ProRes RAW HQ vs. ProRes 4444

With the new M1 Macs, transcoding to ProRes 4444 from ProRes RAW is blazing fast in Compressor and it’s visually lossless to boot.

2 thoughts on “ProRes RAW HQ vs. ProRes 4444

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  1. Enjoying reading your site, keep going 🙂

    I’ve started using RAW lately with my Sony A1. I’d be interested to see your advice on NR settings in Resolve for handling RAW as it seems an essential stage.

    On a different point I’ve seen you use S-Gamut and S-Gammt3cine for RAW – which do you prefer and have you compared how these map on the vectorscope ultimately for accuracy?

    1. Thanks, Den. My advice is to use as little NR as possible. Be wary of YouTubers who say to enlarge the image 999%, then obliterate noise with NR followed by adding a wallop of sharpening. Use NR sparingly. The highlight tool in A/B mode in the viewer of DaVinci Resolve can reveal whether important detail is being affected. If you’re a Final Cut Pro user, start off with NR on low, no sharpening and evaluate the uploaded YT picture standing a couple of picture heights away from a 55” TV. In HDR, noise in the shadows will be masked by any strong highlights, so cover them with one hand in front of your face as you inspect the near blacks. Here’s a video I made comparing the different NR/sharpening options in FCP: https://youtu.be/sGJ4BbiMD1I.

      S-Gamut3cine is overwhelmingly the choice of most filmmakers but I’ve never managed to get it to work properly so I use S-Gamut3. In either case, I’d recommend shooting an X-Rite Colorchecker and using Hue vs Hue and the vectorscope to correct the colors. Sony cameras nail the rec.709 color space, not so much when it comes to HDR WCG.

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