This is GAME CHANGING | ProRes Raw as RAW in DaVinci Resolve 17

[@sidneybakergreen]

In Resolve 18, bypass has changed to “Same as Timeline”

[@reggiekoch187]

Yeah, this took me about 10 minutes to figure out. I should have read the comments before diving in. Thanks!

[@sidneybakergreen]

@@reggiekoch187 happy to help man! Thank you for leaving a comment :)

[@Phreethink]

Hey Sidney. Thanks so much for you content. I just found your channel. Also I just found out about the firmware update that allows you to record 5K pro res Raw from the Canon R5 to the Ninja V. I followed the steps in this video and the related video you posted and i must have done something wrong. Im a beginner at all of this. Before I did the software update i was able to record 4K, 60fps, All-I, Pro res from the R5 to the Ninja 5 and import to Davinci Resolve, edit and export with no problem. I was always confused by this because everyone on youtube says that Resolve doesn't work with pro res. But I was doing it just fine on my Mac until I updated my Ninja and found out how to export 5K raw via HDMI from the Canon R5. Ever since then, whenever I try to move this footage to the timeline, it only imports the audio. I also noticed that the "V1" symbol on the video track simultaneously loses the red square around it. Ive tried following the steps in your video as well as a couple of other youtube fixes and nothing works. Im sure I must be doing it wrong. Can you help? ..Hey i'm editing my post with this update.. So i went back and watched your video again and realized that I skipped the part about downloading the file converter. I think I dosed off when I watched it the first time. Anyway I downloaded the converter and attempted to use it. I was able to import into resolve but not how you think. When i went to import media into resolve. I discovered that the file converter had converted my single pro res file into a folder containing hundreds of 12mb files. When I moved a few of those files into the timeline they all played as a few seconds of a still image within my video. ....SO WHAT IM THE WORLD IS THAT ABOUT? .. This is very frustrating. Again I am a newbie to all of this. Can anyone help?

[@PeacefulMoments1844]

@@Phreethink, were you able to figure all this out? I’m having similar issues with the same set up.

[@Phreethink]

@Asoldier1844 Yeah it's all there in his video. It's been a while now so I don't remember every step but I watched the video again, again. I patiently followed every step. It works.

[@reggiekoch187]

DUDE! I so appreciate this video. I just spent 10 days in Chile filming paragliders and got home and thought all my footage was useless. I filmed it in Prores HDR, and no matter how hard I tried, it looked like CRAP in DR. I spent hours tweaking the settings. Nothing! I was so depressed. Then, I followed your steps in the last third of this video, and now all my footage looks AWESOME! I don't have money to send you, but I owe you my sincere thanks just the same. Could not find ANY other videos that covered the issue/workflow from Prores HDR to a proper DR workflow. Thanks!!! You're the man!

[@MoonlightSocial]

Ordered one of the Ronin 4D and was prepared to be very annoyed with the editing workflow for ProRes RAW (or just cross my fingers Blackmagic would finally relent). This is a HUGE step in a positive direction. Thank you for the video!

[@TwoJaxSB]

Sydney, as a new F6 owner trying to find my path forward in kitting out the camera and then working in DVP for all post, your video is a revelation. I rarely, if ever, leave comments but this one deserves all the thumbs up. Thanks, mate.

[@brown2840]

The benefits of braw far outweigh any technical argument as to whether it's true raw or not. In the end quality and efficiency is all that matters. Try playing one of their 12k braw samples in resolve and feel how smooth it is to play, scrub and grade with all the latitude you'd expect from "raw". A freaking 80MP video. Then try to play that same clip inside Premiere and it'll feel like your computer is going to catch fire. Black Magic is the only company in the industry that builds the hardware, the software and the file format, and they all have been tuned to work in harmony. I will say I appreciate all of the questions you pose and your knowledge is incredible, but imo 99.9% of people won't know the difference between braw and prores raw. I wish more people would not get so stuck on technicalities and just use a solution that streamlines your work and creativity. For me braw was a game changer personally.

[@sidneybakergreen]

I get what your saying, but your missing the point. Which is why I take the stance I do. Everyone is so caught up in what brands have done, instead of realizing that there’s a world of much better solutions that haven’t been explored because of the patent. I didn’t say BRAW wasn’t good. I said it isn’t raw. The name in and of itself is cognitive dissonance. But maybe you’ll understand it better this way. Imagine what BRAW could be without the RED patent. 🤷🏾‍♂️

[@brown2840]

@@sidneybakergreen good point! :)

[@TheJonathanLugo]

My goodness, Sidney! Despite the thousands of KZbin videos in existence, it is always surprising to find someone with such mastery in a topic. You are one of those extremely rare super-experts. Thank you so much for sharing your knowledge with the rest of us!

