Apple today, an upcoming update to its professional video editing software.The headline feature is a new ProRes RAW format, which combines the visual and workflow benefits of RAW video with the performance of ProRes, a lossy video compression format developed by Apple for use in post-production. 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.The update also adds advanced closed captioning tools that allow video editors to view, edit, and deliver captions from right within the app.Apple says Final Cut Pro 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.Apple is also updating Final Cut Pro's companion apps and with ProRes RAW and closed captioning features respectively.Final Cut Pro 10.4.1 will be available April 9 as a free update for existing users, and the app in the United States. Motion 5.4.1 and Compressor 4.4.1 will also be available on April 9 as free updates, or $49.99 each for new users from the Mac App Store.Apple has updated its, and pages on its website with more detailed information.

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Aaaaaaaand, Still no CinemaDNG support:(I doubt they'll ever add it in. Just transcode. And using Compressor you will (in theory; to be tested Monday) be able to transcode to ProRes RAW to get a workable RAW workflow from your CinemaDNG files. Which was not really possible before. It'll be worlds faster and smaller than the CDNG files too, with all the flexibility.This is a huge win/update!Also anyone who owns a camera that outputs Raw to a Shogun Inferno, like we do (Sony FS5/Raw with the Shogun) will have a compressed Raw workflow now that is as capable as Red Raw without having to spend a dime extra.

The newest version of FCPX (Final Cut Pro 10.4.1) includes a new video format called ProRes RAW which offers the optimum combination of both the compressed ProRes format and lossless RAW. Furthermore, the update finally includes a closed captioning solution. FCPX users can work natively with ProRes RAW and ProRes RAW HQ files created by Atomos recorders. ProRes RAW – High performance without. Perfect for adding permanent subtitles to your videos using FCPX. I'd share how to “burn” your captions onto your video using Final Cut Pro X. Instagram for example does not support closed captions so this method is.

This is a huge update. I doubt they'll ever add it in. Just transcode.

And using Compressor you will (in theory; to be tested Monday) be able to transcode to ProRes RAW to get a workable RAW workflow from your CinemaDNG files. Which was not really possible before. It'll be worlds faster and smaller than the CDNG files too, with all the flexibility.This is a huge win/update!Also anyone who owns a camera that outputs Raw to a Shogun Inferno, like we do (Sony FS5/Raw with the Shogun) will have a compressed Raw workflow now that is as capable as Red Raw without having to spend a dime extra. This is a huge update.Don't get me wrong, as with you we work straight to Atomos too off our ground cameras, just the aerial cameras coming off the camera in CDNG it would have taken a step out of our post workflow. We use Resolve to transcode which is easy enough, but still an extra step. CDNG still offers the biggest flexibility in post, no baked in colour space. It's an interesting approach trying to get editors to transcode to another RAW format.

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I assume they will try and get camera manufacturers to support it natively although I doubt most would supplant their own RAW with this.It seems more likely that Apple wants people to be able to cut in 4K RAW which wasn't easy to do before this. Makes me worry that the format won't be as lossless as they claim.I personally would be concerned about converting anything to another RAW format. I'd rather do a proxy workflow and go back to camera RAW for finishing. This, for now, seems like a very narrow audience that will actually want to use this codec.If you record in the Shogun, you're not converting to ProRes RAW. You are recording right off the sensor.

(Depends on the camera. Technically FS-RAW from Sony is mildly compressed.)But I digress.The audience is any camera, or recorder, that uses the codec to start with. Any Sony FS owner/op, Canon C300 Mark II/C500 owner, any Panasonic EVA-1/Varicam LT owner/operator or anyone editing that wants a fast lightly compressed raw workflow a-la Redcode - as long as they record to one of the supported Atomos recorders.That's a fairly decent amount of people in the midrange markets.

It's a win.As for CDNG, you're coming from uncompressed frames to a mildly compressed CODEC, and it's not uncommon to finish in ProRes never mind ProRes RAW; so I see it as a plus. Anyone else who needs an end-to-end uncompressed raw workflow isn't going to use ProRes Raw; but it wasn't designed for them.And there's nothing stopping camera manufacturers from adding Prores RAW as an option, instead of ArriRaw, etc. I don't know if that'll happen though given the huge investments in ArriRAW and Redcode. But it might. Depends on what encoding strategy Apple is using and how costly it is to implement.

If you record in the Shogun, you're not converting to ProRes RAW. You are recording right off the sensor.

If it came in natively and performed well. I'd happily use it. But I couldn't see ever converting to it at the start of a job as a workflow unless it runs so light that there were no performance issues.

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I'm typically in Premiere so I'd be curious to see how it runs there.