RAW vs. ProRes vs. H.265: The Storage Cost of Each Codec in Real Numbers
The Production That Saved Money on Storage and Spent It on Time
A producer on a $95,000 indie feature decides to shoot H.265 (HEVC) to reduce storage costs. The acquisition codec generates 80% less data than ProRes HQ on the same camera. The drives cost less. The offload takes less time. On day one of the edit, the colorist quotes an additional $1,800 for the H.265 project versus ProRes, because the long-GOP compression requires transcoding to an intermediate codec before grading begins. The transcode takes 11 hours on the colorist's workstation. The $800 saved on drives costs $1,800 in additional post labor plus 11 hours of workstation time the colorist is billing for.
Storage cost is not the same as acquisition cost. The number on the drive purchase invoice is one line item in a total cost that includes post labor, transcode time, and workflow complexity. This post puts all those numbers on the same page for RAW, ProRes, and H.265, so the codec decision is made with complete information rather than only the upfront storage price.
Codec Overview: What Each Format Is
RAW (BRAW, ARRIRAW, Cinema DNG): The sensor data is recorded with minimal in-camera processing. Full raw parameter control available in post (ISO, white balance, exposure adjustable at the decode level). Highest latitude for color grading. Highest or middle-range data rates depending on compression ratio.
ProRes (HQ, 4444, 422, LT, Proxy): Apple's professional intermediate codec. Camera-processed image (ISP decisions baked in). 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.
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 cheapest codec (H.265): $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 is cheaper in storage and more expensive in post labor. BRAW 5:1 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 neighboring frames. This makes real-time playback on a timeline computationally expensive, particularly at 4K. Most NLEs require either:
- A GPU-accelerated playback mode (which limits grade operations)
- A transcode to an intermediate codec (ProRes, DNxHD) before grading
On a 90-minute finished cut acquired at 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 who is billing for the workstation time.
BRAW and ProRes are both I-frame codecs that decode independently per frame. DaVinci Resolve decodes BRAW natively without a transcode step. ProRes decodes natively in all major NLEs. Neither format requires a pre-grade transcode.
Pro Tips
Tip 1: Before committing to H.265 acquisition for a narrative or commercial project, ask the post facility or colorist for their rate difference between H.265-originated and ProRes/RAW-originated projects. The rate difference varies by facility. Some absorb the transcode into their standard day rate. Others bill it separately. Knowing the number before production starts means the storage saving is real, not offset by an unanticipated post bill.
Tip 2: If the production's NLE pipeline does not include DaVinci Resolve, BRAW's advantage disappears. BRAW's native decode and raw parameter control are Resolve-specific features. In Premiere Pro, BRAW requires a plugin and does not offer the same depth of raw metadata editing. On a Premiere-based editorial pipeline, ProRes is the more practical acquisition codec.
Tip 3: For archival purposes, do not archive H.264 or H.265 files as the sole preservation format. Both formats are delivery codecs with active long-GOP compression that may not decode reliably in 20 years. For long-term archival, transcode to ProRes 4444 or DPX as the preservation master. This is an additional cost, but it is the responsibility of the producer to deliver a preservation master that will still be decodable in the archive's equipment.
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. BRAW 5:1 is visually lossless for standard production use. The key distinction is not quality but capability: BRAW gives full raw parameter control in Resolve (adjustable ISO, white balance, color space at the decode level), while ProRes bakes in the camera's ISP decisions. For productions where the grade may require significant exposure or white balance correction, BRAW's raw control is a real advantage beyond a 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 a common and practical approach. Drone footage (DJI H.265) generates a small volume of footage 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 workflow is accounted for in their quote.
What is the storage difference between 4K and 6K BRAW at the same compression ratio?
Higher resolution increases the 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, you're looking at approximately 630 GB per 8-hour day versus approximately 460 GB per 8-hour day at 4K BRAW 5:1. The Codec Storage Calculator calculates this for any resolution and compression combination.
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. The Data Rate Calculator converts between bitrate, resolution, and frame rate to verify manufacturer-published codec specifications.
Conclusion
H.265 is the cheapest codec to acquire but often not the cheapest codec to post-produce. BRAW at 5:1 is the most cost-effective option for Resolve-based workflows when raw parameter control matters. 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 cost is absorbed into a larger post budget. The decision is made with complete cost information -- not just the price of the drives. What codec decision on a previous production did you revisit after calculating the full post workflow cost?
