Andrew Kolakowski wrote:I'm surprised Apple did not include ProResRAW instead of ProRes in iPhone, but this may be down to the agreement which they have with Atomos. This would make way more sense in case of phone's limited storage.
You answered your own question.
They don't want to pay (or they have had the license request refused) to use internal raw recording, which RED seems to have a stranglehold on.
Like with Canon, rumoured to have an IP swap to allow RED cameras to have the RF mount in exchange for Canon being able to use internal RAW on their CXX cameras, I'm surprised that RED haven't done something similar with Apple.
It's also intriguing to realise that RED have abandoned their till now much vaunted REDCODE which was wavelet based and quietly made a new version, introduced on the Komodo that is DCT based, and is now also what's being used on the new Raptor as well.
I suspect this is partly because Apple hardware is moving away from GPUs and Wavelet workflows would start to be very problematic on Apple silicon based hardware.
Whereas BRAW plays back faster than ProRes at the moment on Apple hardware. When the new "pro" versions of the apple silicon drop, I'm sure you will see 12K footage running on Resolve as a demonstration of the new Apple hardware. Not ProRes RAW.
Andrew Kolakowski wrote:BRAW wasn't really designed to be an external recorder format.
I dunno where you get that logic. There's BRAW external recording on a number of cameras, including Sigma, Canon and Panasonic.
BMD for sure designed the codec for themselves first AND they had to have their own codec because of the way they wanted to work with their own sensor design. ProRes RAW or CDNG would have meant they couldn't make the 12K camera or more importantly, their own unique RGBW sensor with multiple in camera scaling formats.
JB
EDIT
And I finally got around to looking at the clips.
I've watched this twice only, but immediately you can see problems around the hair. There's a little weird blur going on and I notice that there's not a lot of movement of the actors in the frame. As soon as thy start moving around, watch the focus rendering errors multiply.
Corners of the photo at 00:13.
The weird Halo of his hair at 00:17
I could go on....
They're in most shots.