Blackmagic Forum

For those of you wanting BRAW support in Final Cut Pro X, you can use this feedback form: http://www.apple.com/feedback/finalcutpro.html

Adam

Is there a feedback form for ProRes Raw support in BM cameras

https://www.blackmagicdesign.com/support/

E-mail them and request that both Resolve and BM cameras consider supporting ProRes RAW. If they get enough people to ask, I'm sure they'll consider it.

Carlos Garcia-Diaz wrote:Is there a feedback form for ProRes Raw support in BM cameras

uhm... why?
why do you ask to have a raw codec that no software can read correctly (with the except of fcpx) and no one color correction software can advantage about a closed codec that cannot read when you can write with new blackmagic cameras a free open codec like braw which is right now avaible, and readable from Davinci, Nuke, Scratch and every software developer can read and access correctly to every bit of data.

Adding braw to final cut = zero cost.
Adding Prores raw to every software mean cost of license to Apple, that mean cost to users...

the only reason to have Prores raw is only if i can convert from raw X to Prores Raw, this is possible from 2005 with Cineform raw, but is not possibile with any anothe raw tool. I dubt that is possible with braw be cause is half debayered in camera and half in software, but never say never.

Damn it! You guys hijacked my post! lol

Submitted! Now that both my URSA Mini Pro & Pocket 4K will be using Blackmagic RAW, it's bye-bye FCPX until they add support. I still have a slight FCP preference over Resolve but if they don't fix it soon my habits & preferences may shift! Maybe if we can flood them today it will light a fire under Apple... Unlikely, but worth the shot.

BRAW may put the nail in FCPX coffin for me. I've done my last two projects in Resolve, and while the performance and UI isn't as slick as FCPX, I've gotten it to a workable state. Avoiding a round-trip to get to the color tools is pretty damn convenient, too.)

And if I switch to Resolve, then there becomes less and less of a reason to pay the Apple premium for hardware compared to a more powerful dedicated Resolve workstation built on cheap Linux or Windows hardware.

All this is to say that if Apple gets into a pissing match over ProRes RAW, at least for this guy, they're gonna lose.

I've made the switch almost entirely to Resolve now... it's very user friendly, and I'm really digging Fusion even more now that I'm getting some time to do some compositing in it for a microshort.

I hope support come to Final Cut now that the Pocket is getting Braw. Though Resolve is nice, it doesn't run as well as Final Cut on my MacBook Pro.

So far, I’ve finished 3 projects shooting BRAW, one of which included a set of 14 interviews. Shot all of them at 12:1 (which was smaller than ProRes Proxy), then exported them all from Resolve at ProRes Proxy and edited in FCPX with these “proxies” and reconnected back to the BRAW later.

I would LOVE native BRAW support in FCPX and the ability to generate the sidecar files (and read them) within FCPX (and auto-generate them in Resolve as well). Until then, I’ll just be transcoding my own proxies in Resolve.

Hi David,

I'd love to know your workflow, step by step, if at all possible. Thanks so much for any info.

Adam

David Chapman wrote:So far, I’ve finished 3 projects shooting BRAW, one of which included a set of 14 interviews. Shot all of them at 12:1 (which was smaller than ProRes Proxy), then exported them all from Resolve at ProRes Proxy and edited in FCPX with these “proxies” and reconnected back to the BRAW later.

I would LOVE native BRAW support in FCPX and the ability to generate the sidecar files (and read them) within FCPX (and auto-generate them in Resolve as well). Until then, I’ll just be transcoding my own proxies in Resolve.

Yes David I would also like to know this workflow as I am looking to figure out a Resolve import >> Premiere edit>> Resolve color >> AE vfx workflow and I am unsure how to approach this! Thanks

David Chapman wrote:So far, I’ve finished 3 projects shooting BRAW, one of which included a set of 14 interviews. Shot all of them at 12:1 (which was smaller than ProRes Proxy), then exported them all from Resolve at ProRes Proxy and edited in FCPX with these “proxies” and reconnected back to the BRAW later.

I would LOVE native BRAW support in FCPX and the ability to generate the sidecar files (and read them) within FCPX (and auto-generate them in Resolve as well). Until then, I’ll just be transcoding my own proxies in Resolve.

It'll be great if you can share your workflow. I couldn't relink this proxies successfully into Davinci.

Since the debut of Braw and it's speed and ease we've changed to Resolve as our main NLE for everything.

