Can u mix raw with prores?

I was wondering if its not recommended or if it wouldn't work? But has anyone ever done this?

Mix them on the hard drive you're recording to or in a timeline in your NLE? It works on the hard drive supposedly (from what I've read) and mixing RAW with ProRes in your edit probably won't be a big deal at all and more than likely, you won't be able to tell the difference. I mean, I've mixed F900 with DSLR footage in a film and the difference was minimal so mixing RAW and ProRes from the same camera shouldn't be an issue at all. I'd bet that 99.99999% of your audience won't be able to tell the difference. The other 0.00001% will be you and the people you tell. =)

Also, not sure if this is what you're asking, but you can record both (all) types of clips to a SSD in the BMCC. In other words, switch recording formats from clip to clip.

But if you're asking about in post: Sure. If the footage is shot so it looks "similar", I would expect it can be cut together, within limits. RAW footage can probably be made to look exactly like ProRes (& DNxHD) footage, but the reverse isn't necessarily true of course.

ProRes tends to look a little softer than RAW, in a way that isn't to do with the slight resolution difference.
I ink it's more to do with the compression that removes some of the super fine detail.

It often looks softer in a way that isn't unpleasant.

You can also record both onto the SSD and mix and match for each shot if that was your question.

JB.

Grading raw and ProRes is fundamentally different, but you should be able to grade together ProRes and raw footage from this camera if you know what you're doing. Ultimately they're from the same sensor so you are only dealing with the way the images are saved from the sensor.

ProRes requires a severe gamma adjustment whilst raw quite commonly has a basic look to it before it's adjusted. All in all, it's probably just best to do testing and make sure you know how to match the two formats when colour grading. Shoot the same content in both formats and try to grade them together to be seamless.

You shouldn't have many issues as ProRes 422 HQ is quite a formidable codec in its own right. Just make sure you're using a neutral white balance when shooting ProRes, of course, as it's baked in.

with raw in post it is also annoying to have material with shifted white balance.

mostly off-lines are done with default look and clients ask constantly "what the hell, why is that yellow tint there"

imo it is good practice to have raw also in normal wb if possible.

Thanks everyone yeah sorry the quest wasn't made clear I wanted to know if shooting raw and running out of space ...one can opt to finish a shot in the prores without having to change the ssd .....but now I have a new quest for NICK what did you mean by the WB being a neutral shouldn't it be set according to the actual lighting ?

Thanks everyone yeah sorry the quest wasn't made clear I wanted to know if shooting raw and running out of space ...one can opt to finish a shot in the prores without having to change the ssd .....but now I have a new quest for NICK what did you mean by the WB being a neutral shouldn't it be set according to the actual lighting ?

I think Nick is suggesting that you should keep your white balance neutral in order to give you options in post. If you swing your white balance toward a particular temperature - i.e. tungsten, you will struggle to change it toward a different look in post.

This assumes of course that you don't know how you're going to grade your footage. My approach would always be to shoot as I intend to grade my footage as you'll end up with a look that can't be changed by others in the post process later!

No I actually mean set it to the neutral white balance for the situation you're in. If you're in a tungsten environment, use 3200K. Daylight, use 5500K etc. it's always good to have baked white balance be neutral (white) so that you can then shift it aesthetically cooler or warmer without affectng the image quality too much.

No I actually mean set it to the neutral white balance for the situation you're in. If you're in a tungsten environment, use 3200K. Daylight, use 5500K etc. it's always good to have baked white balance be neutral (white) so that you can then shift it aesthetically cooler or warmer without affectng the image quality too much.

Ok yeah that's why I thought do should do!