Why Apple’s Final Cut ProRes RAW upgrade matters to you

“Apple introduced an all-new video format with the Final Cut Pro 10.4.1 update, called ProRes RAW,” Jonny Evans writes for Apple Must. “What is it and why should it matter to you?”

“Apple says its new ProRes RAW video recording codec, ‘Combines the visual and workflow benefits of RAW video with the performance of ProRes,'” Evans writes. “The format preserves the deepest black to the brightest white and every color imaginable from your sensor. Not only this, but as these files are smaller than ProRes 4444 files you end up with much higher quality video assets that require less storage.”

Evans writes, “Image quality is the primary reason to care.”

Read more in the full article here.

MacDailyNews Note: Matthew Allard writes for NewsShooter, “What Apple has done is to create a codec that is as easy to use as the existing ProRes options but with the flexibility of RAW. ProRes RAW allows you to import, edit and grade video with RAW data straight from your camera sensor without slowing down your edit. These RAW files provide maximum flexibility for adjusting the look of your video while extending brightness & shadow detail. This makes it a good solution for HDR workflows.”

“If you had your doubts about FCPX in the past, this new announcement might finally put those fears to bed. With the addition of ProRes RAW Apple has given FCPX a format that no other NLE is currently supporting,” Allard writes. “This announcement is a big deal. ProRes has been an industry standard codec since its inception back in 2007, now 11 years later Apple is looking to position ProRes again as the go-to codec.”

Read more here.

Apple releases Final Cut Pro X 10.4.1; introduces ProRes RAW and advanced closed captioning – April 5, 2018


    1. So what Apple hardware supports the use of this for UHD or higher resolutions (other than that closed architecture, soon to be out of date iMac “Pro”) in a truly real-time workflow? Maybe we’ll get something by December 2019.

    2. What good will this do me on my new about-to-migrate PC Workstation? Oh maybe DaVinci Resolve will be able to read and write to it. Windows needs to properly license ProRes. And Adobe needs to get off their fat subscription butts and make their products more multi-threaded as FCPX is.

    1. My theory on final cut is that they started from scratch so that they didn’t have to pay licensing or royalties to the original creators. I forget who they bought it from. When they did the overhaul the price also dropped dramatically. It didn’t have the features at first but they’ve been added back. I used Premiere until Final Cut had its features restored, and am thankful that I don’t have to use it anymore. I only miss warp stabilizer. I work so much faster in final cut than I ever did in premier or in final cut 7.

    2. I hated FCP7 but FCPX is not only rock stable, but it’s story-oriented timeline is light years ahead and audio sync errors (operator caused) just don’t happen. No need to lock audio, etc. Yeah, Avid may still be king on Reality TV where I used to work (25 year avid editor) but FCPX is what I chose to use now.

  1. “Apple is looking to position ProRes again as the go-to codec.”? Except for camera codecs, ProRes has been the go-to codec. Every external pro recorder uses ProRes. Every TV server system ingests ProRes. ProRes is it.

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