DR is so much faster than when I used it previously. I can work on location on my MB Pro and it's as fast as ProRes optimized for FCPX. It took a few days to get comfortable with the interface but it really has evolved to a great and agile system.

I haven't gone to 16 yet because we have several projects still in production and I wouldn't be confident with a beta version for clients.

But spend a week with tutes (BM has all you need on their site) and you won't look back.

Braw is a game changer.

Just a wild hunch but we'll either hear about FCPX BRAW in November at Creative Summit or it's just not going to happen. Apple has to know this is going to hurt them. Not that FCPX sales are mission critical to Apple but using any other NLE opens the door to Windows versions. Not good timing for a company releasing a very expensive new Mac Pro.

Point is you don’t need a very expensive workstation for BRAW

My decent iMac (non Pro) cuts through it like butter.

Absolutely.

When we would shoot raw (CDNG) in the past we'd use Resolve to do the basic CC and then export as ProRes to cut in FCP which was much faster and easier for us.

With Braw and the evolution of DR it became a no brainer to stay in the Blackmagic universe from shoot through (nearly) final output. We still bring our final edit into FCPX to do any graphics because of Motion and our library of graphics plugins that aren't supported by DR.

A few points.

The reason fcpx is so powerful is that it speaks ProRes natively. When working with ProRes clips, fcpx can handle many more streams, color corrections, bandwidth than any other NLE running on the same computer with any codec of similar resolution and quality.

For this reason, fcpx will never use braw natively. Like any other codec, you transcode on input (or with another app) and then work in ProRes.

The interesting thing is that apple has now developed ProRes RAW. It is a quasi-raw codec (like BRAW) that is structured to integrate into fcpx's architecture allowing RAW type flexibility with the power of fcpx and RAW.

Fore that reason, I do not expect fcpx to ever work with BRAW footage in any helpful way.

BUT the obvious question, and the probable future of this issue is whether or not fcpx can transcode BRAW to ProRes RAW and retain the powerful quasi RAW features.

I think this is what we should be asking Apple for.

It also leaves the door open for a BRAW to ProRes converter by third party software.

BRAW is open source, whereas ProRes is highly controlled and licensed. Now that you see what it actually is (the nuts and bolts of fcpx itself) you can see why. ProRes licenses will be the roadblock to 3rd party developers in making transcoding software.

Maybe the makers of Atmos would be a possible source of such software, already having a good relationship with Apple and ProRes recording.

At any rate, the most likely way this will happen is if BRAW can be transcoded to ProRes RAW. If somehow that is impossible, then good fcpx integration will be impossible.

But I suspect it is possible, and I wish Apple would enable it in fcpx. I kind of think they will.

Kyle Gordon wrote:A few points.

The reason fcpx is so powerful is that it speaks ProRes natively. When working with ProRes clips, fcpx can handle many more streams, color corrections, bandwidth than any other NLE running on the same computer with any codec of similar resolution and quality.

For this reason, fcpx will never use braw natively. Like any other codec, you transcode on input (or with another app) and then work in ProRes.

Huh? Redcode Raw has worked inside FCPX for ages. In fact, they have just released an important update, worked out in conjunction with Apple, and Redcode uses Metal in FCPX, making it incredibly efficient and fast. So, yes, while working in ProRes inside FCPX is a breeze, it's also a very stable program when working with mixed codecs (unlike Premiere), so this argument is unsound.

Furthermore, it's already possible to work with Braw by transcoding into (ProRes) proxies-- it's how I work every day and the only way I get to work with Braw. It's nearly bullet-proof, but it does require the extra steps of creating proxies and roundtripping. I always finish in Resolve so it's not an issue, but as FCPX (and Blackmagic Raw) gain even more market, it makes no sense for this gaping hole to exist.

I love Resolve for all it does, but there is no way I'll be going back to track-based editing after 10 years working in FCPX. Even Adobe, with Premiere Rush, is slowly catching up to the future (present).

Craig Seeman wrote:Not good timing for a company releasing a very expensive new Mac Pro.

When you actually run the numbers, the new Mac Pro is cheaper than its closest Windows-based equivalent.

It is a high-end workstation, not a PC.

What Apple is missing from its current line up is a "Mac Pro Mini" - an intermediate-level system that is still internally expandable... and yes, BRAW support in FCPX would be great too (not that I have a BRAW camera yet, and I am doing most of my editing in Resolve right now regardless, but I probably will have such a camera in another year or two, and it would certainly be nice to keep that option open...)