ProResRAW

Hello.
The question about ProRes RAW.
I'm a drone pilot. Most of my video work comes from a drone. The newest Inspire 3 is writing ProResRAW, and it is the best option for recording video. So, when I eventually switch to this drone, ProResRAW will be my only option for quality recording.
Any chance we will see ProResRAW support in DaVinci when it comes out of beta?
If not, maybe there are some good workflows for using it with DaVinci?

Hello.
The question about ProRes RAW.
I'm a drone pilot. Most of my video work comes from a drone. The newest Inspire 3 is writing ProResRAW, and it is the best option for recording video. So, when I eventually switch to this drone, ProResRAW will be my only option for quality recording.
Any chance we will see ProResRAW support in DaVinci when it comes out of beta?
If not, maybe there are some good workflows for using it with DaVinci?

No way to know but I think it is highly unlikely. Apple has an exclusive deal with a bmd competitor while this deal exists it wont be a wise business decision for bmd to implement PRraw. Because it would be handing over a large market segment to the competition and maybe even cut into the braw segment. However Ive heard of a way to transcode ppraw for use in DVR, ask around.

viewtopic.php?f=21&t=183401&p=963732&hilit=pro+res+raw#p963732

Ricardo Marty
p.s. there is a humungous thread on this in the forum

If you have a Mac, get Compressor and transcode.

If you have a Mac, get Compressor and transcode.

Or Shutter Encoder:
https://www.shutterencoder.com/en/

Does it read ProRes RAW now? If so, great!

I have had to use it in the field also, as the drone pilot had a drone that shot in ProResRAW. There is an app in the Mac App store called Raw Convert:
https://apps.apple.com/us/app/raw-conve ... 0439?mt=12

This application provides batch conversion of RAW video files, from ProRes RAW format into a CinemaDNG reel including audio and timecode.

The output compression method can be selected between an uncompressed 16-bit format and a lossy compression of various compression levels.

Check out the app for free with a limited conversion of 300 frames per clip, an in-app purchase enables conversion of full length for a specific supported camera model.

Currently supported camera models lists:

* Sony ILCE-7SM3 (Sony A7S III)
* Sony ILCE-7RM5 (Sony A7R V)
* Sony ILME-FX3 (Sony FX3)
* Sony ILME-FX6 (Sony FX6)
* Sony ILCE-1 (Sony A1)
* Sony ILME-FX30 (Sony FX30)
* Nikon Z6
* Nikon Z6 II
* Nikon Z7
* Nikon Z7 II
* Nikon Z8
* Nikon Z9
* ZCAM E2
* ZCAM E2C
* ZCAM E2-F6
* ZCAM E2-M4
* ZCAM E2-S6
* ZCAM E2-S6G
* Fujifilm GFX100
* Fujifilm GFX100s
* Fujifilm X-H2S
* SIGMA fp
* SIGMA fp L
* Canon EOS R5
* Canon EOS R5C
* Canon EOS R6 MKII
* DJI X7
* DJI Ronin 4D 6K
* DJI Inspire 3
* Olympus OM-D E-M1 Mark III
* Olympus OM-1
* Olympus OM-D E-M1X
* Panasonic GH5s
* Panasonic GH6
* Panasonic S1
* Panasonic S1H
* Panasonic S5
* Panasonic S5II X
* Panasonic BS1H

What about sizes? Here is a example:

Original Prores RAW file - 4.96GB
cDNG Lossless - 12.54GB
cDNG 3:1 - 6.0 GB
cDNG 5:1 - 2.43 GB
cDNG 7:1 - 1.53 GB
cDNG uncompressed - 24.18 GB

Hello.
The question about ProRes RAW.
I'm a drone pilot. Most of my video work comes from a drone. The newest Inspire 3 is writing ProResRAW, and it is the best option for recording video. So, when I eventually switch to this drone, ProResRAW will be my only option for quality recording.
Any chance we will see ProResRAW support in DaVinci when it comes out of beta?
If not, maybe there are some good workflows for using it with DaVinci?

If you have a Mac, get Compressor and transcode.

Or Shutter Encoder:
https://www.shutterencoder.com/en/

I just tried a ProResRAW sample file in Shuttle Encoder, and it only came up as black. This was on a M1 Mac studio, and latest MacOS 13.4.1.

Use the Raw convertor app as mentioned above to get Cinema DNG files.
It works perfectly.

For me the best result in DaVinci Resolve is, when I change the Color Space to Blackmagic Design and the Gamma to Blackmagic Design Film in the CAMERA RAW window (inside the timeline or in the Inspector under image). In DaVinci Resolve 18.5 and above that works only in the DaVinci YRGB automatic color management.

If you need for whatever reason to work in a color managed environment, in my case if I'm mixing Red footage with CDNG, you need to stay with DaVinci 18.1.4, because DaVinci 18.5 tags the CDNG file wrong as Rec.709, which is not changeable in the version of 18.5. and above.
If anybody has an idea, why that is, it would help me a lot.

This process I use with CDNG files converted from ProRes RAW files from my Inspire 3 and Ronin 4D.

