![]() We do actually own and use Blackmagic cameras for lower budget jobs and internal shoots - but like you suggest, we've just always shot ProRes, and it's never been an issue. You can even get a colourist to do a first pass of the colour for "dailies" in Resolve, by tweaking the sidecar metadata and supplying the editor with new sidecar files.īRAW Toolbox can also do things that even DaVinci Resolve can't do - for example, you can even keyframe the ISO, Exposure, Color Temp, Tint and Custom Gamma Controls.īRAW Toolbox seems to be used by two groups of people - editors like us, who get supplied BRAW files from clients (where they have no control over the shooting format), and Blackmagic Camera owners, who prefer to cut in FCPX rather than DaVinci Resolve or Premiere, and want the smaller file sizes and RAW controls that BRAW offers. ![]() You can then send a FCPXML to Resolve for colour grading. Now we can just import BRAW files directly into Final Cut Pro, with full RAW controls, and access to all the camera metadata. Whilst we love and use DaVinci Resolve - Final Cut Pro is our editing tool of choice for many reasons, so we wanted a solution to allow us to access BRAW files natively.įor whatever reason, Apple doesn't have BRAW support high on the priority list, nor do they want to help Blackmagic impliment BRAW support in Final Cut Pro - so we took matters into our own hands. However, the downside to having to transcode footage is that it takes extra time, and it takes extra storage.Īs long-time Final Cut Pro users, we got frustrated when clients would hand over SSDs with 2-4TB's worth of BRAW footage, that we'd need to convert to ProRes to start editing with it in Final Cut Pro. And of course, DaVinci Resolve is free and even has the Blackmagic Proxy Generator app to easily convert BRAW to proxies. There's also the incredible EditReady which is also fantastic at just converting BRAW to ProRes with lots of power and controls. Hope this helps! Any questions let me know.Ĭolor Finale Transcoder allows you to convert BRAW files into ProRes quickly and easily, all via a very slick Workflow Extension directly in Final Cut Pro. Maybe this year, maybe 3-5 years from now - who knows. As always with Apple, things take WAY longer than you'd think - just look at Dupe Detection. Currently the R3D RAW controls feel like a bit of a work-around/bolt-on, and you can't keyframe them, etc. My GUESS as to why this still hasn't happened is that the Final Cut Pro team need to build out a proper "RAW Color Inspector" so that all different camera manufactures can easily expose/control various RAW parameters. I'm sure EVENTUALLY Apple will give Blackmagic access to the decode API, and BRAW Toolbox will no longer be needed. ![]() We use Blackmagic's official BRAW SDK - so you get all the same colour science and processing speed as DaVinci Resolve.Īs far as we know, BRAW Toolbox is the first application on the Mac App Store to include an FxPlug4 effect.īlackmagic would never go down this route as it's. Essentially, BRAW Toolbox is just a Filter in Apple Motion, and an Effect in Final Cut Pro, but instead of "processing" the source clip, we replace the clip contents with the processed BRAW clip. We use the FxPlug4 API as our "renderer". ![]() We use the Workflow Extension API as our "user interface", where users can select the footage they want to import, and preset any RAW controls. We had to just make do with the two public API's we had access to - Workflow Extensions and FxPlug4. No, unfortunately, like Blackmagic, I also don't have access to Final Cut Pro's private decode API - nor do I have any other deep connections to Apple or the Final Cut Pro team.
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