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Posts Tagged ‘ProRes’

Adobe updates Creative Cloud video and audio apps, adds GPU-accelerated encoding, ProRes RAW support and more

20 May

Adobe has released updates for a variety of its software products, including major updates to Adobe Premiere Pro. Adobe Premiere Pro version 14.2 includes GPU acceleration for encoding on Windows, promising export speeds up to five times faster than encoding performed using only the CPU.

For Nvidia and AMD GPUs which support hardware encoding, the new versions of Premiere Pro, Media Encoder, After Effects and Audition on Windows promise vastly improved performance when exporting files. Of the new update, Adobe senior engineering manager Manish Kulkarni says, ‘With new support for NVIDIA GPUs on Windows, exports are hardware accelerated leveraging the power of the GPU to make Premiere Pro more powerful and keep video creators productive and nimble.’

‘This graph shows encoding speeds gains using hardware-based encoding with an NVIDIA RTX 5000 GPU. With the addition of AMD and NVIDIA support on Windows, hardware encoding is now available across all modern macOS and PC systems.’ Image and caption credit: Adobe

Adobe has also introduced ProRes RAW support in Premiere Pro and After Effects on Windows, a very welcomed change that’s been a long time coming. The graphics workflow in Premiere Pro has also been enhanced through the addition of an improved Pen tool with better support for Bezier curves. This will allow users to more easily create lines and shapes.

Further, in After Effects, motion graphics artists have new tapered shape strokes to use when creating animations and designs. There are also new repeating concentric shape parameters and Mask/Shape cursor indicators.

In addition to faster encoding through hardware acceleration on Windows, users can also expect faster Auto Reframe across all devices. Utilizing its artificial intelligence, Adobe Sensei, Auto Reframe now automatically reformats and repositions video across varying aspect ratios. Speaking of aspect ratios, Adobe Premiere Rush users will now be able to automatically resize projects to the 4:5 aspect ratio frequently used for Facebook and Instagram videos.

‘Auto Reframe in Premiere Pro uses Adobe Sensei AI to reposition video within different aspect ratios. The feature is now twice as fast.’ Image and caption credit: Adobe

On the workflow side of things, Adobe has added support for audio files within Creative Cloud Libraries, which allows users to save, organize and share audio assets for easier access through the CC Libraries panel. For macOS users, automatic audio hardware switching has been added to After Effects, Media Encoder, Audition, Character Animator, Prelude, Premiere Pro and Premiere Rush. This means that when changing audio devices, Adobe applications will now automatically switch to the current hardware.

Improving software performance and stability is Adobe’s top priority. Alongside today’s updates, Adobe has published a new blog post outlining the various efforts the company and its engineers have made over the past year. Further, as many performance updates depend upon the user’s hardware, Adobe has also expanded its research into crash reports and how users are taking advantage of the company’s suite of software. If you are interested in learning more about the performance gains introduced with today’s update and becoming part of Adobe’s expanding public beta program for future updates, be sure to read the new post.

Articles: Digital Photography Review (dpreview.com)

 
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Kinefinity’s new MAVO Edge cinema camera can shoot 8K ProRes Raw internally at up to 75 fps

28 Apr

Cinema camera manufacturer Kinefinity has announced the MAVO Edge, an 8K cinema camera with the ability to record ProRes RAW internally.

At the heart of the MAVO Edge is a newly-designed 44.7-megapixel 36mm x 24mm full-frame CMOS sensor that can record 8K ProRes RAW at up to 75 frames per second (fps) and features dual native ISO of 800/3200. It can also record 8K Open Gate (8192 x 5460 pixels) at up to 48 fps, 6K up to 100fps (in Super 35 mode) and 5K up to 120 fps (in Super 35 mode). Powering all of this data is a new processing engine, which helps to pull up to 14 stops of dynamic range from the sensor and minimizes rolling shutter to just 12ms when shooting 8K full-frame (9ms in Super 35 mode).

Illustration showing what section of the MAVO Edge’s full-frame sensor is used depending on the capture mode.

All of the data is recorded to KineMAG Nano cards, which are now built on NVMe M.2 SSD. The MAVO EDGE uses two KineMAG Nano slots, which can record at up to 10Gb per second thanks to its PCIe 3.0 protocol. The two card slots can record identical footage for redundancy or record separately for times when you need to shoot original footage and proxy footage. Kinefinity isn’t keeping its KineMAG Nano drives exclusive either; the company will also be selling KineMAG Nano enclosures so you can use any third-party NVMe M.2 SSD with the camera.

