Apple 

ProRes RAW
White Paper
April 2022
 Contents

Introduction 3

About Raw Video 4

Data Rate 6

Performance 8

Using ProRes RAW in Final Cut Pro 12

Using Log Conversion with Built-in Camera LUTs 13

Using Log Conversion with Custom LUT Effects 16

Grading Directly Without LUTs 18

Conclusion 20

Apple ProRes RAW April 2022 2

 Introduction

In 2007, Apple introduced the Apple ProRes codec family, providing an

unparalleled combination of real-time, multistream editing performance,
impressive image-quality preservation, and reduced storage rates for
high‑bit‑depth 4:2:2 and 4:4:4:4 video.

Apple ProRes RAW is based on the same principles and underlying

technology as existing ProRes codecs, but is applied to a camera
sensor’s pristine raw image data rather than conventional image
pixels. ProRes RAW brings to raw video the same great performance,
quality, and ease of use that ProRes has brought to conventional video,
in a format ideal for high-dynamic-range (HDR) content creation in
Final Cut Pro.

Apple ProRes RAW April 2022 3

 About Raw Video

Digital camera sensors consist of an array of millions of light-sensitive

elements called photosites that convert the light exposed to the sensor
to an array of digital intensity values. To capture color, most current
digital cameras use a color filter array that yields a single primary color
value (such as red, green, or blue) at each photosite location. This color
filter arrangement is known as a Bayer pattern, where each two-by-two
group of photosites consists of one red, one blue, and two green sensor
elements. In contrast, conventional RGB images consist of not one but
three primary color values (red, green, and blue) at each pixel location.

R G R G R G R G RGB RGB RGB RGB RGB RGB RGB RGB

G B G B G B G B RGB RGB RGB RGB RGB RGB RGB RGB

R G R G R G R G RGB RGB RGB RGB RGB RGB RGB RGB

G B G B G B G B RGB RGB RGB RGB RGB RGB RGB RGB

R G R G R G R G RGB RGB RGB RGB RGB RGB RGB RGB

G B G B G B G B RGB RGB RGB RGB RGB RGB RGB RGB

R G R G R G R G RGB RGB RGB RGB RGB RGB RGB RGB

G B G B G B G B RGB RGB RGB RGB RGB RGB RGB RGB

Bayer pattern Conventional RGB

Apple ProRes RAW April 2022 4

About Raw Video

The process of converting a Bayer pattern image to a conventional RGB

image is known as demosaicing. For conventional video, demosaicing
and other processing operations are performed within the camera to
produce viewable RGB images that can be recorded into a video file.

R G R G RGB RGB RGB RGB

G B G B Demosaic RGB RGB RGB RGB

and
R G R G process RGB RGB RGB RGB

G B G B RGB RGB RGB RGB Conventional

video file
Bayer image RGB image

In camera

At playback time, an application needs only to decode the conventional

video file to produce RGB images that can be edited and displayed. The
demosaicing and processing have already been performed by the camera
at capture time and are “burned in.”

In contrast, ProRes RAW directly encodes the Bayer pattern image.

Demosaicing and processing are deferred to the time of playback and
are performed by application software.

R G R G RGB RGB RGB RGB

G B G B Decode, RGB RGB RGB RGB

demosaic,
R G R G and process RGB RGB RGB RGB

G B G B ProRes RAW RGB RGB RGB RGB

video file
Bayer image RGB image

In application

This requires more computation during playback but allows for greater
flexibility. Just as different image and video codecs must make tradeoffs
between compression rate, quality, and complexity, demosaicing
algorithms must make tradeoffs between speed, quality, and other
factors. Using ProRes RAW lets you defer the choice of demosaicing
algorithm until post‑production and allows you to take advantage of raw
processing enhancements and demosaicing algorithm improvements in
future software.

Apple ProRes RAW April 2022 5

 Data Rate

ProRes RAW is available at two compression levels: Apple ProRes RAW

and Apple ProRes RAW HQ. Both achieve excellent preservation of
raw video content, with additional quality available at the higher data
rate of Apple ProRes RAW HQ. Compression-related visible artifacts
are very unlikely with Apple ProRes RAW, and extremely unlikely with
Apple ProRes RAW HQ.

As is the case with existing ProRes codecs, the data rates of

ProRes RAW are proportional to frame rate and resolution. ProRes RAW
data rates also vary according to image content, but to a greater degree
than ProRes data rates.

