Re: Apple ProRes Raw and Raw HQ

Mitch Gross

On Apr 7, 2018, at 2:15 AM, axel.mertes <axel.mertes@...> wrote:

Saying this new codec is 6.x times faster than R3D is a bit of unfair.

Well, it is factually correct. 

The point is not the technology. Don’t look at this as how good a codec ProRes RAW is or isn’t. Don’t think about the flexibility of the systems requirements compared to other platforms that are either proprietary or failed in the market. 

ProRes RAW will work because it is Apple. With a single step it is supported in lord-knows-how-many-thousands of systems and a host of cameras. These cameras were like ships without a home port, wandering the seas with no effective and manageable RAW workflow. Uncompressed CinemaDNGs? The data load is ridiculous and the workflow a bit mercurial from one camera to another and one post system to another. 

ProRes RAW makes it easy. It levels the playing field. All those cameras go into it and will work just fine in FCPX. Finding and applying the correct LUT is easy. Everything just works. That’s the beauty of it. 

I’ve been dealing with handholding people through RAW workflows for a decade now. First it was Phantom, which was before RED and before Blackmagic Design purchased DaVinci. Just about every post House was clueless. 

“How do I load this into my DaVinci 2K?” “Why is it all contrasty?” “What do you mean I have to run it through Final Cut to set the gamma? We don’t have that in our grading suite.”

RED was a huge education for many people, but of course theirs is a closed loop, with tools that are only for their cameras. Then came a bunch of RAW outputting cameras from various manufacturers and RAW recorders from Atomos and Convergent Design. And the process was a little different with each camera and the workflow a little different with each post system. Wanna try to argue that it’s not so complicated? Just look at that Sony Venice thread from last week, which came down to a single oddball setting in Resolve. Don’t tell me this crap ain’t complicated. 

I travel a lot and every time I climb into a rental car it takes me maybe 30 seconds to figure out where the basic controls are and I’m able to drive away. That’s ProRes RAW. Then I try to turn on the radio and tune a station at highway speeds and nearly drive off a bridge because every system is a little different, the controls aren’t where you expect, and now there’s all these extra features & crap that gets in my way. That’s what RAW is like up to now. I want to be able to switch from car to car and I don’t want to have to think much about how to make the damn thing go. I just want it to work. 

And that’s why ProRes RAW is so nice. 

Mitch Gross
Cinema Product Manager 
Panasonic Media Entertainment Company
New York

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