Or you have to use a separate application to convert the camera files prior to the edit, such as DaVinci Resolve for BRAW or the ARRIRAW Converter for ARRI’s format.įinal Cut Pro currently supports Apple’s ProRes RAW and RED’s REDCODE. Installing Color Finale Transcoder adds integrated support for BRAW, ARRIRAW, DNG, and CinemaDNG to Final Cut Pro. For any NLE to support a raw format, it must integrate the components necessary to turn the sensor data into RGB video. The exception is CinemaDNG, which is now considered an open standard, but was originally developed by Adobe. Expanding camera raw format supportĬamera raw formats are proprietary recording methods controlled by the original manufacturer. Although Transcoder was still in development, those beta builds were quite stable, which makes for a solid release product. As a result I had a chance to test out several advanced builds prior to the release of the final product. I’ve had a chance to establish a relationship with the company after my review of Color Finale 2.
The developer of the Color Finale product line of professional color tools for Final Cut Pro has just released Color Finale Transcoder, a camera raw import utility. Sure, you could use DaVinci Resolve, but you’d rather stay within your preferred editing ecosystem. Oops! Final Cut Pro doesn’t support BRAW. You’ve just purchased a shiny new Blackmagic URSA Mini Pro or Pocket Cinema Camera and are looking forward to the benefits of shooting camera raw.