RAW to Pro Res how much am I losing?

[David Roth weiss]

Of course you will be losing lots of data, but data bits are meaningless in the video world if your final product is being displayed on the web, or on HD TVs, or over highly compressed satellite TV, etc.

So, where is your final product headed? Without that info no one can even begin to answer your question with any degree of precision that will be helpful to you.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[Anthony Sneed]

It’s a short film that will go to festivals and probably end up online at some point. It’s mostly shot in 4K and final output to HD

[Chris Wright]

you’ll lose a few stops latittude. but if everything is exposed fine, there’s nothing to worry about.

[Daniel Waldron]

Can you make proxies to edit with and then enable the RAW once you’re ready for color grading/finishing?

[Chris Wright]

i’m inferring that he is exporting for other tools like AE. even so, a 32bit EXR can hold the RAW latitude if necessary. but yes, I agree that proxies are the best way to go. dynamic link might be a little too cumbersome.

[Anthony Sneed]

I guess the problem is this. I have a LOT of speed changes and I’m using Twixtor in Premiere in addition to zooms, position and opacity changes. The Zoom position stuff will translate to DaVinci but the Twixtor stuff isn’t compatible so then would the BEST thing to do, is export the RAW using Davinci to a high res file type, make the twixtor speed changes in Premiere then export again to the same high res format then bring it all into Davinci?

If that makes sense, what settings for an high res file format would you suggest? Pro Res 4444xq?