• Blog
  • Calculators
    • Camera Bitrate Converter | Record Time Calculator
    • Diffraction Calculator
    • DoF Calculator | Lens Equivalent
    • Shutter Speed to Shutter Angle Calculator
  • Memory Cards
    • SD Memory Card Benchmarks
    • CFx Type-B Memory Card Benchmarks
    • CFx Type-A Memory Card Benchmarks
    • Memory Cards For Canon Cameras
    • Memory Cards For Fujifilm Cameras
    • Memory Cards For Nikon Cameras
    • Memory Cards For Panasonic Cameras
    • Memory Cards For Sony
    • SD Cards For GoPro
  • Accessories
    • Canon
      • Canon R5 Accessories
      • Canon R6 Accessories
      • Canon EOS R
      • Canon RP
      • Canon M50 Accessories
      • Canon T7i / T6 / T6i / T6s
      • Canon SL3 / 250D
      • Canon M6 II
      • Canon M5
      • Canon G1X III
      • Canon G7X III
    • Nikon
      • Nikon Z9
      • Nikon Z6 II / Z7 II
      • Nikon Z6 / Z7
      • Nikon Z50
    • Fujifilm
      • Fujifilm X-H2s
      • Fujifilm X-H2
      • Fujifilm X-T5
      • Fujifilm X-T4
      • Fujifilm X-S10
      • Fujifilm X-Pro3
      • Fujifilm X-T3
      • Fujifilm X-H1
      • Fujifilm X-T200
      • Fujifilm X100V Accessories
      • Fujifilm X100F Accessories
      • Fujifilm X-E4
      • Fujifilm XT30 & XT20
    • Leica
      • Leica M11 Accessories
      • Leica Q2 Accessories
    • Panasonic
      • Panasonic GH5 / GH5s
      • Panasonic LX100 II
    • Ricoh
      • Ricoh GR III
    • Sigma
      • Sigma fp
    • Sony
      • Sony A1 Accessories
      • Sony A7IV Accessories
      • Sony A7c Accessories
      • Sony A7sIII
      • Sony A7rIV / A9II
      • Sony A9
      • Sony A7 III, A7r III Accessories
      • Sony A6600 Accessories
      • Sony A6100 Accessories
      • Sony A6000 Accessories
      • Sony RX1R II
      • Sony RX10 IV / RX10 III
      • Sony RX100 IV / RX100 V
    • Drones
      • Mavic 2 Pro
    • Camera Cleaning Gear
  • Lenses
    • Canon RF Lens List
    • Fujifilm G Lens List
    • Fujifilm XF Lens List
    • Leica / Panasonic / Sigma L Lens List
    • Leica M Lens List
    • Micro Four Thirds Lens List
    • Nikon Z Lens List
    • PL Mount Cine Lens List
    • Sony FF E Lens List
    • Sony APS-C E Lens List
  • Store
Alik Griffin
Alik Griffin
  • Blog
  • Calculators
    • Camera Bitrate Converter | Record Time Calculator
    • Diffraction Calculator
    • DoF Calculator | Lens Equivalent
    • Shutter Speed to Shutter Angle Calculator
  • Memory Cards
    • SD Memory Card Benchmarks
    • CFx Type-B Memory Card Benchmarks
    • CFx Type-A Memory Card Benchmarks
    • Memory Cards For Canon Cameras
    • Memory Cards For Fujifilm Cameras
    • Memory Cards For Nikon Cameras
    • Memory Cards For Panasonic Cameras
    • Memory Cards For Sony
    • SD Cards For GoPro
  • Accessories
    • Canon
      • Canon R5 Accessories
      • Canon R6 Accessories
      • Canon EOS R
      • Canon RP
      • Canon M50 Accessories
      • Canon T7i / T6 / T6i / T6s
      • Canon SL3 / 250D
      • Canon M6 II
      • Canon M5
      • Canon G1X III
      • Canon G7X III
    • Nikon
      • Nikon Z9
      • Nikon Z6 II / Z7 II
      • Nikon Z6 / Z7
      • Nikon Z50
    • Fujifilm
      • Fujifilm X-H2s
      • Fujifilm X-H2
      • Fujifilm X-T5
      • Fujifilm X-T4
      • Fujifilm X-S10
      • Fujifilm X-Pro3
      • Fujifilm X-T3
      • Fujifilm X-H1
      • Fujifilm X-T200
      • Fujifilm X100V Accessories
      • Fujifilm X100F Accessories
      • Fujifilm X-E4
      • Fujifilm XT30 & XT20
    • Leica
      • Leica M11 Accessories
      • Leica Q2 Accessories
    • Panasonic
      • Panasonic GH5 / GH5s
      • Panasonic LX100 II
    • Ricoh
      • Ricoh GR III
    • Sigma
      • Sigma fp
    • Sony
      • Sony A1 Accessories
      • Sony A7IV Accessories
      • Sony A7c Accessories
      • Sony A7sIII
      • Sony A7rIV / A9II
      • Sony A9
      • Sony A7 III, A7r III Accessories
      • Sony A6600 Accessories
      • Sony A6100 Accessories
      • Sony A6000 Accessories
      • Sony RX1R II
      • Sony RX10 IV / RX10 III
      • Sony RX100 IV / RX100 V
    • Drones
      • Mavic 2 Pro
    • Camera Cleaning Gear
  • Lenses
    • Canon RF Lens List
    • Fujifilm G Lens List
    • Fujifilm XF Lens List
    • Leica / Panasonic / Sigma L Lens List
    • Leica M Lens List
    • Micro Four Thirds Lens List
    • Nikon Z Lens List
    • PL Mount Cine Lens List
    • Sony FF E Lens List
    • Sony APS-C E Lens List
  • Store
Premiere Pro 14.2 Prores RAW
  • Blog

