One thing worth mentioning is I have just spent a week editing and re-grading a load of DNG RAW from motion capture footage recorded a couple of years ago from an FS700 using a Oddessy Q7 ( thank you Mitch ) and mostly because of Blackmagic's use of Cinema DNG for their camera's the default look from this DNG RAW is so much better than it was, it was kind an orphan RAW format that no camera maker really developed the colour science for as it was basically the choice of those camera makers that could not really afford to develop their own RAW format, no value jugment here just telling it like it is, well as I see it.
So basically now that Blackmagic have a line of camera's that Cinema DNG they have put the time and money into making the defaults in DaVinci work as well as say the default 709 LUT for the Alexa and in turn the default colour science for the Alexa shooting LOG gained hugely from Arri's experience in supporting their film scanners that would record to DPX image sequences that were the result of Kodak's work on the Cineon film scanner workstations.
I suppose my point is knowing the history of this stuff helps to understand where we are at now and why they guy responsible for ProRes was headhunted from Avid after creating DNxHD which is why they are both very similar motion JPEG based codec's, the biggest problem with DNxHD is that for Avid to understand it must be in a OP Atom flavor .MXF with separate audio files for each track, the biggest problem with OP Atom .MXF is it is not extensible or in other words you need to know the length of the clip when you start writing hence no camera or recorder can use it, they must instead the OP1-a form of .MXF which is no more Avid native than ProRes !
99% percent of my work for the past few years has been 4k RAW, mostly Phantom .cine or Sony 16 bit RAW with a bit of Red .r3d and Cinema DNG, almost always either transcoding to something for Avid, either ProRes LT HD .mov or DNxHD36 OP-Atom for Avid, in the case of one client I build projects in Premiere Pro so they can cut 4k Sony 16 bit RAW natively, and if you set Premier up correctly this is not a Problem, you do need to use drives like Sony Pro RAID's or LaCie thundebolt 2 LaCie 2big, basically anything with a 400MB sec read write rate, I find the G-TECH G-RAID thunderbolt drives are 2 slow.
The point is I don't see ProRes RAW helping with any of this, and I find Almost all clients are editing in Premier or Avid, I have just one client that uses FCPX, and to clear I bought FCPX on the day it was released, find a useful tool to have licence for but not as useful as Premier or DaVinci, I have a full Media Composer licence which gets little use other than QCing Avid delivery.
My point is though all this runs on Mac software I am fairly software agnostic, but in the last week I spent more time in Premiere Pro and DaVinci and I think most editors are the same. Also looking carefully through the White Paper on ProRes RAW most of the comparisons are for an 18 core iMac Pro, and no doubt when the new Mac Pro eventually arrives if ever it will work great on that too. So this won't solve the problem which is most production company's broadcasters don't have the latest and greatest software and Hardware.
A good example of this was the setup Canon had the BSC show Battersea this year, a brand new maxed out 18 core iMac Pro with under the desk a Blackmagic UltraStudio 4K Extreme 3 which only works on Thunderbolt 3 and a Thunderbolt 3 LaCie RAID, all to show Canon C200 RAW in HDR on their £24K 24 inch HDR monitor, hope you see my point here, ProRes RAW is unlikely to work on a 2012 Mac Pro.
So I like RAW and I have experience of how much better than ProRes 4444 Sony 16 bit RAW, Arri RAW, .r3d using IPP2 and Even Cine DNG can look, and it worth remembering that ProRes RAW HQ is about the same data rate ProRes 4444 just it will be much less compressed as it automatically 1/3 the size before compression unlike RGBA ProRes 4444.
So great well done Apple, but why not as Michale suggest's don't they just add support Sony 16bit RAW support and Cinema DNG, the white paper contains nothing to say it will be easier to supply to a client's with anything less than the latest Apple Kit and FCPX, does look like it solves any problems just creates an especially Apple flavored version of an exsysting one
Apple user since 1986