[@johnthered0]

hes awesome - subbed and liked

[@baharam98]

This was a life saver for me. Been looking for a video like this for a while and now I've found it. Thank you.

[@eversparx]

Love this detailed & helpful walkthrough! I was the first Apple store reviewer of this awesome software and was amazed when later testing against proRes 422 at just how much latitude there was in the highlights, expanding effective DR a bit. I had just noodled around trying different settings to access BM Film highlight recovery (not fully knowing what I was doing, ha!). It worked, but looking forward to trying the settings you helpfully detailed! Cheers

[@sidneybakergreen]

Another note on performance, as I was exporting this video (full grade and noise reduction) I exported at about 16.5FPS which is about my same speed as ProRes 422HQ. :) Also, here is a link to Nikolaj video on how to use the Raw Convertor: kzbin.info/www/bejne/a6S2foGvr89kqck

[@johnthered0]

Sidney - your a pleasure to listen too , a genuine treasure in this information space . A natural speaker , emotive but not overtly demanding yet seductively reassuring . Finishing your stream I felt like I and my 6k pro ress RAW Anamorphic x2 desqueezed footage had been hugged back into the warm embrace of Resolve . Im at peace.

[@matthewleibrock4414]

Man I love my BMPCC OG for that raw cinema dng and prores. Videos like this really make me appreciate it even more.

[@sidneybakergreen]

Cherish that camera man! Also thanks for the love on the video :)

[@cameramaker]

Very nice overview of the situation! Just a note on the Sigma FP - it records internally as uncompressed (you can see that easily by the constant file size), so its out of scope of the RED patent

[@sidneybakergreen]

Thank you for that clarification. I don't know if you could tell, but I second guessed my self on the FP. I was about to say it was uncompressed, but I wasn't quite sure lol. I did know it had it though!

[@tylerrowe2798]

Was so stoked to get this going but was disappointed to find out that RawConverter does not support files from my Ninja V shot via my GH5s.

[@videoben1363]

Nope, no lumix cameras. I'm sad too

[@xtAqHNpFg]

U R a gift! Thank you ever so much for a splendour of explanation and conciseness. Subscribed.

[@torquefilms]

This helped more than you can imagine! Thank you!

[@Carsonous]

I love how much you know your stuff. Subscribed! I'm excited to see where you go.

[@AlecEagon]

Thank you for making this super high quality video, Sidney.

[@FlingerFilms]

Uh oh.. Gerald Undone.... Sidney is droppin' knowledge at speeds that require half speed. Seriously.. Thanks for the post. Immediately subbed and rang the bell.

[@pognerebkofilm]

I wrote to Gerald and he replied that he didn't have a Mac :D

[@FlingerFilms]

@@pognerebkofilm hopefully he gets one for testing and name drops Sidney. 😉😋

[@ryanowen1118]

So glad I found your channel! If you are ever in Ocean City MD let's grab a beer.

[@NickMirro]

Now flipping from PQ to native. Makes perfect sense 🙂 Your video is game changing too!

[@alexcaminiti]

Thanks so much for making such a detailed and well assembled/laid out video. Appreciate the work you put in! Thanks!

[@DonnyWesthouse]

This is great news! Was really hoping this would be possible one day! Thanx for this tutorial.

[@GarrettWare]

Sidney, this information is so valuable! Thank you thank you for taking the time to break down the workarounds. I recently shot a project for a retainer client and did it in ProRes RAW on the Ninja V to see if it would benefit my Lumix S5 and was beating my brain out looking for the proper workflow in Resolve haha Much love from east Tennessee!

[@Puppetsinmyhead]

Wait what. The app doesn’t have s5 support?

[@lukaskahn3715]

Who did you do that? I have a S1 and can't use the app. :)

[@gilgoncalves2304]

​@@Puppetsinmyhead yep, the app does not support s5, I really would like to know how him did it

[@BRollBenny]

Subbed... I don't even want to talk about how I got here, but your channel is legit AF

[@xtAqHNpFg]

I cannot emphasize much more how marvelous great splendid exceptional the video is! I checked it once again randomly searching info regarding ProRes Raw workflow with Davinci Resolve (on Apple macbook) in February 2024... Alas nothing changed as I understand.. we have to use intermediary conversion to Cinema DNG on 3rd party converter.😢..

