ProRes RAW ISO, white-balance and tint controls

Like others here, I really wish the devs would get better ProRes raw support. But then, I also want vastly expanded Fuji log support, as I'm starting to get some of that media also.

Because ... it is annoying that all we have for ProRes raw is an exposure slider, and then ... use Lumetri on the clip in the Source monitor or Source tab to do our major prep of the file for timeline use.

But at least, I do admit, we can use ProRes raw in Premiere. I also work in Resolve, and there ain't no ProRes raw work there at all. And from the posts by a couple staffers on their forums, it ain't likely we'll get any support ... maybe ever.

I can't use FCP as I'm not on Apple hardware. So ... Premiere is it for ProRes raw for those like me. Limited as it is.

Hi,

Looks like this got a flurry of activity about 9 months ago.

Still no updates. That seems a long time for a pretty basic function.

I guess I'll keep using FCP as Premiere still doesn't have  iso / WB / exposure controls for ProRes RAW.

But really wish I didn't have to.

Yes, we deserve answers on when complete Prores Raw support is coming. Just counting the number of accounts in this thread alone we have collectively contributed around $50k since we last heard from you. Rough estimate, but also a reality check. You have the resources to give us what we're asking for, and it's frustrating to beg—almost as frustrating as working with footage for which software support is incomplete. All we want is the ability to adjust the Raw variables that already exist in the files we shot. Please just work on this for like a month. Please don't make me use Final Cut Pro. Thank you for your consideration.

Hello Fergus, please update the status of ISO, WB and Tint controls for ProRes RAW.   I came to this thread from others started in 2020 and it appears Adobe has made no progress in over 2 years.  Two months ago you stated you have other formats prioritized before you will work on the ProRes RAW issue.  Meanwhile we're all paying subscriptions for a program with diminishing utility.   Lots of frustration out here.  

I almost exclusively work with stacked Lumetri effects. At the very least, for a basic grade, one to push the log profile around, and then another for the color space transform. For specific windows I'll add additional iterations either before or after the transform, depending on what I'm trying to do. This is certainly more clumsy than a node based approach, but it's not limiting, perhaps outside of the most complicated grading environments.

I find any weird specific, targeted work that I need to do is better addressed in AE, which admittedly is not built for color, but you can't beat the masking and tracking tools.

None of these workflows play nice with control surfaces. I'm definitely too much of a jack-of-all-trades to commit to a single control surface, but without a doubt this is a concern for dedicated colorists. Then again, for dedicated colorists, they're already comfortable round-tripping from NLEs and probably working exclusively inside of Davinci.

Can't disagree with any of that.

I can do an awful lot with Lumetri. I'm "on staff" over at MixingLight, teaching Pr color stuff for those colorists stuck working within a Pr project for some reason. So I work with both Resolve and Pr daily. Test things out between them and within each.

My biggest frustrations with Lumetri are the difficulty in doing targeted work, and the inability to change the order of the tabs to my needs for any X clip.

You can do very targeted work of course, you just need to know how, and it oft involves a couple extra steps. And yes, I miss the "9 way" wheels of Sg ... that was amazingly agile and fast.

The problem of not being able to say move the HSL tab to the top ... or whatever ... that's also "fixable" by stacking Lumetri effects. But stacked Lumetri isn't nearly as workable with a control surface like my full Elements panel. Dangnably so.

Neil

I find Lumetri to be pretty powerful. Maybe not as neat / clean of a workflow as a node tree, but I rarely find myself too hindered by it. Certainly the mentality is different than a LGG approach, but I don't see it as the obstacle others do, and I definitely don't find Lumetri to be such a hindrance that I need to bother with round tripping for most projects.

I do think the writing is on the wall for round trip color environments though. Within the feature / high end space, sure, round trip workflows will persist, but what Davinci really offers is the ability to circumvent that process.

Maybe ditching SG was a mistake (I did find it to be really nice to work in) but I think having a SG workspace inside of PP would make a lot more sense given the current industry sentiment.

Agreed.  A few years back the then-head of Pr was happy to EOL SpeedGrade, as he said any sensible pro would be using a round trip to Resolve.

He chose EOL-ing their own grading app, replacing it with Lumetri, rather than rebuild or upgrade of SpeedGrade. I howled about this then, as it seemed very short sighted to me. And I was pretty near officially persona non grata at NAB over my comments. Weird but oh well.

He's long gone, and the guy what created Iridas/SpeedGrade was brought back as head of Adobe pro video to, I guess, fix as much as possible.

Within the corporate limits of Adobe policies and such, of course, as it would be with any company.

Too bad they haven't brought back SG though. Ah well.

Neil

I've definitely picked up on that consternation, but I do also see the broad trend in the industry to move to Davinci, particularly for color management and grading. Adobe investing in earnest RAW support as opposed to the current handicapped commitment would represent a decisive effort to compete on Adobe's part, while also being very much appreciated by Adobe users. We've got equipment that allows this kind of flexibility in post, but so far we can't fully embrace it without sacrificing functionality in FCPX.

Jake, the more support for any raw format the better! Arri, BlackMagic, whoever ...

And that said, you outta see the angst on the BM forums, as Resolve doesn't support ProRes RAW at freaking all. You have to transcode to something else.

Neil