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Hasselblad 3FR
The raw format for Hasselblad's legendary medium format cameras.
3FR is the proprietary raw image format used by Hasselblad cameras. It is designed to capture the immense amount of data produced by medium format sensors, which are significantly larger than full-frame sensors. 3FR files are compressed to save space on the memory card. When imported into Hasselblad's Phocus software (or other compatible editors), they are typically converted into the uncompressed FFF format for editing.
3FR files contain 16-bit sensor data. This high bit depth is crucial for medium format photography, which prioritizes color accuracy and tonal gradation above all else. The format is TIFF-based but heavily customized. It includes specific metadata for Hasselblad's lens corrections (DAC - Digital Auto Correction), which are essential for achieving the optical perfection the brand is known for.
Hasselblad introduced 3FR with their H-system digital backs. It remains the standard capture format for their H and X system cameras.
Kodak Cineon
A pioneering 10-bit logarithmic format designed by Kodak for digital film scanning and mastering.
The Cineon format (.cin) was developed by Kodak in the early 1990s as part of their Cineon Digital Film System. It was designed to capture the full dynamic range of film negatives. Unlike standard linear image formats, Cineon stores data in a 10-bit logarithmic density format, which closely mimics the response of film to light. This allows it to preserve highlight and shadow details that would be lost in linear 8-bit formats.
Cineon files use 10 bits per color channel (Red, Green, Blue), packed into 32-bit words (with 2 bits of padding). The key feature is the logarithmic encoding: pixel values represent printing density rather than linear brightness. A value of roughly 95 represents 'D-min' (clear film base), and the values scale up to represent increasing density. This allows the format to store a dynamic range that exceeds standard video formats.
Introduced in 1993, the Cineon system was the first end-to-end 4K digital intermediate workflow for motion pictures. While the hardware system was discontinued in 1997, the file format became the industry standard for visual effects and digital mastering until it was eventually superseded by the more flexible DPX (Digital Picture Exchange) format, which is directly based on Cineon.
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