[@KenDigital7]

Whew. I'm in the process of getting an FX6 from a local camera store (waiting on it to arrive). I've been looking into adding an external recorder as well, and this is where I started to see how inconvenient it is shoot RAW with Sony cameras and also edit in Resolve. I honestly would prefer to get the Blackmagic Design Video Assist monitor instead of the Ninja V or Shogun, but doing so would automatically restrict me from even being able to shoot RAW with the FX6 (I just would like the option! at least). However, I do have an old Macbook, so this workflow is something that provides an alternative for me. Thanks for sharing!

[@vacmagic]

The patent states " output the raw mosaiced image data at a resolution of at least 2 k and at a frame rate of at least about 23 frames per second; " So there would be no restrictions under 2k. So a if a 1999k raw format was available the manufactures could do anything with that. Patent is valid to April 11th 2027 so free for all after that.

[@AlexDoesYouTubes]

9:18 Maybe I'm doing something wrong, but when I convert PRR 6K from the E2-S6, my 7:1 compressed CDNG files are slightly larger than the PRR input file. Using the windows version of the Raw Converter app.

[@skinsfreak88]

Love this video! Fantastic info. I'd love to see a video de-mystifying working in color managed color spaces (or if you have any resources to understand it better)

[@CREATEBEYONDBOUNDARIES]

Thanks Syd this vid was great Definitely going to check this out

[@kennethgooswit3697]

We need BRAW INTERNAL REORDING IN THE GH7 instead of prores raw. With Voucoder and resolve studio you van import. Export prores raw in resolve

[@sidneybakergreen]

BRAW isn't real raw.

[@charliemcgrain]

Great work, brother. Many thanks.

[@filipmarchal1220]

Hi, I have Lumix S1 with Ninja V+ and M1MAX Macbook. I downloaded RawConverter, but this app doesnt support S1. Can you have recommend any solution? Thanks :)

[@megavideopowermegavideopow8657]

Wasn’t the original Blackmagic small pocket cinema camera Cinema DNG?

[@KallusGarnet]

Yes

[@sidneybakergreen]

Yes sir

[@faithhouse6111]

God bless you for this highly informative piece. Thank you for the education you just gave my wife and I.

[@sidneybakergreen]

Glad it was helpful! :)

[@DastanZhumagulov]

Hmm, although as a ZCAM S6 owner this is tempting (shooting Raw instead of conventional ProRes), this would probably only work for one-man band shooters or productions that do everything in-house. As a freelance commercial cinematographer I can't imagine explaining this pipeline to every DIT, editor or colorist on every project, not to mention burdening them with extra hassle of transcoding all PRR files to CDNG. Actually, shooting BRAW posed very similar issues as editors kept having problems with clip timecodes swaying in Adobe Premiere. Well, too bad for us - end users, indeed, that we have to suffer from patent/licensing wars.

[@sidneybakergreen]

Honestly, I am not quite sure I feel the same way. The only roadblock I see at the end of the day is not having access to a Mac. And if you're working with a DIT on set, and constantly handing off drives for the footage to be saved and wiped, then conversions can happen during that time. Especially when on the higher end M1s you're getting about 3 seconds of footage for every one second of time. Assuming you have a reasonable number of drive on set, as you should, this again shouldn't be an issue. This is the workflow we are using on the current production I am DP on. What it would come down to is communication with respect to the on-set workflow, and the willingness of your team to get the best image possible. And even if you're doing it in post, simply using the converted footage as the hand-off to the Editor and colorist should be the way to go. Conversions should always happen first because it can make things messy when using an EDL or XML to round-trip (ie. Premier Pro to Resolve) Colorist and editors should also be competent enough for this workflow. It's honestly no different than using media encoder. Furthermore, a competent colorist should be able to understand why this color management pipeline is the way it is. This color management setup is similar to the proper color management pipeline for R3D. On the burden note, I could understand if it was a process that you had to do manually, but unless you're cutting every production down to the wire on time, this is a drag, drop, click, and go enjoy a cup of coffee process support.red.com/hc/en-us/articles/360057729654-KOMODO-Recommended-R3D-Workflow-for-Blackmagic-Design-s-DaVinci-Resolve

[@toddpeterson5904]

Now that Nikon bought Red and thus now own the internal RAW compression patent, I wonder if Nikon will license it and we'll see the end of the requirement for an external recorder? I sure hope so

[@FelixCervantes]

RED also has licensed to many manufacturers already. But nobody will get all the features. That is why the RED R3D files are the best. I would expect Nikon cameras to incorporate the RED patent but not other manufacturers.

[@JoaquimGonsalves]

I'm new to ProRes RAW as well as DaVinci. Thank you!

[@matrimonymedia7770]

You have the best desk setup! Do you have any desk/office tour videos?

[@sidneybakergreen]

Yes, it's on the channel about a year ago! Also, I will have a new studio tour coming soon!

