Most stock video footage around today is available in convenient pre-graded video formats with the color palette baked into the file. Pre-graded footage is awesome if you’re looking to quickly finish a project and are happy with the overall look of the clips you chose. The challenge can be that pre-graded footage offers limited flexibility to change the overall look during the editing process, which can be tricky for keeping your aesthetic consistent when inserting stock footage into an existing project.
Ungraded footage allows you to take clips shot with different cameras, at different times of day, in different locations or weather conditions and combine them into one cohesive scene. If you’ve ever watched a car chase scene in a Hollywood production — that 3-minute clip was likely shot over the course of days, weeks, or even months and you’d never know — because ungraded. Check out this post to learn more about stock.
Benefits of ungraded
The main benefit of ungraded footage is that you’re starting with maximum flexibility and a greater dynamic range. There are two main types of ungraded file — log and raw. As an example, Sony’s popular log file solution called “S-Log3” can capture 1300% more exposure detail over the non-Log file. That means no more blown out skies.
Before & after color grading
This is from a motion picture called The House on Pine Street. It was shot on the Sony F55’s LOG mode and then expertly graded by GradeKC. It illustrates how much room there is in post to mould the colors to fit the feeling the director wants to convey. Even changing scenes shot during the day into night shots. The above footage was graded using Davinci Resolve, here is a tutorial on grading with Resolve.
What is a log video file?
A little technical talk here. The standard output filetype for most cameras was created in 1990 with the advent of HD footage — when cameras could only capture roughly 5 stops of light. The main design constraint was squeezing the footage into a file that could be transmitted live over satellite connections. Camera manufacturers have since figured out how to stuff about 10 stops of dynamic range into that file while maintaining the ability to instantly view the end result. Neat.
Log files have allowed some professional video cameras to increase their usable dynamic range to over 14 stops. This is roughly equivalent to the best modern motion picture analog film.
One of the major problems with a typical movie file is that there is very little room for data in the shadows, but excess data capacity near the highlights. LOG files simply push the exposure curve upward into the area of the file that has the capacity to store more information, while also pushing the highlights down so they roll off similar to analog film.
The tradeoff with shooting or purchasing log files, though, is that they will require grading before being published. Otherwise, you’ll end up with a clip that looks extremely washed out. Probably not what you’re going for in most cases
What is a raw video file?
In the words of our friends at Emerson College Post Production Lab:
“Raw video isn’t even video. In all digital cameras, the image is captured by a sensor that outputs raw chroma and luma information. Most digital cameras immediately convert that data into video files, but cameras that shoot in raw save that data directly. Using raw footage requires converting it to video files in post-production, which can be time-consuming, but it does come with some crucial advantages: Raw footage captures exactly what the sensor sees, meaning that no white balance, ISO, or color adjustments are baked into your footage. This is incredibly valuable when color grading your project; raw footage will offer you a degree of latitude that no other format can.”
Raw files are typically only available on the highest end cinema cameras, though the feature has been trickling down into the prosumer ranges.
The main benefit of RAW is total flexibility in post. Canon claims a 15 stop dynamic range with their C200’s Cinema Raw file. This is a 2 stop advantage over their log file.
Downside to raw video
There are, however, two downsides to shooting RAW. First, the amount of data recorded and second, the time it takes to convert it into video and grade it. A 4k camera shooting RAW can easily shoot 1 GB per second of data. This can be the deciding factor if shooting a larger project as the data workflow might cost too much time and cash.
Now that you’ve got the info on what ungraded is and when ungraded footage is the right choice for you, we hope you get to experience the freedom and flexibility of creating projects with Stocksy ungraded video soon!
Dylan M. Howell spends his time shooting authentic stock photography in Portland, Oregon. Featuring an adventurous portfolio of stock images that includes weddings, travel, and outdoor lifestyle, the hopeless romantic specializes in capturing rad photos of couples in love.