The Beat: How ProRes RAW Is Going to Change the Way You Work

https://www.premiumbeat.com/blog/prores-raw-change-your-work/

“If things pan out the way they seem set to, ProRes RAW could change the way independent film and video professionals work for a long time.

In this article, we’ll briefly cover the basics of RAW, how Apple is attempting to streamline this with their new ProRes, and what that means for you as a filmmaker….

… The lightweight nature of the codecs also opens up possibilities for future minimization and streamlining of cinema cameras — similar to what previous ProRes codecs have done. Adopting a more open licensing policy with ProRes RAW could herald another new wave of cinema cameras, shattering price floors….”

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Atomos Shogun Inferno monitor/recorder, image courtesy of Atomos. The Shogun Inferno is one of the first devices to support ProRes RAW.

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9to5Mac: Logic Pro X gets major update: ChromaVerb, Vintage EQs, Multi Effects, more

https://9to5mac.com/2018/01/25/logic-pro-x-update-chromaverb-vintage-eq/

Apple has now released a new update for its flagship music recording software, Logic Pro X. While we are getting a very long list of minor tweaks and enhancements here, version 10.4 is bringing some major new features to the table along with some serious gear in the way vintage EQ emulation, new orchestral instruments, a pair of multi-effect plug-ins and hundreds of new sounds.…”

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Apple updates Logic Pro X to version 10.4 with the addition of new temporary detection technology, powerful new plugins, new Drummers, 800 additional loops and a new library for Alchemy synths with 150 cinematic presets.

Commentary

Apple’s affordable though high-end sound and visuals post-production software suites, Final Cut Pro X and Logic Pro X, have been given some impressive updates recently with the former gaining pro-quality colour grading features while the latter has received plenty of music-oriented improvements and content.

Now the stage is set for Apple to introduce some really big, long-needed improvements in its audio-editing and sound design capacity to equal or surpass the credible threat rendered by Blackmagic Design’s DaVinci Resolve 14 and its built-in Fairlight Audio page tools obtained as the result of the purchase of the legendary Fairlight audio and video hardware and software company.

Apple’s two separate post-production suites need to be made to work together in a far closer, far more intuitive way than they do at the moment to the degree that it would be unthinkable to use one without the other.

Let us hope that Apple has some pleasant surprises up its sleeves this year, but not too late in the year as Blackmagic Design is already roaring ahead with full audio integration in the free and paid-for versions of DaVinci Resolve 14.

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