[@Bast6]

Actually, only BRAW is not « real raw ». Canon Cinema Raw Light and Sony X-OCN are as « true » as Redcode Raw. Canon is paying fees to Red (+ Red licences Canon’s technologies regarding mounts and lense data). For Sony, both Red and Sony violated each others patents and they settled. Actually, Sony never calls X-OCN « raw » but « Original Camera Negative », but it is basically the same 16 bit compressed raw codec than the new version of Redcode Raw.

[@ggdfggdfgdffgfddg34]

And how do you fight lens distortions in a rav, the rav gives everything as it is. If it's an anamorph, how do you fix the distortion, it's very difficult?

[@lombardy3274]

Great video, I love the quality from my Sigma fp CDNG files. Could you help me understand more about color space and why it is set to DaVinci WG in the project settings and if we are bypassing Blackmagic Design in the raw settings?

[@ShellyBHollis]

Great work my dude and thanks for information.

[@sidneybakergreen]

No problem :)

[@onthepathproductions6770]

I had a cam operator record some crucial footage at 25fps for a 24fps by mistake. So I need to transcode the footage because it is a nightmare to work with as I need to do some magic mask and other fusion work. I bought the app… but I’m not sure how one would use the CINE DNG for the export from Resolve 18.6.6.

[@jacobstone4real]

Not sure why the S1H isn't supported on this app..it was one of the first mirrorless cameras to have ProRes Raw.

[@AlecEagon]

The Ikonoskop DII Super 16mm Digital Camera has been recording Cinema DNG natively since its launch in 2008 :) It was the flagship Cinema DNG camera as far as I know. Obviously not the point of the video, but worth noting in the comments here that it is one of the main pillars of Cinema DNG history :)

[@vipadventure]

same with the Digital Bolex D16!

[@DiscoverwithDan]

Really great information presented succinctly and articulately. Thanks!

[@JoATTech]

Great video. Why YT recommended this channel so late!

[@ThePeterR66]

Great video, very clear. Thank a lot, from France

[@sidneybakergreen]

You are welcome!

[@darkknightwithanidea1845]

Just brilliant 🖋🎥👍🏻👍🏻👍🏻

[@GianlucaBusani]

Boss i have a problem with da vinci, it doesn’t import pro res raw videos I shoot with the Ninja V. Do you know why?

[@sidneybakergreen]

You have to convert them to CDNG using the Raw Convertor. Link in description

[@NikolajKrobaer]

Can you provide some CDNG clips for us to try?

[@olematonvideography]

hi sidney! do you know my my camera raw tab color space is greyed out and stuck to rec709?

[@PacoGNZ]

Man thank you much this was really helpful

[@legendjxli1266]

Is there any performance and export time difference between working in final cut with prores raw vs. working in davinci with converted cinema dng files? (macbook pro or max studio)

[@FelixCervantes]

Final Cut may be quicker but the results from Resolve are so much nicer. RED R3D files are the best out there and using ProRes RAW -> DNG gets you to so much closer to filming with a RED. In fact, I have a project coming up that I will use my old Sony FS5ii with an Atomos Shogun over my RED Komodo because the Sony has autofocus and I can use a shotgun mic. I will actually be testing the various modes on the FS5ii (Venice color or S-log3) and compare to the Komodo image.

[@onmyway1031]

Hey sidney, My camera raw tab is stuck on arri , And won’t let me use any of the features or change. How do I unlock it?

[@dja72]

Brilliant. Very helpful video. Thank you

[@marin_real_estate_photography]

Good video, but I don't think it is that BlackMagic is simply "playing politics." BMD makes money by selling HARDWARE, so they really want to encourage people to by a Video Assist. They really don't care that much about the $300 they make selling Resolve Studio. They want to sell cameras and video assists. So supporting ProRes RAW recorded on an Atomos recorder doesn't make financial sense for them. In short, don't expect native Resolve support for ProRes RAW any time soon.

[@sidneybakergreen]

What you just described is indeed the definition of politics with respect to business affairs.

[@sidneybakergreen]

Furthermore, based on the support cameras have for BRAW, I can't fully get behind the idea that they are pushing the Assist. Only 14 cameras support BRAW and the Panasonic lineup accounts for half of those. The hardware they are invested in are their color panels and post production equipment. No one even talks about the Assist... including Blackmagic. Plus, I don't think that we can overlook the fact that Blackmagic and The CEO of Atomos (Ex-Employee Juda Weber) really do have bad blood like a Taylor Swift music video lol. I do appreciate your thoughts though don't get me wrong lol

[@leveluppictures5794]

Awesome stuff, thank you for the info!

