Now, CinemaDNG is known to produce huge file sizes, but it all depends on compression. The more compressed flavors theoretically lose some information, but as Nikolaj states, he did not see any compression artifacts in his testing when grading 7:1 cDNG footage. That means the 3:1 cDNG should not lose any image quality compared to PRR HQ. Generally, ProRes RAW has a compression rate of approximately 8:1 (PRR HQ around 4:1). In the Raw Convertor app, cDNG is available in four flavors – Uncompressed, 3:1, 5:1, and 7:1. Another difference is that cDNG has a 16-bit linear color space, no Log (like standard 10-bit ProRes). After opening the converted cDNG files in Resolve, users can still access the Camera RAW panel in Resolve and adjust all values such as WB, Tint, Exposure, and others (except ISO, but that is virtually the same as exposure). The advantage of CinemaDNG, as opposed to ProRes 422 or 4444, is that metadata is not baked-in.
Nikolaj Pognerebko, Czech filmmaker and programmer based in Prague created an app that can perform a batch conversion of ProRes RAW (or PRR HQ) files (including the audio tracks) into CinemaDNG and make them therefore available for opening in DaVinci Resolve. Before the introduction of BRAW, Blackmagic cameras were able to record in cDNG as well. For instance, the SIGMA fp and fp L still offer CinemaDNG recording internally. Raw Convertor – ProRes RAW to CinemaDNGĬinemaDNG (cDNG) is a bit older raw video format from Adobe, but it is still very popular for its simplicity and flexibility. A new macOS app simply called Raw Converter can convert a batch of ProRes RAW files into CinemaDNG and therefore keep all the raw metadata adjustable. Luckily, there is now another option available. For example, it is not possible to adjust the white balance, tint, and other metadata with simple ProRes files. The problem is, by doing so you lose some information and flexibility for postproduction.
Most filmmakers have been converting these files into simple ProRes – either 422 or 4444 and then opening them in Resolve. Since the chances of adding native PRR support for DaVinci Resolve currently don’t look so good, the only chance of opening those clips in DR is to convert them beforehand. One of the first cameras with internal ProRes RAW recording – DJI Ronin 4D. Now, while I like working with BRAW, I would really really really appreciate having the option to open PRR natively in Resolve. With every article announcing ProRes RAW support for yet another camera, I can’t leave out a little rant about the lack of native ProRes RAW support in Resolve. Most of them still only record ProRes RAW via external recorders from Atomos, but we are seeing the first early birds – such as Nikon Z9 or the DJI Ronin 4D ( check our review here) – that offer internal PRR recording. The compressed raw format from Apple has been getting more attention in recent years as more and more cameras start supporting it. For my postpro needs, I am truly satisfied with the NLE except for one thing – no native ProRes RAW (PRR) support. More cameras are being added continuously.Īlmost four years ago I fully switched to DaVinci Resolve for all my postproduction work. Currently, the app supports PRR files from Sony a7S III, A1, and FX3, as well as Nikon Z 6 and Z 7. Raw Convertor is a new macOS 12 app that can convert a batch of ProRes RAW (or PRR HQ) files (including audio) into CinemaDNG (uncompressed, 3:1, 5:1, or 7:1) so that users can open these in DaVinci Resolve and still be able to adjust raw metadata such as white balance or exposure.
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