Kinefinity has also included a motorized electronic neutral density (ND) filter, which lets you steplessly dial in the strength between 0.6 and 2.1 ND (2–7 stops of light) in 0.01 stop increments. As for inputs, the camera features two 3G/1.5G SDI ports, Timecode IN/OUT (5-pin), BNC Genlock, 12V RS Output (three-pin), a seven-pin sync port, an R45 Ethernet port, a 12V D-Tap Out a 3.5mm headphone jack a USB-C port and more.

The MAVO Edge uses Kinefinity’s KineMOUNT, which uses adapters to offer compatibility with PL, LPL, Active EF and passive Sony E-mount lenses. Kinfinity has also included an internal three-axis gyroscope for recording the camera’s positioning during filming, but it’s not clear how this information will be used at this time. GPS and Bluetooth 5.0 support is also included.

All of this is housed inside an aluminum alloy frame wrapped in a carbon fiber case . It measures in at 10.5 x 12.1 x 11.9 cm (4.1 x 4.8 x 4.7?) and weighs 1.2kg (2.6lbs). Powering the camera can be done via its two-pin DC input or via batteries via the hybrid battery plate, which can power the camera with either V-mount or Sony BP-U batteries.

The MAVO Edge will retail for $ 11,999 with an expected release in September 2020. The camera is currently available to pre-order through Kinefinity’s website, with a $ 149 deposit. Newsshooter has written up a thorough post diving into the specs and comparing it with similar cinema cameras on the market.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic announces 5.9K ProRes Raw video for Lumix DC-S1H

21 Apr

Panasonic has announced firmware V2.0 for the Lumix S1H that, alongside the usual bug fixes, adds the ability to output 5.9K or 4K Raw video data that can be captured as ProRes Raw when connected to an Atomos Ninja V recorder.

Raw video provides editors with more post processing flexibility than Log-encoded footage, including Panasonic’s own V-Log, and provides similar capabilities to Raw photo editing, such as the ability to set a new white balance after footage is shot.

Apple recently released a version 1.0 beta of ProRes Raw for Windows that added support to Adobe apps running on the Windows platform, including Adobe Premiere Pro and After Effects. Availability on both Apple and Windows systems should make it easier for video shooters to adopt the codec.

Firmware V2.0 for the Panasonic S1H adds ProRes Raw video capture capability when paired with an Atomos Ninja V recorder.

The firmware, which doesn’t require a paid upgrade, adds 5.9K 16:9 capture from the full width of the sensor at up to 30p or 4K 17:9 capture from a Super 35 region at up to 60p. There’s also a 4:3 option for anamorphic Super 35 shooting. All modes are based on 12-bit output.

Unlike ProRes Raw capture on Nikon’s Z6, the Panasonic does not pixel skip to produce its Raw video data stream. Its viewfinder also continues to function when Raw data is being output, which is likely to be a benefit for anyone shooting hand-held footage.

A full suite of exposure support tools, including Wave Form Monitor, Vector Scope, Luminance Spot Meter, Zebra Pattern remains available.

Alongside Raw video options, a series of minor UI and handling improvements have been added, and a series of minor bugs fixed. The firmware will be available from May 25th.

Press Release:

Panasonic Releases Firmware Update Program for LUMIX S1H RAW Video Data Output over HDMI

Newark, NJ (April 20, 2020) – Panasonic has announced that the company will release the firmware update program for the LUMIX S1H Full-Frame mirrorless camera to enhance its performance and usability, as stated last September. Working together with Atomos, a global company that creates video equipment for professional film creators, the new firmware enables the output of maximum 5.9K/29.97p and 59.94p 4K* RAW video data over HDMI to save it as Apple ProRes RAW on the Atomos Ninja V 4K HDR monitor-recorder. In addition, it further complies with 3.5K Anamorphic 4:3. Panasonic commits to provide innovative solutions for professional film creation by enabling all S1H users to receive this firmware for free of charge.

The program will be available at LUMIX Global Customer Support website https://av.jpn.support.panasonic.com/support/global/cs/dsc/ on May 25, 2020.

* 4128×2176(17:9), announced as “C4K” at IBC2019. Corresponding to C4K (4096×2160) as defined by Digital Cinema Initiatives (DCI).