[@JBastio]

Hey Sidney, I just started out in cinematography almost by accident, at the start of the pandemic, bought a lot of wrong gear, and made some stupid investments however I learned a lot. I realize that I still suck but I'm getting better. Just want to say I really like your channel thank you for the detailed explanations, you are truly a technology artist and I know you have a passion for this art form. I'm also in the technology music space, had a long history making music, mostly records in the 80s and 90s and had a big production company. I later got into the manufacturing side making my way to Avid (running Product Management for M-Audio) and most recently doing the same for a company called PreSonus, recently acquired by Fender Guitar. Hey if you want to send me over some footage I would be happy to compose some music for you.... you see I do all this for fun now.... when I can find the time..... Anyway, was wondering why you have embraced the Z Cam F6 for your main camera? I have a BMPCC 4k, 6K, Lumix GH5ii, and a Sony a6500 (that I don't use that much anymore, need to sell it). If you have a video specifically about it please forward the link. Keep up the great content and thank you! Cheers, John

[@tompotter8748]

Since the patent prevents undebayered compressed raw internal to the camera, the external monitor will be required for true raw right, with the one exception of the uncompressed CinemaDNG of Sigma fp? Any internal ProRes RAW must still have been debayered already, yes? Wondering how much information is lost without true raw, how much that impacts the workflow, and whether internal ProRes RAW is as good as inter BRAW or other formats.

[@sidneybakergreen]

ProRes Raw is non debayered regardless

[@JerzyCarranza]

Drop the intro, and BAM retention time would go wayyy up

[@JaymesMedia]

👏🏼👏🏼👏🏼👏🏼 Great job

[@sidneybakergreen]

Thank you man! I can't wait to continue this series and breakdown workflows a little more! This is a lot to unpack in one video 😂

[@whiplash9823]

I guess the political battle still rages. I am hard pressed not to consider your MacBook purchase as falling right into line with Apple's intended direction. There remain hopefully a couple of possible solutions for those of us heavily invested in our Windows based PC's: either Davinci Resolve adds PR Raw support, or Adobe builds it properly into Premier. Personally I believe BM would sell a ton of Davinci Resolve Studio licenses if they added support for PR Raw. You made a very true statement in that these battles ultimately just hurt the consumer. Great video, very informative!

[@sidneybakergreen]

I mean I don’t see it as too much of a win since it’s just an Air, and you can use a lot of older Macs from eBay that support OSX 12+. You may have a point though 🧐 at least I didn’t buy FCPX 😂

[@coloritstudiola]

I don't have a Bypass option in input color space (12:10) how to be ?

[@trillionzproductions5608]

same

[@sidneybakergreen]

Same as timeline

[@videoben1363]

Here's something really fascinating. If you suggest to hardcore Resolve users that BMD should implement ProRes Raw in Resolve, they will literally start attacking you, calling you and idiot and all sorts of things. They're irrational about it.

[@itswrongtokillanimalsifyou2837]

It's a given that us users want ProRes RAW support in Resolve, but it's also a given that a company isn't just going to open the gates to its competitor. Make too many decisions like that and there won't exist a Blackmagic anymore. There's a practical limit to how far a company can cater to its customers' wishes.

[@WanderlustWonderscape]

New subscriber earned. Well done.

[@Sir-Kay]

When do we do the DNxHR 444 or DNXHR as opposed to just leaving it at H264? Secondly, what's the difference between H264 and H265? And lastly If I shoot 10bit Log V3 profile in Filmic Pro on my Iphone 14 Pro Max (of course graded)what export settings is best for me and what settings is best if I decide to shoot in Iphone Prores?

[@JaspreetSinghArtist]

I am wondering how N-Raw/TicoRaw is going to work. and different it will be compared to B-Raw.

[@sidneybakergreen]

Same actually, you wrote this comment the same time I got a text about it lol

[@JaspreetSinghArtist]

@@sidneybakergreen do you got any info about N-Raw/TicoRaw ? because Nikon haven't released firmware update for Z9. but its kinda good strategy for camera manufacturers they can get rid of atomos ninja lol

[@secureyourwig]

I'm new to Apple ProRes Raw and my footage is pretty grainy, even at the lowest ISO. I'm using a GH6 with a Ninja V+. Is it normal for Prores Raw to be grainy or am I doing something wrong? Thanks!

[@LeaperiteProductionsLLC]

It is normal, you have to go through post processing to reduce the noise as other compressed formats deal with compression in camera... Raw requires it from a computer so therefore you can get better results although takes more time as you have to use an editing program.

[@secureyourwig]

@@LeaperiteProductionsLLC thank you!