With most video codecs, including the existing ProRes family, a

technique known as rate control is used to dynamically adjust
compression to meet a target data rate. This means that, in practice,
the amount of compression—hence quality—varies from frame to frame
depending on the image content. In contrast, ProRes RAW is designed to
maintain constant quality and pristine image fidelity for all frames. As a
result, images with greater detail or sensor noise are encoded at higher
data rates and produce larger file sizes.

Apple ProRes RAW April 2022 6

Data Rate

ProRes RAW data rates benefit from encoding Bayer pattern images

that consist of only one sample value per photosite. Apple ProRes RAW
data rates generally fall between those of Apple ProRes 422 and
Apple ProRes 422 HQ, and Apple ProRes RAW HQ data rates generally
fall between those of Apple ProRes 422 HQ and Apple ProRes 4444,
as shown in the chart below.

Comparative Data Rates

Data rate

Uncompressed ProRes ProRes ProRes ProRes ProRes

12-bit raw 4444 RAW HQ 422 HQ RAW 422

Apple ProRes RAW April 2022 7

 Performance

Like the existing ProRes codec family, ProRes RAW is designed for

speed. Despite the additional computational demands of raw video
editing, ProRes RAW brings to raw video the same first-rate performance
and ease of editing that ProRes has brought to conventional video.

Raw video playback requires not only decoding the video bitstream
but also demosaicing the decoded raw image. Final Cut Pro includes a
streamlined and GPU-optimized demosaicing algorithm designed to meet
the performance demands of real-time, multistream video editing.

Apple ProRes RAW April 2022 8

Performance

The following chart shows the number of full-quality 4K streams

that can be played simultaneously for Apple ProRes RAW HQ
and Apple ProRes RAW on a 20‑core Mac Studio computer.
Apple ProRes 4444 and Apple ProRes 422 HQ are included for
comparison.

Mac Studio – Final Cut Pro Multistream Playback DCI 4K 59.94p

ProRes RAW 13

ProRes RAW HQ 13

ProRes 422 HQ 32

ProRes 4444 19

0 8 16 24 32
Number of simultaneous 4K streams

Testing conducted by Apple in February 2022 using preproduction Mac Studio systems with
Apple M1 Ultra, 20-core CPU, 64-core GPU, 128GB of RAM, and 8TB SSD. Tested on prerelease
versions of macOS Monterey 12.3 and Final Cut Pro 10.6.2, using 1-minute picture-in-picture projects
with 13 streams of Apple ProRes RAW video, 13 streams of Apple ProRes RAW HQ video, 32 streams of
Apple ProRes 422 HQ video, and 19 streams of Apple ProRes 4444 video, all at 4096 x 2160 resolution
and 59.94 frames per second. Performance may vary based on system configuration, media type,
and other factors.

ProRes RAW also supports accelerated reduced-resolution decoding

modes that are used in the Final Cut Pro Better Performance playback
setting for even greater performance and responsiveness.

MacBook Pro – Final Cut Pro Multistream Playback DCI 4K 59.94p

7
ProRes RAW
11

Better Quality

6 Better Performance

ProRes RAW HQ
9

0 6 12
Number of simultaneous 4K streams

Testing conducted by Apple in October 2021 on preproduction 16-inch MacBook Pro systems with
Apple M1 Max chip with 10-core CPU, 32-core GPU, 64GB of RAM, and an 8TB SSD. Tested on
macOS Monterey with Final Cut Pro 10.6 using 1-minute picture-in-picture projects with 11 streams
of Apple ProRes RAW video and 11 streams of Apple ProRes RAW HQ video, all at 4096 x 2160 resolution
and 59.94 frames per second. Performance may vary based on system configuration, media type, and
other factors.

Apple ProRes RAW April 2022 9

Performance

Compared to other raw video formats supported by Final Cut Pro,

ProRes RAW offers superior performance in both playback and
rendering, as shown in the charts below.

Picture-in-Picture Playback: Simultaneous 4K Streams

ProRes RAW 30

ProRes RAW HQ 30

Canon Cinema
3
RAW Light

REDCODE®
1
RAW 5:1

REDCODE®
1
RAW 3:1

Testing conducted by Apple in February 2022 using preproduction Mac Studio systems with
Apple M1 Ultra, 20-core CPU, 64-core GPU, 128GB of RAM, and 8TB SSD. Tested on prerelease
versions of macOS Monterey 12.3 and Final Cut Pro 10.6.2, Canon RAW Plugin 2.1 for Final Cut Pro,
and plug-ins from RED Apple Workflow Installer v18.2, using 50-second picture-in-picture projects
with 30 streams of Apple ProRes RAW video, 30 streams of Apple ProRes RAW HQ video, 3 streams
of Canon Cinema RAW Light video, 1 stream of REDCODE® RAW 5:1 video, and 1 stream of REDCODE®
RAW 3:1 video, all at 4096 x 2160 resolution and 23.98 frames per second. Performance may vary based
on system configuration, media type, and other factors.

