Blackmagic RAW

[Tangier Clarke]

This is a very meaningful and insightful discussion and it brings me to one very uncomfortable thought: I lament the notion of having to work in a track-based system, non-magnetic timeline system. Granted I realize that AVID, Resolve, PPro are simply tools, but the notion of how theses RAW formats are/could be tethered to NLEs and cameras heightens my awareness of just how much I enjoy using FCP X. Resolve would be my second choice and it is insanely feature-rich and an app that I jump to for specific features. However from a stability, performance, and workflow standpoint FCP X just stays out of my way and let’s me work (mostly). I am sure I would adjust as needed should any of these RAW formats really affect the NLE usage landscape, but boy it makes FCP X feel more like an island…one that I want to stay on, but at some point may not make logistic sense to.

[Tony West]

[Tangier Clarke] ” these RAW formats really affect the NLE usage landscape, but boy it makes FCP X feel more like an island…one that I want to stay on, but at some point may not make logistic sense to.”

I don’t really see you being left on an island Tangier. While BMRAW looks impressive, I don’t really see many people shooting with their cameras these days.

I like RAW, but care more about other options a camera has to offer. I will take the variable ND on the SONY and the ergonomics of their cameras over a BM camera. No slam on BM cameras, I shoot with them also, but I almost never see anybody else using them in the field.

The fs7 hasn’t left much room for the ursa to operate these days.

Just what I see out there these days.

[Ricardo Marty]

This could be a game changer for bm cameras and if fcpx wont adopt the braw im sure that most bm camera users will defect and if video recorders adopt braw then more people will will jump nle’s that wont take the codec.

Ricardo Marty

[Michael Gissing]

[Tony West]”The fs7 hasn’t left much room for the ursa to operate these days. Just what I see out there these days.”

All depends on the market place. I recently needed to organise a multi camera shoot on a concert pereformance. I was easily able to get 4 Ursa Mini 4.6k cameras and two REDS. No able to find Sony FS5 or 7 in such quantity in my state. I also potentially had two Alexas. That’s the camera share percentages in my small city.

[Eric Santiago]

[Michael Gissing] “All depends on the market place. “

So true. All depends on where you are.
Midwest Canada here and you can’t find a single BMD and I know some that own/rent.
But its mostly Sony, Arri and Reds here with a slew of tiny terrors (A7s, GH4s, DSLRs, etc…)

[Oliver Peters]

On somewhat of a side note, is ProRes 4444 XQ encoding limited to Alexa cameras and Apple software products? It doesn’t come up as an option with Adobe, although Premiere, et al can read the codec.

– Oliver

Oliver Peters – oliverpeters.com

[Shawn Miller]

[Oliver Peters] “On somewhat of a side note, is ProRes 4444 XQ encoding limited to Alexa cameras and Apple software products? It doesn’t come up as an option with Adobe, although Premiere, et al can read the codec.”

Blackmagic’s Ursa Mini cameras can record ProRes 4444 XQ. I generally use it for hand off to people who can’t use compressed cinema DNG. Fusion (on Windows) can also write out ProRes, but I haven’t checked to see if that includes 4444 XQ.

Shawn