[@shadial7808]

@@LeaperiteProductionsLLC what do you use/recommend for removing noise? Thank you so much.

[@traolachomurchu1469]

Great instruction, thanks a million.

[@jeremyleonbarlow]

I mean Blackmagic Design has their own line of RAW Cinema Cameras that they give a free license to DaVinci Resolve Studio with whose sales they have no reason to cannibalize and the BMPCC 4K and BMPCC 6K and even the Black Magic Ursa can be cheaper than most competitors. It is certainly less expensive to use an SSD enclosure with USB-C connected to the BMPCC 4K than any of these options with an Atomos and purchasing a MacBook just to convert a file to CinemaDNG RAW. Black Magic RAW had the added advantage of being smaller than ProRes in terms of file sizes most of the time too.

[@seanmartinflix]

I cannot find a video that compares the difference in quality when compared to ProRes raw and ProRes 444 like obviously the raw is better but I'm just curious. Resolve supports 444 I use it for green screen. But yeah I'm just curious how much of a quality loss is there? I see a lot of comparisons out there between 222 and raw and h265 and others .. but ya anyone?

[@skymakai]

I've been aware of this for a while and agree with everything. Great tutorial. Just a note, your intro volume is waaay louder than your main program. Maybe turn down the intro or compress your VO so your intro doesn't blow anyone's ears or speakers out after they turn up the volume so much to hear you.

[@sidneybakergreen]

Out of curiosity, how did the main voice audio sound? I've been finding that what I hear in studio isn't translating the best

[@surf2summitadventure646]

Voice audio is fine. Intro is definitely much louder.

[@trelstudios3068]

You are the f’ing man Sidney. Nice job on this video thanks!

[@TheRealJesusWolf]

Very good Video! Got a new subscriber :-) Thank you!

[@sidneybakergreen]

Thank you!

[@desilence_]

Great find - thanks for sharing.

[@TheFalconking]

Great video Sidney. I think Ipm doing something wrong, because in the color tab of my resolve´s prefferences I don´t have the Bypass option. I´m using resolve 18. what can I use instead ?

[@sidneybakergreen]

Same as timeline

[@MaxRovensky]

The sad thing about the whole RED patent thing is that their bulls*t format isn't even really raw Redcode is basically just a sequence of JPEG-2000 frames in a tar archive. They got it to a point where it's "visually indistinguishable" and called it a day

[@sidneybakergreen]

Shout out for calling out the fact that it is just a stream of JPEG 2000 with some fancy wavelet compression. We’ve come so much farther from technology that was create it in 2003, but can’t vans because of a patent that really is a proprietary technology

[@MaxRovensky]

@@sidneybakergreen it's one of the reasons I dislike RED as a company quite a bit Like, yeah, their recent sensors have nice range and good color, but the company is the definition of "fake it till you make it" They took a sensor that wasn't theirs, interfaces that weren't theirs, shuffled some connector pins around, put it together with components that weren't theirs and the software that mostly wasn't theirs and now they get to stop the rest of the industry from genuine innovation

[@joyoffilming9500]

Excellent Video!

[@Max-fy4rc]

Hi Sidney, thank you very much but i'm afraid to be honest. At 12:53, when you set your Color Space to Blackmagic Design, does it works for all camera brands, gamut/gamma settings? Is it really universal, one click and boom, my Sony FX6 ProRes RAW will look just like it should? Thank you very much

[@sidneybakergreen]

Yes! The reason being is raw isn’t confined to color space and gamut. It can be interpolated in any form because it’s a set of data. Log video is originally raw but it’s processed to a color space and gamut in camera. The NLE is doing the processing and it can be done however you want within the confines of the limitations of the NLE

[@Max-fy4rc]

​@@sidneybakergreen Okay! Got it, thank you Sidney. I would have another question mark.. Without changing my Project Settings, i imported the cDNG sample (made available by Nikolaj Pognerebko) into Davinci Resolve and it worked fine. I recovered the highlights and graded the sample. Can you explain why is it important to change our Project Settings? Versus keeping those settings native.

[@pognerebkofilm]

​@@Max-fy4rc It is not important. It is about your workflow and style. I am prefering BMD Film gamma too because linear curve is without any highlight/shadow rollof. But it is up to you. There is no "correct way" all ways are +/- correct.

[@retlwiz]

Interesting new development. By the way, I am pretty sure the UMP G2 never was able to use Cinema DNG. The “G1”, which I have, can do it, by installing the old firmware, before BRAW. Otherwise I am disappointed that there is no ISO control in this new decoder, as I use this a lot in post when using BRAW. I hope this is something that could come in the future.