Faster 8-Bit HEVC Export

ProRes RAW HQ 10.5x

REDCODE® Baseline
RAW 3:1

ProRes RAW 9.6x

REDCODE®
Baseline
RAW 5:1

ProRes RAW HQ 3.9x

Canon Cinema
Baseline
RAW Light

Testing conducted by Apple in December 2021 on preproduction 16-inch MacBook Pro systems with
Apple M1 Max, 10-core CPU, 32-core GPU, 64GB of RAM, and 8TB SSD. Tested on macOS Monterey
with Final Cut Pro 10.6.1, Canon RAW Plugin 2.1.0.3 for Final Cut Pro, and plug-ins from RED Apple
Workflow Installer v18.2.2, using 50-second projects with Apple ProRes RAW HQ video, Apple ProRes
RAW video, REDCODE® RAW 3:1 video, REDCODE® RAW 5:1 video, and Canon Cinema RAW Light video,
all at 4096 x 2160 resolution and 23.98 frames per second. Performance may vary based on system
configuration, media type, and other factors.

Apple ProRes RAW April 2022 10

Performance

Faster H.264 Export

ProRes RAW HQ 7.3x

REDCODE® Baseline
RAW 3:1

ProRes RAW 6.9x

REDCODE®
Baseline
RAW 5:1

ProRes RAW HQ 2.7x

Canon Cinema
Baseline
RAW Light

Testing conducted by Apple in December 2021 on preproduction 16-inch MacBook Pro systems with
Apple M1 Max, 10-core CPU, 32-core GPU, 64GB of RAM, and 8TB SSD. Tested on macOS Monterey
with Final Cut Pro 10.6.1, Canon RAW Plugin 2.1.0.3 for Final Cut Pro, and plug-ins from RED Apple
Workflow Installer v18.2.2, using 50-second projects with Apple ProRes RAW HQ video, Apple ProRes
RAW video, REDCODE® RAW 3:1 video, REDCODE® RAW 5:1 video, and Canon Cinema RAW Light video,
all at 4096 x 2160 resolution and 23.98 frames per second. Performance may vary based on system
configuration, media type, and other factors.

Faster Render Speed

ProRes RAW HQ 20.17x

REDCODE® Baseline
RAW 3:1

ProRes RAW HQ 5.89x

Canon Cinema
Baseline
RAW Light

ProRes RAW 22.85x

REDCODE®
Baseline
RAW 5:1

Testing conducted by Apple in February 2022 using preproduction Mac Studio systems with
Apple M1 Ultra, 20-core CPU, 64-core GPU, 128GB of RAM, and 8TB SSD. Tested on prerelease
versions of macOS Monterey 12.3 and Final Cut Pro 10.6.2, Canon RAW Plugin 2.1 for Final Cut Pro, and
plug-ins from RED Apple Workflow Installer v18.2, using 50-second projects with Apple ProRes RAW HQ
video, Apple ProRes RAW video, REDCODE® RAW 3:1 video, REDCODE® RAW 5:1 video, and Canon
Cinema RAW Light video, all at 4096 x 2160 resolution and 23.98 frames per second. Performance
may vary based on system configuration, media type, and other factors.

Apple ProRes RAW April 2022 11

 Using ProRes RAW in Final Cut Pro

ProRes RAW is an ideal format for creating wide-gamut, high-dynamic-

range (HDR) content because it captures the full dynamic range and
color gamut of the camera sensor. If you want to create standard-
dynamic-range (SDR) content, such as high-definition broadcast
(Rec. 709) video, the high dynamic range of a ProRes RAW source file
must be restricted to a dynamic range suitable for viewing on an SDR
display. This process is called tone mapping.

There are three primary ways to use ProRes RAW with Final Cut Pro in

your post‑production workflow:

• Using Log Conversion with Built-in Camera LUTs

• Using Log Conversion with Custom LUT Effects

• Grading Directly Without LUTs

For more information about working with HDR in Final Cut Pro, see

the Final Cut Pro User Guide and HDR and Wide Color Gamut in
Final Cut Pro.

