Thu Dec 31, 2020 8:06 am
For me, the reasons for BMD are different. We have to go back to the BRAW project where we’re just starting to understand how and why this codec was designed.
The BRAW concept was born in the secret of the development of the new 12K no-bayer sensor. Then BRAW was adapted to work on all BM cameras.
To do this, it was necessary to implement the Bayer signal processing of the sensor in the camera, and then be treated post as if it came from the new 12k sensor.
In this the BMD project is huge and very consistent:
1 - Develop a proprietary RAW format, BRAW, for a camera with an exceptional sensor no-Bayer 4k-6K-8K-12k.
2 - Adapt BRAW format to BMD cameras
3 - Adapt the BRAW format to all other cameras - often DSLR hybrid - able to output a RAW signal, in BMD ASSIST 12G recorders
Da Vinci Resolve can already natively process raw formats ARRI, RED, CANON, SONY, PANASONIC varicam.
At the professional level, on 99% of cinema and television productions, DA VINCI is OK.
They still have to implement PRORES RAW in Resolve. This represents a small part of the global market. Important yes, but small.
How many Hollywood, Netflix productions are made with an S1H, an S5, an A7SIII, a Sony FS5?
Is there an emergency?
For all BMD camera owners, Resolve Studio is free.
Everything happens, who knows how to wait. We have to give BMD time to do things by their priorities.
For the moment, implementing PRORES RAW in Da Vinci is not one of them.
Gilbert from France (Lyon)