[@sidneybakergreen]

The lack of ISO adjustment is disappointing, however the exposure control does the same thing with CDNG. So all you’re losing is knowing what iso you shot it at

[@yueshen9606]

The App still not support Lumix S5 raw files, which is sad. It support GH6 but S5...

[@TheGeoDaddy]

Question: I converted a short ProRes RAW clip to CinemaDNG (on my MacBook Pro running Monterey 12) that was shot on my Nikon Z6 that I want to Color Grade in DaVinci (which I have yet to installed on my new ProArt laptop (running under System 11) The output is _000001 thru _000299.dng files - each 8.4MB - so are they meta-files that are imported into Resolve as a “group”??? If not, what’s the next step in processing this - single - video clip?

[@sidneybakergreen]

Watch my recent video, and let me know if you have anymore questions :-)

[@TheGeoDaddy]

CORRECTION: those were actually frames… not metadata.

[@OhDearBabajan]

This is the only recent video I found related to this topic, so thank you. I was just wondering if you had any insight on ProRes Raw vs Nlog lol... or rather, ProRes Raw color grading vs log in terms of quality

[@roehaus1]

Hey Sidney. Another great video! Two points... According to Nikolaj, this convertor is also available for windows and why not just record in CDNG and skip the conversion process?

[@sidneybakergreen]

It just came out for windows a couple of days ago. The patent that I mentioned would be the reason.

[@stevejones01]

The Ninja v is shipping with a full version of Scratch Assimilate player pro which transcodes PR RAW to ProRes on windows. Previous Ninja v owners can get it for 99 dollars (I think there is a deadline for this deal). Does this do the same thing? Is a raw to Log conversion the same thing. I bought a M1 MAC mini (also) and FCPX so I could transcode my ProRes Raw files to a LOG conversion. Now I do it with Scratch Assimilate player pro all on my windows machine. Is the RAW to DNG process better? I still need the transcode step regardless, correct? Is the purpose so we are able to work in a bigger color space?

[@sidneybakergreen]

No. It doesn’t transcode to another raw format which is why I never talked about scratch. It just transcodes you another flavor of ProRes or H.265 or whatever codec you’d like

[@sidneybakergreen]

So yes, this process results in a more powerful images and you maintain the actual raw aspect

[@buhce5]

The app is only available on newer macs OS16 which is useless for windows users which is why a lot people aren’t talking about it

[@sidneybakergreen]

I specifically mentioned this in the video.

[@buhce5]

@@sidneybakergreen no one else is, anywhere. It’s utterly useless for a lot of us.

[@sidneybakergreen]

@@buhce5 That’s not correct. CineD made an article about when it first launched. The problem isn’t with the app, but the fact that you’ve boxed yourself in to windows OS and only windows OS. And that honestly doesn’t make sense when my statement mention were toward creators, most of which use Mac 🤔. I’d recommend investing in more than one OS.

[@wildpatagoniafilms16]

Very detailed video. Thanks... question: Planning to shoot some footage with the R5... planning to use to Ninja 5+... so 🤔 you saying that therte is no point to get the Ninja 5+ and use this converter instead....? (in other words the Atomos is kind of a waste of money ..?). thanks! cheers!

[@sidneybakergreen]

The Ninja 5+ is actually worth it in this case because of the 8K. However some cameras don’t benefit from the 5+. The R5 does. You’ll still need a ninja to get pro res raw and the use the raw converter.

[@wildpatagoniafilms16]

@@sidneybakergreen thanks!

[@pepebenitezruiz]

yes, but Sony A7III has autofocus continuous, sens stabilized, high perfomance in high iso, etc...

[@itsathingimagery]

Does the file name change affect relinking to proxies in Resolve? Noticed a bunch of numbers are attached to the cDNG files after conversion. Cheers!

[@magic2253711]

Wow! You're right, it is strange nobody else has been talking about this application. Thanks for the information! Is there a reason why you prefer lossless over the 3:1? I'm not noticing a difference visually between the two. 5:1 compared to 3:1 seems to be an obvious change to the image. 3:1 seems to be the best of both worlds, no? You get the compression in file size without the noticeable loss of image quality. Perhaps just preference. Love this!

[@sidneybakergreen]

It just converts a little quicker for me lol. I have also been using 3:1 as well for size purposes.

[@magic2253711]

@@sidneybakergreen Hey, been working with the ZCam and this software. Works great. Been wanting to pickup a GH5s as a b cam, but noticed it's not a supported camera for the converter application. Just curious as to why it requires specific supported cameras? Isn't proresRaw just a codec regardless of which enabled camera shoots it? Why would there be a restriction on camera types converting proresRaw to dng?

