RAW vs. ProRes vs. H.265: The Storage Cost of Each Codec in Real Numbers
The $800 Drive Saving That Cost $1,800 in the Grade
A producer on a $95,000 indie feature chooses H.265 (HEVC) to reduce storage costs. The codec generates 80% less data than ProRes HQ on the same camera body. Drives cost less. Offload is faster. On day one of post-production, the colorist quotes an additional $1,800 for the H.265 project versus ProRes, because long-GOP compression requires transcoding to an intermediate codec before grading begins. The transcode runs 11 hours on the colorist's workstation. The producer is billed for that time.
The $800 saved on drives cost $1,800 in post labor and 11 hours of facility time. The cheaper codec ended up more expensive.
Storage cost is not the same as acquisition cost. The drive invoice is one line item in a total workflow cost that includes post labor, transcode time, and NLE compatibility. This post puts all of those numbers on the same page for RAW, ProRes, and H.265, so the codec decision is made with complete information rather than just the upfront drive price.
Codec Overview: What Each Format Is
The bitrate figures below come from Apple's ProRes White Paper, Blackmagic Design's BRAW codec specifications, and ARRI's published ARRIRAW Data Rate Calculator.
RAW (BRAW, ARRIRAW, Cinema DNG): Sensor data is recorded with minimal in-camera processing. Full raw parameter control is available in post -- ISO, white balance, and exposure are adjustable at the decode level rather than baked into the image. Highest color grading latitude. Data rates range from moderate (BRAW 5:1) to very high (ARRIRAW).
ProRes (HQ, 4444, 422, LT, Proxy): Apple's professional intermediate codec. The camera's image signal processor (ISP) applies white balance, color science, and tone mapping before recording. Ready to edit without transcoding in any NLE. Multiple quality tiers with different bitrates. Fast decode for smooth timeline playback.
H.264/H.265 (HEVC): Long-GOP compression. Camera-processed image. Very low data rates. Efficient for storage and delivery but computationally intensive to decode. Most editing and grading workflows require transcoding to an intermediate codec before color work begins.
Bitrate and Storage Per Hour
| Codec | Camera Example | Bitrate | Per Hour | Per 8-Hour Day |
|---|---|---|---|---|
| ARRIRAW 4.6K | ARRI ALEXA 35 | ~4.3 Gb/s | ~1.94 TB | ~15.5 TB |
| BRAW 3:1 | BMPCC 6K | ~375 Mb/s | ~169 GB | ~1.35 TB |
| BRAW 5:1 | BMPCC 6K | ~225 Mb/s | ~101 GB | ~810 GB |
| BRAW 12:1 | BMPCC 6K | ~96 Mb/s | ~43 GB | ~344 GB |
| ProRes RAW HQ | Various | ~2.5 Gb/s | ~1.13 TB | ~9 TB |
| ProRes HQ 4K | Various | ~1.2 Gb/s | ~540 GB | ~4.3 TB |
| ProRes 422 4K | Various | ~700 Mb/s | ~315 GB | ~2.5 TB |
| ProRes 422 LT 4K | Various | ~450 Mb/s | ~203 GB | ~1.6 TB |
| H.265 4K (100 Mb/s) | Sony FX, Canon | ~100 Mb/s | ~45 GB | ~360 GB |
| H.264 4K (100 Mb/s) | Various | ~100 Mb/s | ~45 GB | ~360 GB |
Use the Codec Storage Calculator to calculate exact totals for your specific shooting duration, ratio, and codec combination. The table above uses 8 hours of continuous recording as the reference. Realistic shoot days have 4-6 hours of active camera time, so per-day data volume is typically 50-75% of the 8-hour figures.
Full Feature Film Cost Comparison
Scenario: 15-day indie feature, 4:1 shooting ratio, 90-minute finished cut = 360 minutes of acquisition. Two redundant backup copies (industry standard).
| Codec | Total Raw (360 min) | Storage (2x backup) | Drive Cost (approx.) | Post Transcode Required? | Colorist Rate Impact |
|---|---|---|---|---|---|
| BRAW 5:1 | 6.1 TB | 12.2 TB | ~$500 (3x4TB SSDs) | No (native Resolve) | Standard rate |
| ProRes HQ 4K | 32.4 TB | 64.8 TB | ~$2,000 (8x8TB SSDs) | No (all NLEs) | Standard rate |
| ProRes 422 4K | 18.9 TB | 37.8 TB | ~$1,200 (5x8TB SSDs) | No (all NLEs) | Standard rate |
| H.265 4K | 2.7 TB | 5.4 TB | ~$250 (2x4TB SSDs) | Yes (4-12 hrs transcode) | +$600-2,000 extra labor |
| ARRIRAW | 116 TB | 232 TB | ~$15,000+ (media rental) | No (native Resolve) | +$400-1,000 (Codex workflow) |
Total cost of H.265 (cheapest storage codec): $250 in drives + $1,200 minimum in transcode labor = $1,450 minimum.
