Now that practically every manufacturer on the planet – including DJI, Fujifilm, Z Cam, Kinefinity, Canon, Sony, Panasonic, Nikon and Sigma – has adopted ProRes RAW, it appears exceedingly unlikely that the a7s II successor will shoot internal RAW. Zero percent chance in fact. Especially as even the FX9 requires a $3,800 upgrade and an external recorder to capture RAW video. Which is baffling, since Canon’s C200, which costs half as much as the Sony, shoots internal RAW. As of this writing, the only option for those requiring ProRes RAW internal is to purchase a DJI drone! hehe Many more cameras will be hopping on board the ProRes RAW bandwagon in the coming six months.

As ProRes RAW looks poised to vie with ProRes as one of the post-production industry’s most popular codecs, it is expected that Apple will at last unlock WB and ISO metadata in Final Cut Pro.

We do not want H.265, which must be transcoded to an edit-ready codec prior to grading. On the other hand, ProRes and ProRes RAW files may be seamlessly imported directly into Final Cut Pro and graded immediately on any machine without tedious transcoding. On the software side, Premiere Pro, Avid Media Composer, Edius and Final Cut Pro all support Apple’s latest codec.

2 thoughts on “Hopes Dashed

  1. Recording 4K & UHD ApplePro Res 10bits 4:2:2 directly in the camera would be already a very good point.
    I agree with you, H265 is impossible to edit (lumetri, etc) without proxys, even on a high end computer configuration.

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