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ProRes RAW in other NLEs
Some of us have looked at Compressor conversions for ProResRAW, but there have been color issues. Michael Phillips posts a workflow that gives you successful conversions in his 24p blog.
https://24p.com/wordpress/?p=393
– Oliver
Oliver Peters – oliverpeters.com
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7 Replies
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Seems to create a very boated working file that in grade software like Resolve or Baselight will not have the advantage of RAW in being able to alter the RAW data to correct highlight recovery, ISO or color temp issues. Until ProResRAW is available in finishing systems, I will strongly advise against it.
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No different than if you shot and graded ProRes Log-C with an Alexa.
Oliver
Oliver Peters – oliverpeters.com
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Apart from the extra step of transcoding and requiring a lot of extra storage you are correct. If the RAW metatdata cannot be adjusted in the grade then I don’t see any advantage in shooting with it, hence my recommendation to not shoot with it at this stage.
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Has anyone actually worked on a project shot in Pro Res Raw? It feels like a phantom format that no one is using.
tallmanproductions.net
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If I build a codec of my own, and if I don’t “open” it to everyone, no one will use it….just me….right?
ProRes Raw at this time is useless, How can I use it if I can only open it in one software?
ProRes Raw it’s just a good idea….n.
Peace!
NSLopes -
Ultimately it depends on whether Apple opens up the format for writing to more camera manufacturers and for reading to more NLEs and player applications. So far there are only two widely accepted raw video formats: CinemaDNG (as image sequences) and REDCODE. Plus in the smaller theatrical community, there’s ARRIRAW.
Oliver
Oliver Peters – oliverpeters.com
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The future is open source systems and not proprietary components.
tallmanproductions.net
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