Apple ProRes RAW April 2022 12

Using ProRes RAW in Final Cut Pro

Using Log Conversion with Built-in

Camera LUTs
Most professional video cameras today support recording in a log
format. Using log enables a higher dynamic range of light levels to be
represented compared to standard video gamma functions. Because
many color-grading workflows are based on working with log video,
Final Cut Pro can automatically apply a log conversion setting to
ProRes RAW media files during import. With log conversion applied,
ProRes RAW files behave just like conventional log video and can be
edited the same way.

Using built-in log conversion allows you to color correct ProRes RAW

video as if it were SDR or HDR video, depending on your library
color-processing setting. When your library is set to Standard color
processing, you can color correct ProRes RAW video as if it were SDR
video. With your library set to Wide Gamut HDR, you can color correct
ProRes RAW video as if it were HDR video.

RAW to Log Conversion Setting

Decoding ProRes RAW directly results in HDR linear values rather
than log. The Raw to Log Conversion setting in the Info inspector
applies custom log functions created by different camera vendors
so that you can color correct your ProRes RAW files as log video.
Because ProRes RAW files contain metadata that identifies the camera
manufacturer, Final Cut Pro can apply the correct log function (such as
Canon Log 2, Panasonic V-Log, or Sony S-Log3) during import.

You can also manually adjust the RAW to Log Conversion setting in the
General, Extended, or Settings view of the Info inspector.

Apple ProRes RAW April 2022 13

Using ProRes RAW in Final Cut Pro

Change the RAW to Log Conversion setting

1. Select one or more video clips recorded with ProRes RAW.

2. If the Info inspector isn’t already shown, choose Window > Show in
Workspace > Inspector, then click the Info button at the top.

Click the Info button.

Choose a log
conversion option.

Choose General,
Extended, or Settings.

3. Click the Metadata View pop-up menu in the bottom-left corner, then
choose either General, Extended, or Settings.

4. Click the RAW to Log Conversion pop-up menu and choose an option.

Camera LUT Setting

A lookup table (LUT) is a set of data that transforms pixel values to
change the way an image looks. Because log video footage initially
looks flat, Final Cut Pro can apply a Camera LUT setting to make the
image look less flat and more vibrant. It essentially converts the log-
encoded image to an image in the intended output color space in a way
that looks pleasing to the eye. As with all video shot with log encoding,
Final Cut Pro automatically applies the Camera LUT setting based on
metadata in the file that identifies the camera manufacturer. You can
view the Camera LUT setting in the Info inspector.

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Using ProRes RAW in Final Cut Pro

Camera LUT setting

The type of conversion performed by the built-in camera LUT depends

on the library color-processing setting. When color processing is set to
Standard, the log conversion applies tone mapping to reduce the original
high dynamic range of the log content to a range suitable for SDR video.

To make the full dynamic range of the original video available in the
working color space, change the library color-processing setting to
Wide Gamut HDR. When color processing is set to Wide Gamut HDR, the
built-in camera LUT does not apply tone mapping and preserves the full
dynamic range for color correction and effects.

Set library color processing to Wide Gamut HDR

1. Select a library in the Libraries sidebar.

2. Choose File > Library Properties, then click the Modify button at the
top of the inspector.

Click to set the

color processing.

3. Select Wide Gamut HDR.

You can add ProRes RAW clips directly to an HDR project in the

timeline—for example, a project set to Rec. 2020 PQ or Rec. 2020 HLG—
and monitor them using a professional reference monitor such as the
Apple Pro Display XDR. You can easily color correct the clips using
the advanced color correction tools in Final Cut Pro. See Intro to color
correction effects and Color correct HDR video with Pro Display XDR
in the Final Cut Pro User Guide.

Apple ProRes RAW April 2022 15

Using ProRes RAW in Final Cut Pro

Using Log Conversion with Custom

LUT Effects
This workflow employs a Custom LUT effect (instead of a built-in camera
LUT) and allows you to color correct ProRes RAW video as though it were
log video.

Step 1: Change the Camera LUT setting to None

1. Select one or more video clips recorded with ProRes RAW.

2. If the Info inspector isn’t already shown, choose Window > Show in
Workspace > Inspector, then click the Info button at the top.

Click the Info button.

Choose None.

Choose General,
Extended, or Settings.

3. Click the Metadata View pop-up menu in the bottom-left corner, then
choose either General, Extended, or Settings.

4. Click the Camera LUT pop-up menu and choose None.

When Camera LUT is set to None, the color correction tools (such
as Color Wheels and Color Curves) and other effects operate on the
log-encoded values. No tone mapping is applied to the source, and no
dynamic range is lost.

