Blackmagic Forum

Just curious regarding the status of ProRes RAW and Resolve. What comes out of my Sony cameras natively is fine (compressed, FS700R and FS5) but if it goes to the 7Q+ via SDI as RAW, then it seems to be an issue (perhaps because it's Apple's instead of BMDs). Anyway, while I imagine developers have a lot on their plate with getting 17 stable enough for release, and because I'm not really plugged into the community yet, I wonder if anyone would be so kind as to bring me up to speed on the subject, please.

Purely curiosity as it's not going to be the end of the world for me. As is this the kind of thing I'd be wise taking to the recorder maker, or is the BMD RAW going to be a non-starter with them for their own reasons? Fill me in, please.

Not supported and it's not technical but 'political' issue, so there is no hint at all if/when it will come to Resolve.
Discussed many times, so use search instead of creating another thread about it.

Politics are real. Hate to be caught up in them since I'm going to buy Resolve, regardless (actually, already have - 2 mo ago - just waiting on B&H to ship). Anyway, like I said, I grok politics but hate they trump creation. Finally, regarding the last part of my question; is this the kind of thing it would be useful to approach Convergent Design about, or are they stymied by this same issue of politics, also? Note, I am not whinging about the 'facts' just curious for latest information.

The Blackmagic Video Assist records BRAW from supported cameras, so maybe Sony is the company to 'harangue'.

Though personally, I don't like adding a recording device to a camera that already has a recording section. That's like adding a Zoom F6 to your Zoom F4 in order to get 32 bit float.

Just buy/use the device that can do it on it's own. (Like any BMD camera. )

Thanks for your input, Jim.

jbeech wrote:Politics are real. Hate to be caught up in them since I'm going to buy Resolve, regardless (actually, already have - 2 mo ago - just waiting on B&H to ship). Anyway, like I said, I grok politics but hate they trump creation. Finally, regarding the last part of my question; is this the kind of thing it would be useful to approach Convergent Design about, or are they stymied by this same issue of politics, also? Note, I am not whinging about the 'facts' just curious for latest information.

Convergent Design doesn't exist anymore in recorders market.

Thank you Andrew. I appreciate your treating the information in a matter of fact way instead of seeking to score points on me, somehow. I am merely a filmmaker interested in my business and the tools I use are to a certain extent irrelevant.

I understand desire of BMD to sell cameras but despite owning Sony cameras, I purchased several pieces of BMD equipment for our production process. These include Teranex AV, UltraStudio 4K Mini, HyperDeck Studio Mini, MultiDock 10G, ATEM Mini ISO, plus of course, a license to Resolve 17 with the Speed Editor when it ships. Thus, I am not a consumer with a free Resolve license sucking valuable support time from BMD, but one making purchases, e.g. of some value and relatively little trouble.

So I merely inquire if there is a future where I can make better use of my existing equipment. Of course there is a day when five Sony FS700R and an FS5 are replaced at which point I will naturally consider BMD. Have I been treated with the respect all customers should be accorded will be a factor, of course.

Thanks again for your time.

It's just an info.
I had no clue about it until yesterday as I forgotten about this company.

I don't think I would buy a camera based on fact that certain NLE works/doesn't work with it (as Jim 'suggested'). I rather would do opposite. Camera is key element and because it's a piece of hardware it's slightly different than NLE.
I use different NLEs depending on the need as none of them is perfect and I like to do things in most optimal way. If I were to choose one it would be hard one.

I've used a few editors in my history. I began tape-to-tape (Sony BVE-800 A-B controller for two playback, one edit recorder decks), then the Matrox Studio (computer controlled version of the Sony deck controller), then my first NLE, the FAST Video Machine, then for a short while Adobe Premier, then Vegas Studio (first as Sonic Foundry, then Sony, now somebody else owns it). After 20 years with Vegas, I try something new in NLE software, Davinci Resolve. Frankly, I am excited about this new change. And I agree, the camera is personal - like soft-toothbrush vs. hard-toothbrush, everybody has own preference!

jbeech wrote:Thank you Andrew. I appreciate your treating the information in a matter of fact way instead of seeking to score points on me, somehow. I am merely a filmmaker interested in my business and the tools I use are to a certain extent irrelevant.

I understand desire of BMD to sell cameras but despite owning Sony cameras, I purchased several pieces of BMD equipment for our production process. These include Teranex AV, UltraStudio 4K Mini, HyperDeck Studio Mini, MultiDock 10G, ATEM Mini ISO, plus of course, a license to Resolve 17 with the Speed Editor when it ships. Thus, I am not a consumer with a free Resolve license sucking valuable support time from BMD, but one making purchases, e.g. of some value and relatively little trouble.

So I merely inquire if there is a future where I can make better use of my existing equipment. Of course there is a day when five Sony FS700R and an FS5 are replaced at which point I will naturally consider BMD. Have I been treated with the respect all customers should be accorded will be a factor, of course.

Thanks again for your time.

I love my fs700R I will always keep it. it's been good for me especially the tomes I rented a shogun inferno.

Ricardo Marty

I’ve been wondering about this, and I’ve been thinking of buying apples “compressor” to render it out to a common codec with a flat profile as a workflow.
Anybody got a better solution?

That sounds like a good one. Now that Compressor supports LUTs, you could even do a 'first-light' while transcoding.
And it's damn fast.