Avid, can you please properly update your high-res workflows documents to include things like this and HDR project set up and monitoring etc. Having a well written and UP TO DATE manual would help with that a lot. Their product is still viewed as being overly complicated and less accessible than their competitors despite the fact that I don't really think that's true. My point is merely, that from the perspective of someone who wishes to find out about functionality before requiring a support call, they are woefully lacking and I don't believe that's the support people's fault, that's a management issue. Especially if you have spent good money it seems silly to throw it all away so quickly. It might be worth giving them time to get on board with this and look in to it. You seem to have had a bad experience but I promise they are streets ahead of adobe in terms of customer support. I won't go that far as I have had nothing but excellent support from them over the years. You can crank the gain up in the grade but you will increase the noise. If the camera wasn't exposed enough then thats what you end up with. The one thing you can't change with RAW footage is the actual exposure as that is a physical iris adjustment. You don't want to convert RAW to LOG (LOG is another way of retaining a wide dynamic exposure range)ĭepending on what you need to output and what colour space you need to work in you may need to add a colour adapter (or set it in the RAW settings) to convert the ProRes RAW to that colour space. But you can then alter those settings (unlike in a normal recording where they are baked in) effectively allowing you to alter the way the media is processed. Unlike 'normal' recorded media that is processed in the camera before recording (so at best you are adjusting that processed media) when you ingest the footage the camera settings metadata is applied so you 'see' the result as set by the camera operator. Not played with ProRes RAW yet but if it follows other RAW footage then the actual footage is manipulated by metadata from the camera.

Does davinci resolve support prores