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Using ProRes RAW in Final Cut Pro

Step 2: Apply color correction and any other video effects

Make adjustments to color balance, exposure, and white balance.

Do any of following:

• Adjust the ISO setting and color temperature: See Adjust ProRes RAW
camera settings in the Final Cut Pro User Guide.

• Apply color correction: See Intro to color correction effects in the

Final Cut Pro User Guide.

• Apply video effects: See Intro to clip effects in the Final Cut Pro

User Guide.

Step 3: Import and apply a Custom LUT effect

You will need to apply a Custom LUT effect (as the last effect in the list)
using a 3DLUT file that contains the conversion from log to the output
color space. Custom LUT effects can be purchased and downloaded
from a variety of sources, or you can create one yourself using
inexpensive color-grading software or plug-ins.

1. Select a ProRes RAW clip in the timeline.

2. To open the Effects browser, choose Window > Show in Workspace >

Effects.

3. Select the Color category on the left, then double-click Custom LUT
to apply the effect to the selected clip.

4. If the Video inspector isn’t already shown, choose Window > Show in
Workspace > Inspector, then click the Video button at the top.

5. In the Custom LUT section of the Video inspector, click the LUT
pop‑up menu and choose “Choose Custom LUT.”

Note: If you previously imported a custom LUT, you can choose

Recent and then choose from a list of recently used Custom
LUT effects.

6. In the window that appears, navigate to the LUT file you want to
import, and select it.

7. Click Open.

The LUT you imported appears as the selected LUT at the top of the
Custom LUT section.

Custom LUT

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Using ProRes RAW in Final Cut Pro

8. Click the Input pop-up menu and choose the color space the LUT
converts from.

9. Click the Output pop-up menu and choose the color space the LUT
converts to.

Note: Make sure the Custom LUT effect is the last effect in the
effects list. If it isn’t, you can simply drag it to the bottom of the list.

Grading Directly Without LUTs

This workflow allows you to color correct ProRes RAW video as HDR
video, regardless of the library color-processing setting.

Change the RAW to Log Conversion and Camera LUT settings

to None
1. Select one or more video clips recorded with ProRes RAW.

2. If the Info inspector isn’t already shown, choose Window > Show in

Workspace > Inspector, then click the Info button at the top.

Click the Info button.

Choose None from

these two pop-up
menus.

Choose General,
Extended, or Settings.

Apple ProRes RAW April 2022 18

Using ProRes RAW in Final Cut Pro

3. Click the Metadata View pop-up menu in the bottom-left corner, then
choose either General, Extended, or Settings.

4. Click the RAW to Log Conversion pop-up menu and choose None,
then click the Camera LUT pop-up menu and choose None.

No tone mapping is applied to the source, and the full dynamic range
is available in the working space, even in libraries set to Standard
color processing.

5. Optionally, do any of the following:

• Adjust ProRes RAW camera settings (ISO and color temperature):

See Adjust ProRes RAW camera settings in the Final Cut Pro
User Guide. The available settings vary by camera model. For a list
of ProRes RAW video cameras and devices, see the Apple Support
article Cameras supported by Final Cut Pro.

• Use color correction tools, such as Color Wheels and

Color Curves: See Intro to color correction effects in the
Final Cut Pro User Guide.

Apple ProRes RAW April 2022 19

 Conclusion

Apple ProRes RAW is a powerful tool for recording and creating

stunning images that preserves quality while maintaining performance.
Much of the complexity of working with raw is minimized with smart,
automatic functions that make it easy for novices and experts alike
to achieve excellent results. Being able to use the raw image sensor
data directly in Final Cut Pro during post‑production gives you more
control over the processing of the image, including demosaicing,
linear‑to‑log conversions, and custom LUTs. Working with ProRes RAW
in Final Cut Pro with the advanced color correction tools, you can create
new looks and compelling images to make your material stand out like
never before.

Copyright © 2022 Apple Inc. All rights reserved. Apple, the Apple logo, Final Cut, Final Cut Pro, Mac,
MacBook Pro, and macOS are trademarks of Apple Inc., registered in the U.S. and other countries and
regions. Apple ProRes, Mac Studio, and ProRes are trademarks of Apple Inc. Other product and company
names mentioned herein may be trademarks of their respective companies. Product specifications are
subject to change without notice. 028-00501-A

Apple ProRes RAW April 2022 20