LUMIX S1H Firmware Version 2.0

1) RAW video data output over HDMI

  • [5.9K] / [4K] / [Anamorphic (4:3) 3.5K] 12-bit RAW video data can be output over HDMI. The Apple ProRes RAW can be recorded on Atomos Ninja V.
Area Resolution Frame Rate Aspect HDMI Output
Full-Frame 5.9K (5888×3312) 29.97p/25p/23.98p 16:9 12-bit
Super 35mm 4K (4128×2176) 59.94p/50p/29.97p/25p/23.98p 17:9 12-bit
Super 35mm Anamorphic 3.5K (3536×2656) 50p/29.97p/25p/23.98p 4:3 12-bit
  • V-Log or Rec.709 is selectable on Live View monitor during RAW output.
  • Shooting assist functions including WFM (Wave Form Monitor), Vector Scope, Luminance Spot Meter, Zebra Pattern can be used during RAW output.

2) Enhanced video functions / improved performance

  • Downconverted output over HDMI during [6K]/[5.9K]/[5.4K] video recording is available.
  • In Creative Video mode, it is possible to disable the operation of starting/stopping video recording by pressing a shutter button.
  • In Creative Video mode, it is possible to set [Rec Quality(My List)] from the control panel.
  • The value of noise reduction in [V-Log] in Photo Style has been expanded to [-1]. It suppresses afterimages previously occurred in some situations.
  • It is possible to prevent the enlarged view window of MF Assist to be output over HDMI.
  • There were cases where color banding appeared in 4:2:0/10-bit video recording in some situations. This bug has been minimized.
  • There were cases where the REC RUN time code did not count up when the video was not recorded on an SD Memory Card but was recorded on an external device over HDMI. This bug has been fixed.

3) Other added functions / improvements

  • It is possible to set [AF+MF] in AFC mode.
  • It is possible to assign functions to the lens’ Fn buttons when the Panasonic LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) is mounted.
  • It is possible to assign function to the Fn buttons of Sigma L-Mount interchangeable lenses.
  • When attaching a lens using the Sigma MC-21 mount converter and [Image Stabilizer] > [Lens] is set to ON , Body I.S.(Image Stabilizer) suppresses roll movement.
  • [Backlight Illumination Period] has been added to the menu of Status LCD. [ON1] prevents the LCD backlight to be turned off.
  • It is possible to select the card slot to save the JPEG images developed by in-camera RAW processing.
  • [0.5 SEC] has been added for an option of [Duration Time (photo)] in [Auto Review].
  • [Off (Disable Press and Hold)] can be assigned to the Fn button. It disables operation when the button is long-pressed.
  • Fn button can be used for checking aperture effect while the button is pressed.
  • To prevent improper operation, touch-control is disabled for [Delete All] operation in playback mode. Only cursor buttons can be used for [Delete All] operation.
  • There were rare cases where the camera froze during [Segmented File Recording] or during recording at 400 Mbps under a particular set of conditions including the type of SD Card used. This phenomenon has been improved.
  • Aperture and shutter speed can be controlled using front/rear dials when the rear monitor is set to OFF.
  • There were cases where F value control failed depending on the maximum F value when non-Panasonic L-Mount lens is mounted. This bug has been fixed.

Articles: Digital Photography Review (dpreview.com)

 
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Apple’s latest beta suggests ProRes RAW support for Adobe apps is coming to Windows

31 Mar

Apple has released a version 1.0 beta of ProRes Raw for Windows that adds support for Apple’s video codec in several Adobe apps on Microsoft’s operating system.

In the support text accompanying the download, Apple says the beta release ‘enables playback of ProRes RAW and ProRes RAW HQ video files in compatible applications on Windows systems.’ This includes Adobe After Effects, Adobe Media Encoder, Adobe Premiere and Adobe Premiere Rush.