Also getting black screen with Shutter Encoder when I open a Prores RAW file. Not sure if this software can actually read it.

Tried the raw converter app, but it can only do 300 frames at a time and is trying to reach a nonexistent internet connection.

As I wrote above, use Apple Compressor.
I was surprised when Shutter Encoder was suggested.

Is there a Windows version of Apple Compressor?

I'm a fan of ASSIMILATE Play Pro Studio. I transcode to ProRes 4444 XQ, which is easy to organize and work with.

In most cases it also preserves metadata, which is a rare feature.

ASSIMILATE Play Pro Studio costs as much as DaVinci Resolve. Way too much for a workaround to a feature that should be built in to any NLE. And many of these programs have ridiculous licensing requirements, such as full time internet connection.

Tried the raw converter app, but it can only do 300 frames at a time and is trying to reach a nonexistent internet connection.

Their web site says: "The free mode is limited to conversion of 300 frames from each input clip for purposes of evaluation of this app. An in-app purchase enables converting the full length for a particular supported camera model." I think it's about $75.

Tried the raw converter app, but it can only do 300 frames at a time and is trying to reach a nonexistent internet connection.

Their web site says: "The free mode is limited to conversion of 300 frames from each input clip for purposes of evaluation of this app. An in-app purchase enables converting the full length for a particular supported camera model." I think it's about $75.

$75. is cheap. . Of course I already have Edius that inputs and outputs ProRes RAW, so I'm good. Nice to have different editing systems for different jobs.

I read the reviews and it turns out even if you buy a license, the program will not work during an internet outage. Scratch that one.

I read the reviews and it turns out even if you buy a license, the program will not work during an internet outage. Scratch that one.

Where do you live? I'm in Vegas and only had one outage for 5 min. in 5 years. I axed Cox, who sucks, and went with Verizon Home Internet box that uses cell towers. Cheap and fast.

There are other software programs that also need internet service for their cloud inter-connection. No big deal.

I read the reviews and it turns out even if you buy a license, the program will not work during an internet outage. Scratch that one.

Are you sure?
License checks typically happen once every few days at most not "live".
Also pricing is:
- month license 59$
- year license 199$
and permanent license is 299$.

update: I thought this is related to Scratch Play, but it's not

I read the reviews and it turns out even if you buy a license, the program will not work during an internet outage. Scratch that one.

I just pulled the hardwired internet from my Mac, disabled WiFi, verified it had no network access, and RAW Converter still converted a large ProRes RAW file to DNG just fine.

It doesn't even make sense for this kind of app to require network access continuously. That would mean you couldn't reliably use it on a laptop in field assignments. My documentary team often shoots in locations where there's no WiFi and no cellular data access. We have to offload cameras, convert the data on the spot, and hand off to others on SSDs. RAW Converter works in that environment.

The downside of Raw Converter is that the licence is on a per-camera model basis so you need a new licence if you use a different model (not brand) of camera. Also it only does cDNG whereas Assimilate Play Pro Studio can transcode ProRes Raw to ProRes, H.265 and H.264 as well as transcode various other raw formats. The downside is that it is expensive but there are occasional sales with pretty good discounts. I got my copy free with an Atomos Ninja promotion but find it of limited use now as a Mac user with Final Cut Pro and Compressor. For a Windows user working with multiple raw codecs and/or cameras, it is might be a good option.

Hello.
The question about ProRes RAW.
I'm a drone pilot. Most of my video work comes from a drone. The newest Inspire 3 is writing ProResRAW, and it is the best option for recording video. So, when I eventually switch to this drone, ProResRAW will be my only option for quality recording.
Any chance we will see ProResRAW support in DaVinci when it comes out of beta?
If not, maybe there are some good workflows for using it with DaVinci?

Interesting, inspire2 wrote ProRes and cdng (with additional pay license).
I think best could be to convert from ProRes raw to cdng sequence, but require more strong disk speed


Inviato dal mio iPhone utilizzando Tapatalk

My important work is done on machines not connected to the virusnet. Any prudent corporate entity follows this rule strictly. Another advantage is you don't have your machine made inoperable by a bad Windows update. So I keep my $$ earning machines off the internet.

My requirements are that software will continue to work without internet. Sadly, a lot of vendors these days want you 'in the cloud' and we're moving away from an ownership model to a rental model for applications. That's why I am moving away from Adobe. Having to run a CAT6 cable over to the workstations every 90 days is one thing, but software that pings the mother ship on every startup is just not going to work. And if you read the two one star reviews on RAW Converter, you will see that the program indeed stopped working during an internet outage. We do have those here too, because, unlike first world countries, our utilities are on toothpicks sticking out of the ground and fall over every time the wind blows a little. <grin>

Good catch on the 'per camera' license thing. I didn't catch that on their website. Well hidden, guess. Sure glad I didn't pop for that license. I'll live with the 300 frame limit. The files are too large anyway to do any medium or long form work, so I'll use it for special stuff like LASER light shows and moon shots that are very short duration.