Last Updated 5 days ago
Definition
Footage is recorded moving-image material, whether captured on motion-picture film or as digital files. It can refer to an individual clip, a collection of takes or the material available for an entire project.
The term comes from measuring physical film by length. On a film shoot, exposed footage relates directly to stock consumption and processing. In a digital workflow, crews still speak of “footage” even though recording capacity is usually tracked by running time and data size.
Raw Footage vs RAW Recording
Raw footage usually means unedited material from the shoot. This ordinary use of “raw” does not establish the camera’s recording format. Unedited ProRes, H.264, H.265 or other video files can all be described as raw footage.
RAW recording refers to a class of camera formats that preserve sensor-origin image information for later processing. The amount and type of processing already applied depend on the format. RAW can be compressed; “RAW” and “uncompressed” are not interchangeable.
Log encoding is another separate concept. Log-recorded video is not automatically RAW, and a flat-looking image is not proof of either format. Identify the actual camera setting and codec instead of judging the file by appearance alone.
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Footage, Takes and Dailies
A take is an attempt at a shot or performance. The recorded footage contains that attempt, often with additional material before action and after cut. One shoot can generate many takes and hours of footage.
Dailies are viewing material prepared for review. They may be synchronised, transcoded, labelled and given a viewing colour treatment. A daily can represent a camera clip without being the original camera file.
Organising a Handoff
- Keep camera originals identifiable and preserve the required folder structure and supporting metadata.
- Use a clear camera, card or reel naming system that avoids duplicate names.
- Include sound files, camera reports and the information needed to match picture and sound.
- Identify proxies, viewing copies and masters so they are not mistaken for originals.
- Complete the agreed copy-verification and backup process before recording media is cleared.
A folder named “raw footage” is not a complete handoff specification. Confirm which cameras, dates, sound recordings, file types and versions are included.
Practical Example
An editor receives the original camera folders, separate sound recordings and smaller proxy files. All contain production material, but they serve different purposes. The proxies make editorial playback easier; the originals remain available for finishing at the required quality.
If a client asks for raw footage, clarify the delivery scope and agreed usage rights. The request does not automatically specify whether they expect camera originals, synced files, selected takes or everything recorded.
Related Terms
Browse terms beginning with F or return to the filmmaking dictionary.