BRAW vs ProRes RAW on the Blackmagic 4K — Which RAW Format Is Better?

In this video, I put the Blackmagic Pocket Cinema Camera 4K to the test — comparing Blackmagic RAW (BRAW) and Apple ProRes RAW head-to-head inside DaVinci Resolve.

Now that Resolve fully supports ProRes RAW — and the BMPCC 4K can shoot it internally — it’s finally possible to see how these two RAW codecs really stack up. I’ve shot one minute of identical footage in every RAW format available on the camera, including:

🎥 Apple ProRes RAW HQ
🎥 Apple ProRes RAW (Standard)
🎥 BRAW Constant Quality (Q0, Q3, Q5)
🎥 BRAW Constant Bitrate (3:1, 5:1, 8:1, 12:1)

Then I break down:
• 📦 File sizes — how much data each codec generates per minute and per hour.
• 🎛️ Compression differences — from constant quality to constant bitrate modes.
• 🎨 Color and exposure shifts — why ProRes RAW clips appear brighter and have subtle color variations compared to BRAW.
• ⚙️ Workflow control — how BRAW gives far more flexibility in RAW tab adjustments (ISO, gamma, color space) compared to ProRes RAW’s limited options.
• 💾 Practical advice — when to use each format depending on your workflow (Resolve, Final Cut Pro, or Premiere).

You’ll see that while ProRes RAW HQ produces massive files — up to 7.3GB per minute — BRAW 3:1 or 5:1 offers nearly identical visual quality at a fraction of the size, with smarter compression and far better metadata control.

So is ProRes RAW too late to the party? Maybe. BRAW remains the most efficient, flexible, and modern RAW format for most DaVinci Resolve workflows — but if you’re shooting for Final Cut or iPhone 17 Pro footage, ProRes RAW still has its place.

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📸 Camera: Blackmagic Pocket Cinema Camera 4K
💻 Software: DaVinci Resolve 20
🎞️ Formats Tested: BRAW, ProRes RAW, ProRes 422 HQ
🧩 Series: Camera Workflow Tests & Codec Comparisons

#DaVinciResolve #BlackmagicPocket4K #BRAW #ProResRAW #CameraTest #VideoEditing #ColorGrading #Cinematography #LinuxForCreators #BlackmagicDesign #PostProduction