Premiere Pro 14.2 Update Now Supports ProRes RAW

  • AGriffin
  • May 25, 2020
  • No comments

Things just keep getting better for us Premiere Pro users. The latest version now supports ProRes RAW.

Those of us shooting the Nikon Z6, the Panasonic S1H or even the Z-cam with the Ninja V recorders will now be able to use ProRes RAW with Premiere Pro.

 

Before this much-needed update, if you wanted to use ProRes RAW, you needed to use Final Cut Pro X. This means if you owned a Nikon Z6, not only did you have to get an Atomos Ninja V recorder and pay $200 for the firmware updated, you also needed FCPX, which only runs on Apple computers.

If you didn’t own FCPX or only had a PC, you’re looking at some serious cash you need to fork out to be able to get ProRes RAW working, which meant it was off-limits for a lot of people.

That all changes this week with Premiere Pro offers native support for ProRes RAW.

 

Why Is ProRes RAW Better than ProRes HQ?

ProRes RAW is better than Prores HQ because ProRes RAW is 12-bit and holds a lot more of the original color information compared to 10-bit 4:2:2. This makes color grading significantly better at little cost to file size.

ProRes RAW also holds the original sensor Bayer information rather than the demoniac RGB information that is generated by the camera. This means you get access to the RAW color information that comes directly off the sensor.

To elaborate, your typical video signal will take an RGB image that is generated from the interpolation of colors from the Bayer pattern of the sensor. Or, if you’re shooting with Fujifilm it will come from the interpolation of colors from the X-Trans sensor. When you shoot RAW, you get the actual encoded Bayer pattern image.

ProRes RAW also doesn’t use the rate control which dynamically adjusts compression to maintain a data rate like many codecs today including the original ProRes.

ProRes RAW is designed to maintain a constant quality with variable compression.

 

Is ProRes RAW Bigger Than ProRes HQ?

You’ve probably heard people say ProRes RAW files are massive and it’s going to take up a ton of hard drive space, but this isn’t necessarily true at all. If you’re already shooting on ProRes HQ – ProRes RAW HQ will give you bitrate somewhere between ProResHQ and Prores 4444 (no alpha). ProRes RAW (no HQ) will give you a data rate between Prores 422 and Prores HQ.

Since ProRes RAW uses a variable bitrate compression for constant quality, the file sizes and data stream will change depending on how much information is in the scene. If you’re just shooting a red kite against a blue sky, the bitrate will be very low similar to Prores HQ, but if you’re filming a swarm of killer bees attacking a circus clown while getting shot with a confetti canon, you’re going to have a very high bitrate because of all the different colors and tones.

There are two compressions for ProRes RAW that each run at different bitrates. This is the data rate you can expect from each codec when shooting 4k or UHD.

  • ProRes RAW HQ 707-137Mbps
  • ProRes RAW 471-707Mbps

If you look at this table you can see the data rate of these compressions compared to other standard codecs.

