- August 3, 2020 at 5:24 pm
If you agree to pay the license fee to Apple I’m certain Blackmagic will agree.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro Legacy forum.
- August 4, 2020 at 6:25 am
[David Roth Weiss] “If you agree to pay the license fee to Apple I’m certain Blackmagic will agree.”
As far as I know, Apple only charges for encoding ProRes Raw, not for playing it back.
I would bet there are high-level talks between Apple and Blackmagic on the issue of different formats, and it’s interesting that Avid, Adobe, and several other companies can render ProRes on Windows, but Blackmagic Resolve cannot. I don’t think it’s a question of cost per se — I think there’s certain conditions each side wants first.
- August 4, 2020 at 6:39 am
Your petition claims “Ever since Apple released their widely compatible ProRes Raw format, the world’s leading medium budget professional and semi-professional photo and video camera manufacturers, as well as video recorder manufacturers have added support for this format in the latest generation of their products.”
This implies many cameras and recorders can record this format when in fact only Atomos can and a couple of DSLRs will output a signal to allow it to be used in an Atomos recorder. This means there are very few cameras and recorders that can record this format despite it being released a year before BRAW. Can you name a single camera that records it internally?
ProResRAW has had a limited and very slow uptake. I’ve never seen it in the wild but there’s a lot of BRAW. Maybe you should petition Apple to firstly allow BRAW in FCPX and also to allow ProResRAW to be free like BRAW so Resolve can have ProResRAW for the same price as Apple can adopt BRAW in FCPX. Your petition implies Blackmagic is at fault here. Apple is the problem
- August 4, 2020 at 11:37 am
To be honest with you, I wouldn’t want to derail the point of this thing by getting into technical comparisons with BRAW, but as far as I know Panasonic, Sony and Canon all have a variety of cameras that output the signal not only from their dedicated video cameras but also their flagship mirrorless cameras. These gadgets take up a majority of the mid-range market if you count in the mirrorless devices.
BRAW is only supported by Blackmagic cameras.
I’m trying to reach out to Blackmagic Design as an independent creator who works with the best tools he can get for his job. I personally believe that Panasonic and Sony cameras give me the most cinematic image and Resolve is the most practical and intuitive NLE for my post production workflow. I have been using these tools in tandem for many years but this incompatibility may force me to switch to FilmLight or Autodesk.
- August 5, 2020 at 2:40 am
My experience differs. I work in documentary and never see any ProResRAW from Sony or Canon cameras just the internal XAVC/ H264, 265 variants. ProRes RAW requires an external recorder and as far as I know, Atomos are the only recorder licensed so far. As a codec, it has had little traction in the past couple of years. What percentage of your work is ProResRAW?
When it was released I worried it might take hold in production but so far it just hasn’t for me. But as I said, target the problem, not the symptom. Apple needs a petition to make ProResRAW playback free just like BRAW and I would gladly sign it.
- August 22, 2020 at 3:42 pm
I think we need a petition for both Apple and Black Magic Design, asking for BRAW to be read within FCPX and for ProRes Raw to read within Resolve.
On a side note is is interesting that Sigma has announced that the latest firmware forthe fp will allow for both ProRes Raw recording and BRAW recording via an external recorder (Atomos Ninja V for PRRaw and BMD Video Assist monitors for BRAW). I wonder if any camera that outputs a raw signal will also be compatible with BRAW, or if they will become compatible. I’ll add that having started using a BMPCC4K recently, after extensive use of Red and Sony cameras, the BMD menus are a pleasure to navigate, this makes their Video Asssit monitors very inetersting tools, especially with the option of recording BRAW.
Filmmaker, DoP & Colorist
Based in Geneva, Switzerland
c-sideprod.ch | earthling-prod.net | kinogeneva.ch
MacOS & Windows
Adobe CC / Davinci Resolve / Easy DCP
RED MX / DigiBolex / Sony FS5 / BMPCC4K
- September 18, 2020 at 8:41 am
Yesterday I shared it on many pages and tipped it 2$. From 10 We’re now already passed 50 now. Let’s keep it going!.
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