ProRes vs. BRAW vs. ARRIRAW: Which Acquisition Format Is Right for Your Production?

The Colorist Who Couldn't Use the Metadata That Was Never There

A 15-day indie feature wraps. The DP switched from ARRIRAW to ProRes HQ three days before the shoot -- a camera body swap that nobody told the post team about. The colorist at the post house had built the grade plan around ARRIRAW's non-destructive raw parameter control: she planned to adjust the ISO metadata on the night exteriors, which were shot two stops underexposed, and recover them cleanly at the decode level.

In ProRes, there's no ISO metadata to adjust. The underexposed frames need a digital gain push that amplifies sensor noise. Two nights of exterior footage now need heavy noise reduction. The colorist adds $1,400 to the grade quote. The codec decision that took 90 seconds to make on location costs 3 days in the grade.

The codec choice is a post-production decision that happens in pre-production. It determines not just your storage cost, but what your colorist can do with the footage, how your VFX team ingests their shots, and whether your delivery pipeline requires a transcode step. This post compares ProRes, BRAW, and ARRIRAW across the dimensions that actually affect production: data rates, storage requirements, grading latitude, and NLE compatibility.

The technical specifications here draw from Apple's ProRes White Paper, ARRI's ARRIRAW Format and Data Rate documentation, and Blackmagic Design's published BRAW codec specifications.

What Raw Actually Means in Practice

ProRes is not a raw format. It's a compressed, post-production-ready codec that captures the image after the camera's image signal processing pipeline has applied white balance, color science, and tone mapping. Shooting ProRes in a log format (LogC4, S-Log3, BLog) preserves wide dynamic range for grading, but the debayering and demosaicing decisions are already baked in. You can't change ISO, white balance, or exposure metadata in post -- you correct the already-processed image.

BRAW (Blackmagic RAW) and ARRIRAW are both raw formats, which means sensor data is captured before those processing decisions. In DaVinci Resolve, a BRAW clip retains editable ISO, white balance, exposure, and color space metadata. Changing the ISO on a BRAW clip in Resolve changes how the raw data is decoded at the sensor level, not how a baked image is corrected. An underexposed BRAW clip adjusted by 2 stops of ISO in Resolve produces a cleaner result than a ProRes clip pushed 2 stops in a color correction node, because the noise amplification happens at the decode stage where the signal-to-noise structure of the raw data is still intact.

ARRIRAW operates on the same principle. ARRI's LogC4 color science and the ALEXA's raw sensor data give a colorist access to a wider effective dynamic range at the decode level than any baked codec from the same camera can match.

Format Comparison at a Glance

The table below compares the three formats across the production-relevant dimensions. Data rates are at 24fps; higher frame rates scale proportionally. Source: Apple ProRes White Paper (2021), ARRI ARRIRAW Data Rate Calculator, Blackmagic Design BRAW specifications.

BRAW's storage efficiency at 5:1 compression is the headline figure: roughly one-third the storage of ProRes HQ at comparable resolution, with full raw parameter control intact. This is not a quality compromise at 5:1 -- Blackmagic's published technical documentation describes BRAW 5:1 as visually lossless for standard production use.

Storage at Production Scale

For a 15-day shoot at a 5:1 shooting ratio for a 90-minute finished cut, total acquisition is 450 minutes. With 2x redundant backup:

ARRIRAW's storage cost at full production scale is extreme -- 4K or CFexpress media budgeted for ARRIRAW acquisition at a 5:1 ratio over 15 days requires a dedicated media rental plan, typically provided by a post facility with Codex infrastructure. Use the Codec Storage Calculator to calculate total storage for any codec, frame rate, and shooting ratio before ordering media.

Three Production Scenarios

Scenario 1: Solo Documentary, BMPCC 4K, No DIT

A solo filmmaker shoots a 22-minute observational documentary on a Blackmagic Pocket Cinema Camera 4K (BMPCC 4K) with one 8 TB portable SSD for offload backup. BRAW 5:1 is the correct choice. At approximately 810 GB per 8-hour shooting day at a 3:1 ratio, the 8 TB drive handles approximately 9 days of acquisition before a fresh drive is needed. ProRes HQ on the same camera would generate approximately 4.3 TB per day -- requiring a completely different storage infrastructure for a one-person operation. BRAW's raw parameter control also provides the same correction latitude for any exposure issues that would otherwise require expensive noise reduction on a ProRes-originated grade.