Codecs for at 24fps. UHD Bitrate 4k Bitrate Sampling
DNxHR HQX 666Mbps 711Mbps 12-bit
DNxHR HQ 666Mbps 711Mbps 8-bit
DNxHR SQ 440Mbps 470Mbps 8-bit
DNxHR LB 137Mbps 146Mbps 8-bit
ProRes 4444 (no alpha) 1061Mbps 1131Mbps 12-bit
ProRes RAW HQ 707-1061Mbps 745 – 1131Mbps 12-bit
ProRes HQ 707Mbps 745Mbps 8-bit or 10-bit
ProRes RAW 471-707Mbps 503 – 745Mbps 12-bit
ProRes 422 471Mbps 503Mbps 8-bit or 10-bit
ProRes LT 328Mbps 350Mbps 8-bit or 10-bit
ProRes Proxy 145Mbps 155Mbps 8-bit or 10-bit

 

You can see from the chart that, ProRes RAW will give you a data rate the same as ProRes HQ, but it will have a much better image. ProRes RAW HQ will give you a compression between ProRes HQ and 4444.

 

Managing a ProRes RAW Workflow

If you’re already editing with ProRes HQ, you don’t really need to do anything different to deal with ProRes RAW other than applying a LUT. It’s not going to slow you down more compared to ProRes HQ. In fact, it actually performs some tasks quicker.

However, 4k ProRes with a 1131Mbps data rate can still be a lot to work if you’re editing off a standard drive or on a 1GB LAN connection to a server. 1131Mbps equate to 141MB/s, so using a standard HDD will not cut it.

I personally have a 2TB SSD I work with as a working drive. But a lot of shops are now using all SSD servers with fiber connections so data rate is no problem.

If you don’t have the budget for big SSD drives then it’s still not a problem. Premiere Pro allows you to make proxy files in literally two clicks. This is actually how I’ve been working when I shoot with the X-T3 which produces H.265 files since H.265 files are painful to work with even on fast computers. Plus I typically don’t like working in 4k because it’s still hard on the CPU when rendering out client cuts or doing effects.

Working from home, you can still edit with tons of media between editors in different locations which is easy to send over an Internet connection by using H.264 as an offline working file. H.264 files are great to edit with as proxy so long as you keep the keyframes at 1 frame so the compression is Intraframe. You’ll just have to move the bitrate up to like 50mbps or higher when dealing with a keyframe at 1 with a 1080p proxy. 

**This website contains affiliate links. If you want to support this site, we will earn a small commission on any purchase made through these links.
AGriffin

Professional editor, blogger and photographer from Los Angeles California.

Related Topics
  • Premiere Pro
You May Also Like
View Post
  • Blog
  • Lens Reviews
  • Reviews

Voigtlander Nokton 75mm f1.5 Review & Sample Photos

  • AGriffin
  • May 12, 2023
View Post
  • Accessory Reviews
  • Blog
  • Reviews

Leica Visoflex 2 Review – Great Idea, But Fatally Flawed

  • AGriffin
  • May 7, 2023
Zeiss Planar 50mm f2 on the Leica M11
View Post
  • Blog
  • Lens Reviews
  • Reviews

Zeiss Planar 50mm f2 Review & Sample Photos

  • AGriffin
  • April 19, 2023

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Featured
  • Voigtlander Nokton 75mm f1.5 Review & Sample Photos
    • No comments
  • Leica Visoflex 2 Review – Great Idea, But Fatally Flawed
    • No comments
  • Zeiss Planar 50mm f2 on the Leica M11
    Zeiss Planar 50mm f2 Review & Sample Photos
    • No comments
Memory Card Benchmarks
  • Best Memory Cards Nikon Z8
    Best Memory Cards Nikon Z8
    • No comments
  • New Lexar CFexpress Type B Cards
    Lexar 512GB Diamond & 2TB Gold CFxB Cards – Review
    • No comments
  • Best Memory Cards Canon R8
    Best Memory Cards Canon R8
    • No comments

Subscribe

Subscribe now to our newsletter

Privacy Policy | Ethics Statement | Licensing

Copyright © Alik Griffin Inc. 2023

Input your search keywords and press Enter.

Manage Cookie Consent
We use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.
Functional Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes. The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.
Manage options Manage services Manage vendors Read more about these purposes
View preferences
{title} {title} {title}