Support for ProRes RAW
Support for Apple's newest codec, ProRes RAW and ProRes RAW HQ
Hello ProRes RAW community,
as of today, you can start using ProRes RAW in Premiere Pro 14.2 (public release).
Thanks to the large group of people from this thread that helped us during the last couple of weeks in putting finishing touches on the implementation through our beta program.
More info on 14.2 is available from:
So Adobe have avoided implementing ProRes RAW and the superior Blackmagic RAW for a year. On the 13th Blackmagic announce an official plugin for Premiere (and Media Composer), so suddenly Adobe decides to do this on the 14th
This is wonderful to hear. We thank you for your teams hardwork and efforts into making this happen. I cannot wait for the new release!
James Stewart commented
Great. Keep up the good work.
christopher shivers commented
Wow so y’all will natively support prores raw, but when it comes to black magic raw y’all half a** it by letting black magic come out with a plug-in
Anne Doan commented
Please make #ProResRaw compatible with @AdobePremiere working on Final Cut Pro is the worst.
Mr Pro Res RAW commented
HURRY UP ADOBE.
Seth Goldberg commented
Patrick, please... be serious. Obviously there are technical issues, but since others have already implemented ProRes RAW surely Adobe is up the task. The more fundamental issue is a business/marketing one... does Adobe really want to support another piece of Apple technology. Default answer: no. But the next question is how many users will you lose if you don't support this one. Quite a few I would expect. So you will not be a first or early adopter, but kicking and screaming you will eventually have to the plunge. Why not sooner than later and keep people happy?
Apple has sued RED for their patent on RAW capability.
I guarantee that has been what’s stopping adobe from supporting ProRes RAW.
Adobe. Hurry the f up and announce when/what your support plan is for ProResRAW HQ.
You are failing a very large group of shooters.
It's been over a year since I purchased an FS5 mk2 (with 12-bit SDI output), and an Atomos Shogun Inferno. I was really excited about moving my acquisition format over to ProRes Raw. Since then I've been mostly making due with the internal low-bitrate 10-bit 4:2:2 internal codec for run-n-gun, and ProRes HQ for stix.
I installed the free edition of Resolve 15 and started kicking the tires. I was familiar with DaVinci 2K from telecine suites back when I started out in music videos. I remembered checking out Resolve when it was first presented at NAB, but back then (as I recall, could be off base in memory here), it required 4 Quadro cards and was primarily useful for working with RED footage, which at that time wasn't my world as I had switched to the games industry and was working with an HVX200 at that time. Resolve 15 with it's fully integrated suite kind of blew me away with it's responsiveness and speed compared to Pr, at least on my work workstation which was at the time a dual 8-core slower-clocked Xeon Dell 7910, 128 GB RAM and a GTX 1080. Without resolution independence I wasn't ready to dive into it for NLE work. But when a famous artist at work who has over 100K followers of his tutorial videos asked me for advice in speeding up his Premiere workflow, I suggested he try Resolve. He spent a weekend tearing it apart and immediately bought a full license and transitioned. He also transitioned his team at work for their dailies, weekly wips, and tutorials.
A couple of weeks ago at work, the Audio Director and I decided to purchase licenses for ourselves and my video associate. Nuendo will stay in our workflows for composition and sound design, the rest of the audio team will continue with Reaper and Ableton for live game stuff, but for non-VSTi video-related workflows we've started the transition to Resolve 16. Fairlight can properly address our PreSonus Quantum and Steinberg interfaces via ASIO instead of MME, Waves plugins work as they should without issue like missing presets, and we can run FabFilter, and Altiverb without immediately crashing. I'm also enjoying not having to force-run Premiere as an Administrator to prevent it from hijacking both my audio interface and my BMD Ultrastudio 4K every time that it crashes and can't be forced down in Task Manager.
Today I placed an order for a BMPCC 4K (with Resolve license) to shoot and do post on a music video next month. The co-director has been working in the free beta of Resolve 16 and is purchasing a license for this project.