Scenario 2: Feature with 140 VFX Shots, ARRI ALEXA 35

A feature shooting on ARRI ALEXA 35 carries 140 VFX shots. The VFX supervisor requires ARRIRAW files for every VFX setup, citing the additional debayer precision available in ARRIRAW when compositing in Nuke -- particularly for fine detail in hair and foliage edges where ProRes demosaicing introduces compression artifacts at the pixel level. ProRes LogC4 HQ covers all coverage and dialogue scenes to reduce storage load on non-VFX days. The DIT maintains a dual-track acquisition log: ARRIRAW rolls flagged for the VFX vendor, ProRes rolls flagged for the editorial team. This hybrid approach reduces total storage by approximately 35% compared to full-ARRIRAW acquisition while meeting the VFX pipeline requirement for raw data on composited shots.

Scenario 3: Multi-Camera Commercial, Same-Day ProRes Delivery

A 2-day commercial shoots on three BMPCC 6K cameras with same-day delivery to the agency's Premiere Pro editorial suite. ProRes 4444 is the correct choice -- not for quality, but for pipeline. The agency's colorist requires ProRes for their established Premiere workflow. BRAW would require a same-day transcode adding 4-6 hours to the DIT's workload and delaying delivery past the agency's deadline. Three BMPCC 6K cameras in ProRes 4444 generate approximately 14 TB per day. The Data Rate Calculator confirmed the media requirement before the shoot: 28 TB across both days plus backup, at a drive cost of approximately $900.

Step-by-Step: How to Choose Your Acquisition Codec

Step 1: Confirm the colorist's workflow before selecting a codec. Contact the post facility and ask directly: "What acquisition format do you prefer and why?" A colorist who works exclusively in ARRIRAW pipelines and receives a ProRes-originated project will produce a different grade than one who regularly switches between formats.

Step 2: Confirm the delivery pipeline codec. If the client or distributor requires a ProRes master file, you need ProRes somewhere in the workflow. The question is whether to acquire in ProRes or to acquire in BRAW/ARRIRAW and transcode to ProRes for delivery. For same-day delivery requirements, acquiring in ProRes eliminates the transcode step.

Step 3: Calculate total storage for your chosen codec. Use the Codec Storage Calculator with your codec, resolution, frame rate, and shooting days. Add a 30% operational buffer.

Step 4: Confirm your NLE. BRAW's raw metadata editing is native to DaVinci Resolve. If the editorial pipeline runs on Premiere Pro, BRAW requires a plugin and delivers reduced raw metadata capability. ProRes is natively supported in every major NLE without plugins.

Step 5: For any production with significant VFX, brief the VFX supervisor before the codec decision is made. Some VFX pipelines have specific preferences for raw versus baked media based on the compositing software and the nature of the VFX work.

Step 6: Document the codec decision in the camera department report and send it to the post facility, colorist, and VFX vendor before the shoot. The ARRIRAW-to-ProRes switch that caused the problem in the opening scenario would have been caught at this step.

Pro Tips and Common Mistakes

Pro Tip: On low-light productions, the raw format advantage over ProRes is most pronounced. At ISO 3200 and above, a 2-stop correction on underexposed BRAW footage produces a significantly cleaner result than the equivalent gain push on ProRes footage from the same camera. If your project involves shooting at ISO 2000 or higher with potential exposure variation, BRAW or ARRIRAW is worth the storage cost even on a tight budget.

Pro Tip: BRAW compression ratios are not equivalent across all scene types. BRAW 5:1 works well in controlled or moderate-contrast lighting. In scenes with very high spatial frequency -- handheld crowds, foliage in wind, complex patterned textiles -- drop to BRAW 3:1 for additional data retention. The storage difference between 5:1 and 3:1 is approximately 60 GB per hour on a BMPCC 6K.

Pro Tip: For archival purposes, ARRIRAW is the most future-proof acquisition format available. ARRI publishes the format specification openly, provides free decoding tools through the ARRI Reference Tool, and maintains backward compatibility across camera generations. An ARRIRAW file from an ALEXA Classic debayers today using the same tools as an ALEXA 35 file.

