, I described how tapeless cameras offer a wide choice of codecs, with some also having the ability to output raw and/or uncompressed files. The next step in the workflow is to choose an ...

Sony’s recent release of multi-codec cameras (the F5 and F55) is a reminder that there is no such thing as the ideal codec. Not only do the cameras support RAW and existing codecs, but Sony introduced ...

Here's another chance to read this article about why it's a good idea to use ProRes, Avid DNxHD, and any of the other production quality compression codecs But while it’s true that more people than ...

Improves end-to-end video editing workflows with ProRes integration for Windows and native support for ProRes RAW in Media Composer as well as native support for DNx codecs BURLINGTON, Mass., Sept. 13 ...

As quality lost at the beginning of a production chain can never be recovered, end users should always opt for the best possible codec, says Ron Veel from Grassvalley. When we talk about cameras in ...