Assuming this support makes it out of beta and expands to other applications, this could help to make ProRes Raw a more useful standard for video work. The download, which comes in at 737KB, is available to download on Apple’s support page.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: ProRes Raw on the Nikon Z6

08 Feb

We review Nikon’s ProRes Raw video upgrade for the Z6 and Z7 mirrorless cameras. In the process, Chris and Jordan explain the benefits of a Raw video workflow and why there’s no such thing as a free lunch.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • What gear you need
  • Limitations when shooting ProRes Raw
  • ProRes Raw workflow
  • ProRes Raw image quality
  • When should you shoot Raw?
  • Conclusion

Find out more about Nikon’s ProRes Raw upgrade and how to get it

Articles: Digital Photography Review (dpreview.com)

 
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Apple loses patent lawsuit, will have to pay RED royalties for ProRes RAW format

13 Nov

Apple has failed in an attempt to over-throw patents held by RED that govern methods for compressing Raw video, leaving the company open to paying royalties on its ProRes RAW file format. Apple had tried to show that the technology RED patented around its RedCode codec was obvious and shouldn’t have been granted protection, but the court rejected the claim leaving RED secure to license the lossless compression technique to camera, software and accessories manufacturers.

It seems that Apple had wanted to avoid paying royalties on the ProRes RAW format it introduced via Final Cut Pro last year, and which is used in some DJI drones, some Atomos recorders and a few other products. The problem is that RED claims ProRes RAW uses technology it owns for compressing those RAW files to make them manageable to work with. RedCode allows Raw video to be captured and compressed in-camera in much the same way that stills cameras do, allowing data directly from the sensor to be recorded and made available for very flexible post-production manipulation.

RED’s technology allows files to be compressed by ratios of up to 22:1, though it says 3:1 is mathematically lossless and 8:1 is visually lossless. The value of this is not only that it allows video files to be reduced in size, but also that for the same size file videographers can record in higher resolutions to provide the means for heavy cropping and frame splitting in post-production.

RED President Jarred Land posted on the RED User forum that he was glad the company’s technology remained protected but that the dispute between RED and Apple was just a means to finding where each stood technology-wise so they could continue to work together. He wrote:

‘We are pleased to see our REDCODE patents withstand another challenge.

To be clear, as I mentioned before, this never really was Apple vs. RED. It has always been APPLE + RED, and this was all part of the process defining how we work together in the future.

RED integration with Apple’s METAL framework for realtime R3D playback is coming along well and the work that the two teams are doing together is exceeding expectations. We are very excited for the new Mac Pro and the new XDR pro display and the power they bring to the entire RED workflow.’

The ‘another challenge’ refers to a similar attempt made by Sony in 2013.

Articles: Digital Photography Review (dpreview.com)

 
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Atomos shares info on S1H ProRes Raw update, to offer 16-bit Raw capture with Sony FX9

14 Sep

Atomos has made two announcements that will bring improved video recording capabilities to two recently-released cameras: the Panasonic Lumix S1H and the Sony FX9.

First up, Atomos has shared more information regarding a previous announcement that it was working alongside Panasonic to co-develop a means to capture Raw video for the Lumix S1H. Atomos has now provided both a timeframe (albeit a rough one) and official specifications for the impending firmware update.

Atomos says the S1H firmware update will make it possible to record 5.9K/29.97p Raw and C4K/59.94p video on the Atomos Ninja V monitor-recorder over HDMI. Currently, the Lumix S1H can record 6K/24p (3:2 aspect ratio), 5.9K/29.97p (16:9 aspect ratio) and 59.94p 4K/C4K, so this update will be a substantial bump in recording capabilities.

In its announcement, Panasonic also revealed that ProRes Raw would be the codec supported for Raw recording. The firmware is scheduled to be launched in early 2020.

Atomos has also announced that it’s Neon 8K MCU (Adorama, B&H) will support 4K 16-bit Raw recording from Sony’s recently-unveiled FX9 camera. Details are scarce, but Atomos’ press release, embedded below, implies the functionality will be available when the FX9 ships later this year in December 2019.

It seems Atomos is adamant on working alongside camera manufacturers to get the most from the sensors inside the manufacturers’ latest cameras. In January 2019, Atomos said it was working with Nikon to bring 4K Raw video capture over HDMI to its Ninja V external recorder.

We’ve since learned this update won’t be free and will require cameras to be sent into Nikon service centers to perform an ‘internal upgrade’ to the camera, but the promise still remains. According to the latest information, the 4K Raw video update is still scheduled to be released before the end of the year.

LUMIX S1H Firmware Development Underway for 5.9K/29.97p and C4K/59.94p RAW Video Data Output to Atomos Ninja V

Newark, NJ (September 13, 2019) – Panasonic is proud to announce the development of firmware for the LUMIX S1H full-frame mirrorless camera which enables the output of 5.9K/29.97p RAW and C4K/59.94p video data to the Atomos Ninja V monitor-recorder. The firmware is scheduled to be launched in early 2020.