[@redbeardproductions-kevind9806]

I think I'm finally going to learn DaVinci

[@sidneybakergreen]

Make the move my friend 😭

[@zoanyway]

Fantastic! But what makes you think ProResRaw will eventually be in-camera? Wouldn't that also violate the RED patent? Or are we talking about... waiting for the RED patent to expire?

[@sidneybakergreen]

There’s a number of solution: ProRes Raw modules are an option, similar to Sony raw and ARRIRAW. The DJI 4D does it internally based on design. Also, since apple already pays royalties, it’s uncharted waters about internal PRR; however, I do feel like there’s a possibility we will see it coming soon. There were a number of cameras that were going to have it internal and Red didn’t sue over it but rather CDNG, which is funny because DNG existed first. And yes, when the patent expires it will be interesting.

[@DanielScottFilms]

@@sidneybakergreen When Red's RAW compression patent expires in 2028, i'll bet by then there will be some sort of efficient codec will be created that doesn't even require compression. I mean, that's the whole point of patent expirations - to encourage innovation. So hopefully we'll see something come around before 2028.

[@sidneybakergreen]

@@DanielScottFilms you’re right! In addition, I think all forms of raw that manufactures have will also drop the in camera processing as well.

[@Diminish12]

Do you have a Sony Camera? Have you tested this ProRes raw conversation VS XAVC All-I? In color, grain and sharpness? Raw images I've seen are usually slightly sharper but way noisier with better contrast. I use XAVC cause it's less taxing on my Mac and 10bit vs 12bit colors is minor and Raw does not offer more dynamic range.

[@adamleatherbarrow4229]

Hi Sidney. Thanks for this video. It has actually helped me a lot. Do you know which compression ratio is best as I am struggling with the file sizes of the lossless option. When I tried to render proxies of the lossless in Davinci it is crashing my 3080 GPU. I am wondering if the 5:1 will actually still be good quality and play well in Davinci. Thanks mate.

[@sidneybakergreen]

I use 5:1 & I use losses and I don't use proxies. 5950X RTX3080

[@larryFWD]

Hey man, thanks for the helpful info. I was just wondering if there is a solution that works the other way around from the same app (i.e. DaVinci RAW to ProRes to use on FCPx)?

[@sidneybakergreen]

ProRes Raw works in Final Cut Pro X so there is no need for a work around. DaVinci Resolve doesn’t have raw

[@BD323]

Super helpful, thanks! Any idea why "bypass" would be missing as an input color space for me (17.4)? That Raw Convertor guy should be giving you a comission. :)

[@pognerebkofilm]

It called "same as timeline"

[@TravelCarre]

Nice video man! I still have a doubt tho: even if converting directly to prores 4444 makes you lose all the raw data you've captured, why can't you just do the basic corrections (iso, temperature, exposure) in Final Cut Pro (that has full raw support) beforehand, and only after that convert to prores 4444. You may bake in those adjustments when exporting but at least you've got the ISO control panel. Please let me know if I'm missing something

[@sidneybakergreen]

Great question! From my perspective workflow wise, I find that I like to go back and fine-tune adjustments. Therefore, while I may do an initial grade, after getting through something like a feature film, I find myself going back a lot and making tiny adjustments for continuity. This is very important if I am doing a day for night grade. While I may initially choose a color temp, I'll often go back and refine it as I grade. This would mean that I'd have to go back and re-encode another temp adjustment in FCPX. IMO, this is no different than simply trying to shoot it right in camera with no wiggle room. While this isn't impossible with 4444, you don't have the same fidelity as raw. Furthermore, if you transcode all of your footage before you start working on the edit, you'll have a much easier time with your EDL or XML when round-tripping to resolve. You're also not just losing that raw data, but also losing anything over 12bits that your sensor can capture color wise. ProRes Raw has no bit limitation, and CDNG is a 16bit container. Meaning if your sensor has a 14 bit stream, you won't lose that in conversion. Also, it can be argue that ProRes 4444 is way bigger than some of the compression options on CDNG. Furthermore, FCPX is more expensive than the raw convertor for those who don't use FCPX at all.

[@Sir-Kay]

I know you know your thing when it comes to Resolve. Could you help explain step by step how I can import my Iphone 14pro max DNG photos into my Davinci Resolve Timeline? It says Media Offline. I don't have any issues with my jpg,jpeg, PNG etc but, the DNG which is I guess RAW files, can't be imported, please help.

[@sidneybakergreen]

Try opening them in Photoshop and exporting them in photoshop then importing them

[@Sir-Kay]

@@sidneybakergreen I don't have a Photoshop. And besides, what will that do, would it have undergone some sort of conversion by doing that or what?