Atomos, Panasonic, Support New Apple ProRes RAW Codec

Apple has added a new format to the ProRes codec family, with support for raw data from the sensor. Coincident with the announcement, several vendors have announced support including Atomos (Shogun Inferno and Sumo) and Panasonic (for the EVA1 and VariCam LT cameras). The big advantage to using RAW is that the data rate is essentially one-third that of the deBayered RGB data. The codec forms part of the newest update, 10.4.1, to Final Cut, and also include closed captioning tools.

ProRes RAW files can be imported directly from Atomos Inferno to Final Cut on a MacBook Pro.

ProRes RAW files can be imported directly from Atomos Inferno to Final Cut on a MacBook Pro.

Apple has announced a new ProRes RAW format, supported in an update to Final Cut Pro X. 10.4.1. It allows videographers to record RAW rather than 4:4:4 RGB or 4:2:2 Y, Cr, Cb signals with the attendant saving in bandwidth and storage requirements. Final Cut Pro editors can work natively with ProRes RAW and ProRes RAW HQ files created by Atomos recorders. 

Atomos

The format will be available as a free update for owners of Atomos Sumo 19 and Shogun Inferno devices. Once installed, it will allow the capture of RAW images in up to 12-bit RGB— direct from many of the world’s most advanced cameras onto affordable SSD media.ProRes RAW files can be imported directly into Final Cut Pro 10.4.1 for high performance editing, color grading, and finishing on Mac laptop and desktop systems.

Shooting ProRes RAW preserves maximum dynamic range, with a 12-bit depth and wide color gamut - essential for HDR finishing. The new format, which is available in two compression levels — ProRes RAW and ProRes RAW HQ — preserves image quality with low date rates and file sizes much smaller than uncompressed RAW.

Panasonic

The Panasonic AU-EVA1 Compact S35 and the VariCam LT cinema cameras will have support for their RAW data outputs in the new ProRes RAW recording codecs. With the new EVA2.0 firmware, the EVA1 can output 10-bit Log-encoded RAW data in 5.7K up to 30fps, 4K up to 60fps, and 2K up to 240fps. From the VariCam LT, the Atomos recorders can capture RAW data in 4K up to 60fps and 2K up to 240fps. There are two variable bitrate levels of ProRes RAW being introduced. ProRes RAW HQ and ProRes RAW record at similar data rates as their ProRes video counterparts. This efficiency allows RAW data to be stored in similar memory space as common video files, and Final Cut Pro X can edit and color natively in RAW on a MacBook Pro. ProRes RAW files will also output from Final Cut Pro X to video finishing formats faster than other RAW formats. And Final Cut Pro X now includes increased color correction controls plus support for 3D-LUTs such as Panasonic’s V-Log-to-709 image transform, included in the app.

Captions can be attached to video or audio clips in the Final Cut timeline, so they automatically move with the clips to which they are connected.

Captions can be attached to video or audio clips in the Final Cut timeline, so they automatically move with the clips to which they are connected.

Closed Captions

The Final Cut Pro 10.4.1 update also adds closed captioning tools that allow video editors to easily view, edit and deliver captions from right within the app. Users can import closed caption files directly into their project or create them from scratch. Captions appear in the viewer during playback and can be attached to video or audio clips in the timeline, so they automatically move with the clips to which they’re connected. An all-new captions inspector makes it simple to adjust caption text, colour, alignment, location and more. Users can even create captions in multiple languages within the same timeline and easily share captioned videos to YouTube and Vimeo. And in the share window, a new Roles tab displays titles, video and audio roles in a single consolidated interface, making it easy to configure roles and closed captions when sharing.

Let us know what you think…

Log-in or Register for free to post comments…

You might also like...

Important!  Exercise Your SSDs (Like Any Other Drive)

Spinning disk (HDD) and flash storage (SSD) drives are nearly the same cost these days, so it’s no surprise that broadcasters are turning increasingly to SSDs for long-term storage of our most critical media files. But did you know t…

How to Choose the Fastest Memory Card for Your Application

Today, video and still cameras, tablets and even laptop computers often rely on memory cards for data storage. Each electronic device specifies a unique kind of memory and choosing the right card for the application can be challenging.

Field Report: Canon XC10 Camera

After twenty-five NAB shows I’ve developed a pattern of booths to visit each day. At NAB 2015 walking though a series of expensive C-series cameras in the Canon booth, I encountered a new species of video camera—the XC10. (Figure 1). It …

Avoiding Video Disaster When Using Flash Memory

Increasingly, flash cards are the storage media of choice for video recording. Though mostly reliable, a lot can go wrong with flash memory — most commonly human error in handling the media. An expert explains how to avoid catastrophic problems when u…

Maintaining Memory Cards for Professional Video Production

Flash cards for video production are an essential part of the production workflow. But how many videographers understand these vital storage components and care for them properly? This is a guide to treating video flash memory properly.