The LUMIX S1H is the world’s first camera to combine professional-level video quality, the high mobility of a mirrorless camera and a Full-Frame sensor. It is currently capable of video recording at 6K/24p*1 (3:2 aspect ratio), 5.9K/29.97p (16:9 aspect ratio), and 59.94p 4K/C4K.*2 *3 The LUMIX S1H will be introduced in late September 2019.

Panasonic has a long history of collaboration with Atomos. This relationship will deliver new RAW video functionality for the S1H. 5.9K up to 29.97p and C4K*3 up to 59.94p in RAW delivered over HDMI is in development. With this firmware Apple ProRes RAW can be recorded on the Atomos Ninja V.

A LUMIX S1H prototype with this firmware will be exhibited along with the Atomos Ninja V in the Panasonic booth (Booth No. C45, Hall 11) at the IBC2019 (International Broadcasting Convention) to be held in Amsterdam, the Netherlands, from September 13-17, 2019.

Atomos Announce 16bit RAW Support on New FX9 From Sony

PORT MELBOURNE, Australia, Sept. 13, 2019 /PRNewswire/ — Off the back of Sony Imaging Products & Solutions Inc. (“Sony”) unveiling their groundbreaking new FX9 today at IBC, Atomos is excited to announce 16bit RAW support from this new camera to the Atomos Neon 8K MCU.

“We have a long and proud history of collaborating with revolutionary companies like Sony, we are working closely with the FX9 camera team to deliver 4K 16bit RAW from the FX9 to our Neon cinema monitor-recorders.” Said Jeromy Young, Atomos Co-founder and CEO.

The FX9, which will go to market towards to end of 2019, features an advanced 6K full-frame sensor and has been designed to give professional shooters greater flexibility and capture capability, making it an ideal match for the Atomos Neon range. The FX9 has the same DNA as the popular VENICE cinema camera making it the ideal music, documentary, drama and event shooting.

“When paired with an Atomos Neon, the FX9 will be one of the most advanced production tools available today. We’re excited to empower content creators and filmmakers at the highest level through our ongoing work with Sony.” Added Young.

Articles: Digital Photography Review (dpreview.com)

 
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Atomos’ new Neon monitors/recorders will have 8K/60p ProRes RAW module option

06 Jun

Atomos has announced Neon, a new lineup of on-set and in-studio 4K HDR monitors/recorders designed for commercial high-resolution HDR capture. At launch, the four monitors in the lineup will be capable of recording 4K video, but a subsequent 8K master control unit will eventually give each of the monitors the ability to record 8K/60p video.

The Neon lineup consists of four different unit sizes: 17″, 24″, 31″ and 55″ with the following resolutions and pixel densities:

• 17″ — Full HD (2048px x 1080px, 142ppi)
• 24″ — 4K DCI (4096px x 2160px, 193ppi)
• 31″ — 4K DCI (4096px x 2160px, 147ppi)
• 55″ — 4K UHD (3840px x 2160px, 84ppi)

According to Atomos’ press release, each of the units were designed to serve a specific role in the monitoring and recording of footage:

‘[The] 17in is for focus pullers and as an on-set buddy reference monitor for laptops. The 24in and 31in is perfect for the video village, DIT, cinematographer, editor, director and a reference monitor for an iMac or Mac Pro. The 55in is a must have for clients, showrooms and color graders.’

An illustration from Atomos’ website showing how the different units could be used in a production environment to monitor and record video.

Unlike previous Atomos units, the Neon lineup drops the touchscreen in favor of remote control via Atomos iOS app. The app will be able to control up to 1,000+ units at once via Bluetooth (each of the Neon units will communicate using sub-gigahertz RF with a range of 200m/656ft) and will provide real-time tools like focus peaking, exposure, calibration, zoom, waveform monitor, LUT selection and more from a single device. It will also enable the Neon units to be perfectly synced up with the recorded footage for matching timecode.

With the default 4K master control unit, the monitors support up to DCI 4K input and display the image with 10-bit DCI-P3 color, 1000 cd/m² brightness and a 1,000,000:1 contrast ratio. When recording the units can capture ProRes, ProRes RAW, Avid DNx and Cinema DNG formats up to 4K/60p using 2.5″ HDD or SSD media with Master Caddy II or AtomX SSDmini adapters, neither of which are included.

