Pro Moviemaker Summer 2018



ProRes Raw: the new industry standard?

A new codec fromApple could bring Raw quality to the masses

A pple has revealed a brand new Raw codec for ProRes in its latest update to Final Cut Pro X that could revolutionise the quality of many of the latest cameras. Where ProRes has become industry standard since it was launched 11 years ago, shooting in Raw has become the holy grail of file formats as it offers the full signal directly from the camera sensor for the ultimate in quality and ability to change the file in post. Raw provides unmatched flexibility when setting accurate colour balance and in highlight and shadow details so is ideal for HDR. Until now, Raw files can be tricky to process, often taking an intermediate Raw processing software before footage can be edited. But ProRes Raw offers the quality and flexibility of Raw files, but is a very efficient codec that allows instant playback and editing in FCPX without the need for conversion before use. Demos of the software shows multiple 4K ProRes Raw streams can be run in real time on a MacBook Pro laptop. “ProRes Rawoffers the quality and flexibility of Rawfiles, but allows instant playback”

Monitor firm Atomos has developed the files in conjunction with Apple and is already offering ProRes Raw support in a free firmware upgrade to Sumo 19 and Shogun Inferno monitor/recorders. At the moment, the cameras capable of outputting Raw so that the Atomos recorders can convert it to ProRes Raw are the Canon C300 Mark II and C500, Sony FS700, FS5, FS7 and FS7 II, Panasonic Varicam LT and EVA1. And DJI will include ProRes Raw as a codec in its Zenmuse X7 cameras next month. As it’s an Apple codec, it only works with Final Cut Pro X at the moment but if pressure from users grows, chances are it will appear on other editing platforms. There are two version of ProRes Raw, the standard version and the higher- quality ProRes Raw HQ. The HQ files are smaller than ProRes 4444 files while the standard ProRes Raw files are similar to ProRes HQ which many filmmakers use. That’s a fraction the size of a full 12-bit conventional Raw file. The beauty of ProRes Raw is that it can be instantly edited in FCPX without any need for conversion. And as ProRes Raw files contain metadata that identifies the camera manufacturer, FCPX can apply the correct log settings during import. The colour space and bit depth depends on what the camera outputs over its SDI, whether in 10 or 12-bit. High frame rate Raw recording is also supported.

Atomos revealed the stealthy new Ninja V HDR monitor/recorder which is ideal for mirrorless and DSLR cameras. It NINJA UPGRADE

has a 5.2-inch anti-reflection screen and at 1000nits, is very bright for daylight use. And as it

weighs just 320g/11oz and is only around an inch thick, it’s ideal for smaller cameras. The £648/$695 Ninja V displays High Dynamic Range footage and you can load LUTs. There is a histogram, false colour, peaking, movable 1-1 and 2-1 pixel magnification, waveform, RGB parade,vector scope and eight-channel audio level meters. It records up to 4K 60p 10-bit video over HDMI 2.0 in edit-ready Apple ProRes or Avid DNxHR direct to standard SSD drives. The screen can also be calibrated to maintain perfect colour accuracy over time. It runs from one Sony-type battery and uses new compact AtomX Drive SSD drives or conventional SSDs in the Atomos Master Caddy II. Audio can be input directly from the camera via HDMI, or fed in analogue via a stereo 3.5mm line/mic socket . Expansion modules will dock onto the battery slot of the unit for advanced features such as continuous power modules and third party accessories in future.



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