I will still retain a license of Adobe at work as I need to access previous Pr projects, may still send clips to Pr to access transitions or other features that aren't yet supported in Resolve, etc., but the main use of my license now will be Ae followed by Lightroom-Classic only! I have no use for dynamic link as unknown render Ae quantities in my Pr timeline has never been viable. Integration of C4D into Ae was wise and appreciated, but Maxon took too long to integrate a GPU renderer, and I now have little interest in transitioning to a subscription service. I welcome returning to Maya for my personal projects for the first time since Autodesk ate A|W from the SGI vine, now that they're offering Maya Indy.
I know there's some bad mojo flowing between Atomos, BMD, Adobe, and Apple. I realize that the lack of response may be due to an agreement that went wrong and has trapped Adobe from being able to address support for ProRes raw due to a legal gag in their mouth. I do hope that ProRes Raw prevails--I was very happy when Adobe added write-support for the rest of the ProRes codecs to Pr. I understand that Braw is currently limited to shining as a raw format within the confines of acquisition as programmed into the firmware which takes full advantage of the hardware in BMD cameras. I still want ProRes raw support in Premiere and Resolve, and I hope to be using it as an acquisition format for both myFS5 m2 and for interfacing with UE4 via my BMD card. I also hope that Adobe's leadership is willing to see their whale status and realize that the admittedly great features that Adobe continues to innovate can't forever live on promises of renovating the underlying code from the ground up, and then sticking with the old foundation and relying on PR to pull them into the future taking a cue from Apple's devices division: "up to a 2x increase in graphics processing" (read: 2-3 apps have specifically optimized to reach a maximum optimization of up to 200% under ideal conditions, and before thermal throttling engages).
Perhaps the ideal situation would be for universal support of an open source solution. However, there's more money to be made from owning a format, be that Memory Stick, HD-DVD, etc. And on the other hand, open source formats that made great strides in adoption, ended up strangled by lack of innovation, such as OpenGL and OpenCL in the face of the speed of iteration in the privatized market.
Why are we still waiting for a clearly better codec to be supported?
Amazon is king because it gives the customer what they ask for...
People migrated to Premier because it offered that.
Don’t drop the ball.
John Murphy commented
ProRes Raw would greatly improved my workflow, improve quality, reduce storage and save loads of time. I am aware that Adobe and Apple don't get along but perhaps you could resolve your differences in service of your customers. Remember the fight between Edison and Westinghouse over DC vs. AC? Eventually Edison dropped DC in favor of Westinghouse's clearly better AC technology. At some point, better is better and worse becomes irrelevant.
Edius supports it now. What's taking so long Adobe?
Holly Tuckett commented
Many years later... I have grown grey hair waiting for you guys at Adobe to support ProRes Raw, meanwhile back here at Bikini Bottom I will be in my pineapple learning Final Cut and leaving your monthly subscription behind...
씨발럼들아 빨리 넣어줘 개새끼야
Currently on a feature shooting pro res raw.
Make an accounment or decision on support please.
To the last comment, you can’t just “shoot BM Raw”. A lot of us don’t utilize black magic cameras and BMD has a negative history with Atomos which is probably why they will never support ProRes RAW.
Apple took ages to share ProRes when it first came out and I guarantee we won’t see ProRes RAW on adobe until at least 2020 or 2021
James Powers commented
I still receive these notifications that people are upset and angry that Adobe has ignored requests for critical features.
Take my advice and save your mental health: make the switch over to DaVinci Resolve. It is an absolute game changer. Sure, there is a going to be a learning curve, but I made the transition and do not regret it.
Blackmagic Design has a proven track record of listening to user feedback and get this -- they actually integrate the feedback into new versions!
Sure, they don't support ProRes Raw just yet, but neither does Premiere Pro. I bet you Davinci Resolve will support ProRes Raw before Premiere and in the meantime, just record to BlackMagic Raw.
Lead a stress free life and make the switch over to Davinci Resolve.
Nicholas Lovell commented
This feature has been a request for over a year now... Would hope that we would at least have an ETA in all that time.