The Neon units feature HDMI 2.0b in/out connections, two mic/line input, one 3.5mm headphone output and come with Atomos’ SDI Expansion Module that offers 12G-SDI in/out.

The displays are constructed of an aluminum alloy frame with a polycarbonate back plate, while the 17″, 24″ and 31″ Neons will come with their own crush-proof and water-tight travel case. Mounting points on the unit include VESA mounts, feet for placing on the ground or desk and ARRI-standard edge mounting points.

To ensure the units are future-proof, Atomos has also announced an 8K Master Control Unit that will allow for recording and monitoring of 8K/60p video with support for both ProRes and ProRes RAW straight out of camera, a world first by our records. Additional details are scarce, but Atomos says the 8K Master Control Units are ‘due to hit the market in 2019.’

The Neon17 and Neon24 units are expected to be available in August 2019 for $ 3,999 and $ 6,499, respectively. The Neon31 and Neon55 units are set to ship September 2018 for $ 7,999 and $ 16,999, respectively.

It’s safe to say these units aren’t for your run-and-gun shooters or even mid-level commercial work. These are full-fledged units designed for the most high-level operations and the most discerning eyes—and that doesn’t come cheap.

Articles: Digital Photography Review (dpreview.com)

 
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Free AtomOS update adds ProRes RAW support to Atomos Shogun Inferno and Sumo19

10 Apr
Photo: Atomos

Apple made a big splash in the video industry last week when it debuted ProRes RAW: a new video codec that seeks to combine the flexibility and editing latitude of RAW video with the performance and space benefits of a compressed ProRes file. And now, thanks to a free firmware update from Atomos, owners of the Shogun Inferno and Sumo19 monitor/recorders can immediately begin shooting in the new and improved format.

Simply download and install the AtomOS 9 firmware at this link, and your Shogun Inferno and Sumo19 will be able to record ProRes RAW and ProRes RAW HQ using any of the nine supported cinema cameras from Panasonic, Sony and Canon. As of this writing, that makes the Shogun Inferno and Sumo19 the first and only monitor/recorders to offer ProRes RAW.

If you’re still a bit confused as to what ProRes RAW is, and how it differs from standard ProRes, Atomos breaks down the benefits of the new format on its website. The company also produced the following ProRes RAW sample footage using the Atomos Shogun Inferno and three different cinema cameras: the Panasonic EVA1, Canon C300mkII and Sony FS5.

Press Release

ProRes RAW available today for Atomos recorders

Melbourne, Australia – 9 April 2018 – ProRes RAW is available today for Atomos recorders, delivering a powerful new RAW workflow when combined with Final Cut Pro 10.4.1. Simply install the free AtomOS 9 upgrade on the Atomos Shogun Inferno or Sumo19 monitor/recorders, connect to one of the nine supported cinema cameras, and begin recording in ProRes RAW and ProRes RAW HQ.

Users can immediately enjoy the benefits of the amazing new RAW end-to-end workflow that combines the incredible performance of ProRes with the flexibility of RAW. Atomos devices are the only monitor recorders to offer ProRes RAW, with pristine recording direct from the sensor output of Panasonic, Sony and Canon cinema cameras.

The response to ProRes RAW from the creative community has been incredible:

“The hills are alive with the sound of ProRes RAW, and Atomos has heard it….Apple has a new format, and it’s everybody’s darling. The malleable nature of RAW and the beauty and (and necessity of) ProRes are together at long last, and Atomos has you covered.” – Cinema5D

“This announcement is a big deal. ProRes has been an industry standard codec since its inception back in 2007, now 11 years later Apple is looking to position ProRes again as the go-to codec.” – Newsshooter

“Apple has unveiled a new video recording codec called ProRes RAW, a move that instantly makes the high-quality format more mainstream…Atomos’ Shogun Inferno and Sumo 19 recorders, meanwhile, will be the first to offer RAW recording for cameras from Panasonic, Sony, Canon and others.” – Engadget

Come and see for yourself how Atomos is unlocking creativity at the NAB show, booth C9425 and at the 17th Annual Las Vegas SuperMeet on Tuesday 10th of April. There will be product demos, as well as the opportunity to get hands on with the gear and workflow with both companies.

Articles: Digital Photography Review (dpreview.com)

 
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Apple introduces new ProRes RAW video format with Final Cut Pro X update

06 Apr
Credit: Apple

In a surprise update ahead of NAB, Apple has introduced a brand new video format called ProRes RAW. The format was introduced alongside an update to Final Cut Pro X, which also added advanced closed captioning tools for professional filmmakers.

