Uncompressed RAW image sequence — each frame as individual DNG file, up to 16-bit color. Cinema gold standard for post flexibility.
You save each individual frame as a separate DNG file — that's CinemaDNG. No compression, no color space conversion, no hidden algorithms. What the sensor captures lands 1:1 on disk. Each file carries complete image information up to 16-bit, sometimes also 12- or 14-bit, depending on the camera output. The format is based on Adobe's open Digital Negative Standard, but has been specifically optimized for professional cinema cameras — think DCI resolution, timecode embedding, metadata structures.
On set, this means: enormous amounts of data. A single minute of 6K footage can quickly consume 150–200 GB, depending on color depth and sensor resolution. You need storage infrastructure — SSD cages, redundant systems, LTO archiving. Red, Blackmagic, Arri — they all support CinemaDNG as an optional or native output format. Some cameras write directly, others require external recorders like the Blackmagic Video Assist or the AJA Helo. The advantage: maximum flexibility in color grading and VFX handling. You no longer have Bayer pattern interpretation, no proprietary debayering algorithm — you do all of that later in the DI or in your NLE.
In practice, CinemaDNG sequences land on the editing suite — either directly in Premiere, Final Cut, or in a classic DCP workflow setup with Resolve or Baselight. The workflow is not uncomplicated: each frame is a file, meaning thousands, sometimes millions of objects in the file system. Backup and transfer processes become a logistical challenge. Many post-houses still work with it because the quality and uncompressed data justify the overhead — especially for high-budget productions where color and image processing are critical. However, you also need discipline: proper naming conventions, robust folder structures, regular checksums. A lost frame is a lost frame — there is no redundancy in a DNG file.
The difference to compressed formats like ProRes RAW or ARRIRAW lies in the openness and stability of the standard. CinemaDNG is readable for a long time because the format is documented and not proprietary. This makes it the gold standard choice for archiving and long-term preservation of master material — exactly as it is used in cinema studios and television broadcasters.