Common Mistake: Choosing a codec based on storage cost alone without accounting for post workflow implications. H.265 is cheaper to store than BRAW but requires a 3-8 hour transcode before color grading on any professional pipeline. The apparent storage saving disappears when the colorist's transcode time is factored in.

The fix: Build a total acquisition cost that includes drives, post facility transcode time (if applicable), and any format-specific workflow fees. Run the Codec Storage Calculator for storage cost, then confirm the transcode situation directly with the colorist before committing to a codec.

Common Mistake: Assuming BRAW's raw parameter control works identically in Premiere Pro as in DaVinci Resolve. The Premiere Pro BRAW plugin allows basic parameter adjustments, but the full non-destructive ISO, white balance, and color space editing at the decode level requires Resolve. On a Premiere-based editorial pipeline, this gap in BRAW capability is real and should inform the codec decision.

The fix: If the editorial pipeline is Premiere Pro and raw parameter control matters for the grade, plan the workflow as Premiere Pro for offline editing, then DaVinci Resolve for color grading -- with BRAW files going directly to Resolve for the grade.

Frequently Asked Questions

Is BRAW compatible with NLEs other than DaVinci Resolve?

BRAW has official plugins for Premiere Pro and Final Cut Pro that allow basic timeline editing and limited parameter adjustment. The full raw metadata editing capability -- non-destructive ISO, white balance, and color space adjustment at the decode level -- is available only in DaVinci Resolve. For productions where the full BRAW raw workflow matters, Resolve is the required NLE. For a full comparison of editorial pipeline implications, DaVinci Resolve vs. Premiere Pro for Indie Film covers both options in production context.

Does ProRes RAW offer the same capabilities as BRAW or ARRIRAW?

ProRes RAW captures sensor data with less in-camera processing than standard ProRes and offers some raw parameter adjustment in Final Cut Pro. It's not equivalent to BRAW or ARRIRAW in terms of ecosystem support or color metadata depth. ProRes RAW is supported by very few camera systems and lacks the broad NLE support of BRAW or ARRIRAW. For productions where raw acquisition matters, BRAW and ARRIRAW are the more established options with wider post-production support.

What happens to ARRIRAW files if ARRI changes its codec in the future?

ARRIRAW is an openly documented format with a published specification. ARRI provides free decoding tools through the ARRI Reference Tool, and the format has maintained backward compatibility across every ALEXA generation. An ARRIRAW file from an original ALEXA (2010) debayers cleanly in current Resolve alongside ALEXA 35 files. For long-term archival, ARRIRAW is among the most reliably future-proof acquisition formats available.

At what budget level does the raw format advantage justify the storage cost?

The raw advantage is meaningful at any scale where a colorist grades the footage. Even on a micro-budget short where the DP handles their own grade, BRAW 5:1 on a BMPCC 4K costs approximately $60 more in drives than H.265 for a typical 5-day shoot -- while providing full raw parameter control and eliminating the transcode step. At productions above $30,000, the storage cost differential between BRAW and ProRes is a small fraction of the total budget, and the flexibility is real.

Related Tools

The Codec Storage Calculator generates total storage requirements for any combination of codec, frame rate, shooting ratio, and project duration. The Backup Strategy Calculator models the card rotation and redundant backup infrastructure for each acquisition format. The Data Rate Calculator converts between bitrate, resolution, and frame rate to verify manufacturer specs against real-world acquisition volumes.

For the H.265 side of the codec decision -- when low storage cost is the primary driver -- RAW vs. ProRes vs. H.265: The Storage Cost of Each Codec in Real Numbers covers the total workflow cost including post labor.

The Codec Decision Is a Post Decision Made in Pre-Production

The acquisition format determines what's possible in the grade. ProRes bakes the camera's processing decisions in and removes the colorist's access to raw metadata. BRAW preserves that access in a storage-efficient package for Resolve-based workflows. ARRIRAW provides the highest level of raw decode flexibility for productions with the infrastructure to support it. Make the decision in pre-production, document it, and communicate it to every department that touches the footage -- starting with the colorist.

Which acquisition format have you used that changed how your colorist approached the grade -- and would you make the same choice again?