The captioning tools are neat—they allow video editors to more easily create, view, edit, and deliver captions, with support for both the CEA-608 and iTT formats—but this feature will no doubt be overshadowed by the much bigger news: the introduction of ProRes RAW.

As the name suggests, ProRes RAW is an evolution of the Apple ProRes video codec. Apple claims that ProRes RAW “combines the visual and workflow benefits of RAW video with the stunning performance of ProRes.” By pulling RAW data from the sensor, video editors will have a lot more dynamic range flexibility—important as more and more displays, including Apple’s own iPhone X, become capable of displaying true HDR—all while taking advantage of the space and performance benefits of a compressed ProRes file.

In fact, Apple claims that ProRes RAW files take up less space than ProRes 4444. And since it’s Apple’s format, it has been performance optimized for macOS so that you can play full-quality 4K ProRes RAW files on your current MacBook Pro or iMac in real time without rendering.

Credit: Apple

The format drops today, and already Apple has made inroads into the professional community with Atomos and DJI. ProRes RAW compatibility will be made available as a free update for Atomos Shogun Inferno and Sumo19 users, and as “a free update for users with the RAW activation package” for the DJI Inspire 2 Drone and Zenmuse X7 camera.

Once updated, Final Cut Pro users will be able to work natively with ProRes RAW and the ProRes RAW HQ files created by the two Atomos external recorders mentioned above.

To learn more, check out the full press release below; or, if you’re feeling exceptionally brave and nerdy, you can read Apple’s full white paper on the new format here. Final Cut Pro X version 10.4.1 will be available as a free update to current users ($ 300 USD for new users) starting April 9th.

Press Release

Final Cut Pro X update introduces ProRes RAW and advanced closed captioning

Apple is introducing a new update to Final Cut Pro X, the most popular version of its professional video editing software, with more than 2.5 million seats. Final Cut Pro 10.4.1 introduces a groundbreaking format from Apple, ProRes RAW, which combines the visual and workflow benefits of RAW video with the performance of ProRes. The update also adds advanced closed captioning tools that allow video editors to easily view, edit and deliver captions from right within the app. Apple is also adding complementary new features to Final Cut Pro companion apps, Motion and Compressor.

ProRes RAW

ProRes RAW is a new format from Apple that offers the quality and workflow advantages of RAW with the stunning performance of ProRes. With ProRes RAW, editors can import, edit and grade pristine footage with RAW data from the camera sensor, providing ultimate flexibility when adjusting highlights and shadows — ideal for HDR workflows. And with performance optimized for macOS, editors can play full-quality 4K ProRes RAW files on MacBook Pro and iMac systems in real time without rendering. ProRes RAW files are even smaller than ProRes 4444 files, allowing editors to make better use of storage while providing an excellent format for archiving.

Final Cut Pro editors can work natively with ProRes RAW and ProRes RAW HQ files created by Atomos recorders. The format will be available as a free update for owners of Atomos Sumo 19 and Shogun Inferno devices. The format will also be available as part of a forthcoming upgrade package to users of the DJI Inspire 2 drone and Zenmuse X7 Super 35mm camera system designed for aerial cinematography.

Closed Captioning Tools

As closed captioning becomes increasingly important around the world, Final Cut Pro now includes powerful closed captioning tools for professional filmmakers, YouTubers and students looking to add captions to their projects without the need for expensive third-party software or services. 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, color, 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.

Motion 5.4.1 and ProRes RAW enable motion graphics artists to take full advantage of RAW image quality with superb performance and flexibility when designing graphics and effects. Compressor 4.4.1 gains support for closed captioning with comprehensive controls to view, adjust and deliver captions as part of a batch or iTunes Store package.

Pricing and Availability

Final Cut Pro 10.4.1 will be available on April 9 as a free update for existing users, and for $ 299.99 (US) for new users on the Mac App Store. Motion 5.4.1 and Compressor 4.4.1 will also be available on April 9 as free updates for existing users, and for $ 49.99 (US) each for new users on the Mac App Store. Education customers can purchase the Pro Apps Bundle for Education for $ 199.99 (US). For more information, please visit: apple.com/final-cut-pro.

Articles: Digital Photography Review (dpreview.com)

 
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