Working with RAW files may require a slightly more complex workflow, but the extra steps involved are a small price to pay for the extra control you’ll get. Raw files allow you to manipulate all the data captured by your sensor before it gets compressed and baked into your file. This means more control over white balance, exposure, color correction, and more without any negative side effects associated with the manipulation of formats that have that information “baked in” This also allows you to work at a higher bit-depth than most other formats. Bit-depth, which is sometimes referred to as color depth determines how accurate the color in your video can be. For instance, 8-bit video has up to 255 possible shades each for red, green, and blue, while 12 bit video has up to 4,096 possible shades for red green and blue. This concept simply illustrates one benefit of working with a RAW format. If you’re using a RAW format, your workflow options will vary depending on the specific file type, and the software you do your primary editing with, but in general, you’re options remain the same as any other format. You can work directly on the native footage, transcode to an intermediate format, or transcode to proxy files and relink to the raw files before final export. While you may be able to import some RAW file types into your editing software, the options you have for manipulating the parameters may fall short of using an external program. Let’s take a look at some blackmagic 2.5k footage, using premiere pro CC. bringing dng footage into premiere, lack of raw controls Of course, you can take the intermediate codec route as well. For this workflow, you bring the raw files into an appropriate program, such as davinci resolve or even after effects. Then you manipulate the raw files to get the best looking shots you can, and export them to an intermediate codec. Finally, you import those files into your primary editor, and export your final deliverables from there. Let’s take a look at an example. using resolve to manipulate raw settings, and export intermediate codec. Using a proxy workflow can give you the best of both worlds. Begin in a program that can manipulate the raw files, and export a low res proxy for use in your editing program. Then create your edit using the proxies, and export an edl, aaf or xml file. Import that file back into the program that handles the raw files, then color correct, grade, and export for final delivery or to an intermediate codec for further editing in your primary software. Let’s take a look at this workflow in action. resolve to proxy to premiere, export edl, import into resolve, export for final delivery or intermediate codec. The ideal raw workflow will depend on the type of files you’re working with, the scope of your project, and the power of your computer and editing software. In general though, less conversion between your original files and your final export is bound to yield the best results.