In many ways, the use of raw video files takes us back to the basic elements of old-school filmmaking, where filmmakers were limited by the amount of film on a reel, which equates to the amount of space on a storage device. Also, directors would say what take should be printed—because the budget didn’t allow for the printing of every take. By taking note of the best takes, the raw filmmaker can help save time and space by not using every single shot. The takes printed would become the work print. After an edit decision list (EDL) was created from the workflow, then the color timing (or correction), as well as optical effects, would be applied to the original negative. ...
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