Total cost of BRAW 5:1: $500 in drives + $0 transcode = $500.
H.265 costs less per drive but more per finished minute when post labor is included. BRAW 5:1 on a Resolve-based pipeline is the most cost-effective option when the full workflow cost is counted.
Three Production Scenarios
Scenario 1: Run-and-Gun Documentary, Weight-Constrained
A solo DP shooting a documentary across three countries with a weight limit of 10kg including all camera gear. H.265 at 100 Mb/s is viable here specifically because the total data per day is low enough that the DP can carry sufficient card and drive capacity. At 360 GB per day (8 hours at 100 Mb/s), a single 4 TB drive handles 11 days before needing to offload to the cloud. The transcode cost is accepted because the colorist session is short (documentary grade, 2-3 hours) and the transcode adds only 1-2 hours to the session. The weight constraint makes this a legitimate reason to choose H.265.
Scenario 2: Narrative Feature with Dedicated Post Facility
A narrative feature using a post facility with an ARRI Codex workflow. The facility already has Codex hardware for ARRIRAW ingest. The additional Codex workflow cost for ARRIRAW versus ProRes 4K is approximately $800 over a 4-week post period. The colorist recommends ARRIRAW for the full raw parameter control and knows the pipeline well. The total storage cost for ARRIRAW is extreme ($15,000+ in media and storage), but much of this is the media rental rather than a purchase, and the production accepts this as the cost of the specific post pipeline.
Scenario 3: Commercial, Same-Day Delivery in ProRes
A commercial production requiring same-day delivery of ProRes 422 master files to the agency's Premiere Pro editor. H.265 or BRAW would require a same-day transcode step that adds 2-4 hours and pushes delivery past the agency's deadline. ProRes 422 is the correct choice because the delivery requirement is a ProRes master file anyway. Shooting ProRes 422 eliminates an intermediate transcode step and keeps delivery on schedule. The storage estimate variables post covers the variables that make storage estimates diverge from actuals on commercial productions.
The Transcode Step in Detail
H.264 and H.265 use long-GOP (Group of Pictures) compression. Each frame is not independently decodable -- the decoder must reference preceding and following frames to reconstruct each image. This makes real-time playback on a timeline computationally expensive, particularly at 4K. Most NLEs and color grading tools require either:
- A GPU-accelerated playback mode (which limits simultaneous grade operations)
- A transcode to an intermediate codec (ProRes 422, DNxHD) before grading begins
On a 90-minute finished cut acquired at a 4:1 ratio (360 minutes of H.265 footage), a transcode to ProRes 422 at 4K on a well-specified workstation (M2 MacBook Pro, Resolve Studio) takes approximately 3-8 hours. At a colorist rate of $150-$250/hour, the transcode window adds $450-$2,000 to the grade cost, depending on whether the colorist is billing workstation time separately.
BRAW and ProRes are both I-frame codecs -- each frame is independently decodable without reference to neighboring frames. DaVinci Resolve decodes BRAW natively without a transcode step. ProRes decodes natively in all major NLEs. Neither format requires a pre-grade transcode.
Step-by-Step: Choosing the Right Codec for Your Workflow
Step 1: Identify your NLE and color grading pipeline before choosing a codec. BRAW's cost efficiency and raw parameter control are available only on a Resolve-based pipeline. On a Premiere Pro editorial workflow, BRAW requires a plugin with reduced raw metadata capability. ProRes works natively in every major NLE without plugins.
Step 2: Ask the colorist before the shoot. Contact the post facility and ask: "What is your rate difference between an H.265-originated project and a ProRes or BRAW project?" The answer varies by facility. Some absorb the transcode into their day rate. Others bill it separately. Knowing the number before production means the storage saving is real, not offset by an unexpected post bill.
Step 3: Calculate your total acquisition storage using the Codec Storage Calculator. Enter codec, resolution, frame rate, and shooting days. Add a 30% operational buffer to the result. Compare drive cost across the three codec options.
Step 4: Add any post-labor cost for H.265. If the colorist quotes a transcode surcharge, add that to the H.265 storage cost. Compare the H.265 total to the BRAW 5:1 total. In most cases, BRAW is cheaper or equivalent when the full workflow cost is included.
Step 5: Check delivery requirements. If the delivery pipeline requires a ProRes master file -- commercial agencies, broadcasters, or same-day editorial -- acquiring in ProRes eliminates a transcode step at delivery. For these situations, ProRes is the correct acquisition codec regardless of storage cost.
Step 6: For archival, plan a separate preservation transcode regardless of acquisition codec. H.264 and H.265 are long-GOP delivery codecs. For long-term archival, transcode to ProRes 4444 or DPX as the preservation master before delivering the project drive to storage.
Pro Tips and Common Mistakes
Pro Tip: Before committing to H.265 acquisition for a narrative or commercial project, ask the colorist directly for the rate difference between H.265 and ProRes/BRAW origins. The number varies by facility and workstation capability. Some facilities absorb the transcode into their day rate. Others bill for the workstation time separately at $75-$150 per hour. Knowing the number before production starts means the storage saving is either real or already eliminated.
