The patent that shaped an industry
In all honesty, I have almost never used RAW in photography, except for cases you could count on the fingers of one hand. First of all, we operate within the Olympus Four Thirds ecosystem (we also use the Panasonic G9 and the glorious GH4). Nearly a quarter of a century ago, its Kodak CCD sensor produced—and still produces today—stunningly beautiful and extraordinarily workable files. Take the all-time flagship, the E-1: with "only" five million pixels, it still gives the modern competition a run for their money. The same goes for the E-3 flagship, boasting double the resolution and equally impressive results, and even our all-rounder E-510.
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I would add that with Olympus, I have always relied on their highly performant JPEG engine. In the E-1, it came out ready-to-go at 300 DPI straight out of the camera, perfectly prepared for offset printing presses (now replaced by digital ones, which says a lot). The JPEG processing engine in these cameras is something other brands—excluding Panasonic—could only dream of. It is no coincidence that these users are accustomed to constantly "developing" JPEG files from raw data. Whether that counts for little or much, I’ll let you decide.
Naturally, we wouldn't bother pointing out the obvious to anyone who truly knows, understands, and practices digital photography—a journey we started back in 2000 with a monster called the Epson 850Z, whose files, believe it or not, graced the Getty Images website until fairly recently. Period.
Now, to the collateral side for those who, like us, don't focus on video and its underlying RAW formats: while our background spans from 16mm film Bolex to Arriflex of the same format for RAI short films—photographing and filmmaking under the sun since 1969—it is photography that grounds our personal modus operandi and everything attached to it. That includes printing, which we have personally handled for fifteen years in Fine Art using Canon technology. And let it be said loud and clear: on matte papers, it delivers its absolute best thanks to superb inks.
Once processing those Olympus JPEGs into TIFF sRGB within Photoshop, the files reach their peak, delivering perfect tonal transition and deep, reliable blacks onto matte paper without the need for extreme RAW recovery alchemy.
Closing this parenthesis and returning to RAW, consider the recent ruling by the Japanese Patent Office regarding the defeat of RED (acquired a couple of years ago by Nikon) against Panasonic over the use of compressed RAW technology. Before acquiring RED, Nikon was actually the brand filing claims against them over that same patent. In short: double-crossed and left holding the bag.
That’s all, people!
(Copy & Paste )
https://www.cined.com/reds-compressed-raw-patent-invalidated-in-japan-nikon-loses-defending-the-patent-it-once-fought/