Pro Tip: If the production's NLE is Premiere Pro rather than DaVinci Resolve, BRAW's cost advantage requires a plugin that delivers reduced functionality. On a Premiere-based editorial pipeline, the workflow breaks down as follows: use Premiere Pro for offline editing with BRAW proxy or transcode, then pipe BRAW files directly to Resolve for color grading. If Resolve isn't in the pipeline at all, ProRes is the more practical acquisition codec.
Pro Tip: For archival, do not use H.264 or H.265 files as the sole preservation format. Both are long-GOP delivery codecs with active inter-frame compression that may not decode reliably in 20 years as format support evolves. The Academy of Motion Picture Arts and Sciences Digital Preservation Best Practices recommends mezzanine-format masters (ProRes 4444, DPX) for long-term preservation. Transcode to ProRes 4444 or DPX as the preservation master before archiving.
Common Mistake: Choosing a codec based solely on the drive invoice without building a total workflow cost that includes post labor. An $800 drive saving that generates a $1,800 transcode charge is a net cost increase. Build the full cost model before committing.
The fix: Use the Codec Storage Calculator for acquisition storage, then add any colorist-quoted transcode surcharge to the H.265 line. Compare the totals across BRAW 5:1, ProRes 422, and H.265 before making the decision.
Frequently Asked Questions
Is there a quality difference between BRAW 5:1 and ProRes HQ at the same resolution?
At most shooting conditions, no perceptible quality difference. Blackmagic's published specifications describe BRAW 5:1 as visually lossless for standard production use. The distinction is capability, not quality: BRAW gives full non-destructive raw parameter control in Resolve -- adjustable ISO, white balance, and color space at the decode level -- while ProRes bakes the camera's ISP decisions in. For productions where the grade may require significant exposure or white balance correction, BRAW's raw parameter access is a real advantage that goes beyond a simple quality comparison.
Can I mix codecs on a production -- BRAW for main coverage and H.265 for B-roll drone footage?
Yes, and this is common on productions that use DJI drones as secondary cameras. Drone footage (DJI H.265) typically generates a small fraction of total production data compared to principal photography, and can be transcoded to ProRes for the editorial timeline without significant cost impact. Flag the mixed-codec situation in the camera report and confirm with the colorist that the mixed-format workflow is included in their quote.
What is the storage difference between 4K and 6K BRAW at the same compression ratio?
Higher resolution increases data captured per frame. BRAW 5:1 at 6K generates approximately 60-70% more data than BRAW 5:1 at 4K on the same camera. At 6K BRAW 5:1 on the BMPCC 6K, the figure is approximately 630 GB per 8-hour day versus approximately 460 GB per 8-hour day at 4K BRAW 5:1 on the same body. The Codec Storage Calculator calculates this for any resolution and compression combination.
What is the correct codec for a production delivering to broadcast?
Broadcast delivery specifications vary by broadcaster, but most UK, European, and Australian broadcasters require IMF (Interoperable Master Format) or ProRes masters with loudness-normalized audio at -23 LUFS (EBU R128) or -24 LUFS (ATSC A/85 for North America). For broadcast deliveries, acquiring in ProRes and delivering ProRes eliminates transcode steps. If acquiring in BRAW, plan a ProRes transcode at the post facility as the final delivery step. Confirm the exact delivery spec with the commissioning broadcaster before locking the post workflow.
Related Tools
The Codec Storage Calculator generates total acquisition storage for any codec, resolution, frame rate, and shooting duration. The Backup Strategy Calculator models the drive count and hardware needed to maintain verified redundant copies during production. The Data Rate Calculator converts between bitrate, resolution, and frame rate to verify manufacturer-published codec specifications against real-world acquisition volumes.
For the comparison between BRAW and ARRIRAW in depth -- including the ARRIRAW cost at full production scale -- ProRes vs. BRAW vs. ARRIRAW: Which Acquisition Format Is Right for Your Production? covers the full acquisition format decision.
The Cheapest Drive Is Not Always the Cheapest Codec
H.265 is the cheapest codec to store. It is often not the cheapest codec to post-produce, because the transcode cost at the colorist's facility erases the drive saving on any production above a short-form documentary. BRAW 5:1 on a Resolve-based pipeline is the most cost-effective option when the full workflow cost -- drives plus post labor -- is calculated. ProRes remains the correct choice for multi-NLE pipelines and same-day delivery requirements. ARRIRAW belongs in productions with established ARRI post pipelines where the infrastructure cost is absorbed into a larger post budget.
Make the decision with the complete cost model, not just the drive price. Use the Codec Storage Calculator for the acquisition side, then confirm the post labor cost with the colorist before committing.
What codec decision on a previous production did you revisit after calculating the full post workflow cost -- and what did the real numbers look like?
