For years, filmmakers begged for it. Now it is finally here. Blackmagic Design has officially announced support for Apple ProRes RAW across DaVinci Resolve and the Pocket Cinema Camera 4K. This long-awaited update closes a gap that many professionals considered one of the most puzzling omissions in modern post-production.
The long road to ProRes RAW in Resolve
Apple introduced ProRes RAW back in 2018 as a compressed yet flexible codec meant to simplify RAW workflows. Support quickly rolled out to Final Cut Pro, then to other NLEs such as Adobe Premiere Pro and Assimilate Scratch. But DaVinci Resolve remained absent from that list, despite being one of the most widely used color grading and finishing tools in the industry. This absence frustrated creators who had to juggle workarounds or switch software when handling ProRes RAW material. Blackmagic’s own forum is filled with long threads from users asking for the feature, with some wondering if it would ever arrive. That frustration has now been resolved with DaVinci Resolve 20.2 and Blackmagic Camera 9.8 public beta, both of which bring ProRes RAW and ProRes RAW HQ support.
What changes with this update
With the new release, filmmakers can now import, playback, and grade ProRes RAW files natively inside Resolve. This applies not only to dedicated cameras but also to footage captured on Apple’s latest iPhone 17 Pro. Pocket Cinema Camera 4K owners gain the ability to record directly in ProRes RAW, expanding their choices beyond the traditional compressed ProRes 422 family. Soon, Blackmagic Camera app and Blackmagic Video Assist 12G will also gain ProRes RAW recording capabilities, unifying the codec across capture and post. This is more than a technical checkbox. It is a major improvement in workflow flexibility, particularly for teams that mix Blackmagic cameras with iPhones, drones, or third-party recorders.
ProRes RAW vs BRAW: the codec collision
One reason this update took so long lies in the delicate balance between Apple’s ProRes RAW and Blackmagic’s own BRAW format. BRAW has been the company’s flagship compressed RAW solution, designed to offer small file sizes with deep grading flexibility. Blackmagic had little incentive to adopt a rival codec, especially one owned and controlled by Apple. On the other hand, ProRes RAW had growing momentum in other parts of the industry. Camera makers like DJI, Nikon, and Panasonic embraced it through external recorders. Editors and colorists outside the Blackmagic ecosystem were already using it daily. The lack of compatibility created silos, forcing many productions to avoid mixing systems. By finally embracing ProRes RAW, Blackmagic is acknowledging that open workflows benefit everyone. Resolve remains the leader in grading, and ignoring such a widely used format was increasingly untenable.
Why now?
Several factors may have accelerated this shift. Apple’s continued push for ProRes RAW in iPhones raised the stakes, as mobile filmmaking became part of professional workflows. Industry pressure also mounted, with threads like those on the Blackmagic forum highlighting user frustration. And of course, IBC 2025 provides a global stage for the company to make the announcement. Grant Petty, CEO of Blackmagic Design, framed the update as part of the company’s commitment to giving customers free software upgrades. That philosophy has always been central to Blackmagic’s appeal, and adding ProRes RAW feels like a logical step in that tradition.
With the addition of ProRes RAW formats across our capture, playback and professional editing software products we are continuing our commitment to software updates for existing products. Blackmagic Pocket Cinema Camera 4K customers have always been able to record in compressed ProRes 422 formats, but now they will be able record ProRes RAW and natively playback the files in DaVinci Resolve. We are extremely excited to be delivering yet another free update for our customers.
– Grant Petty, CEO, Blackmagic Design
A closer look at DaVinci Resolve 20
The arrival of ProRes RAW comes on top of a year already packed with milestones for DaVinci Resolve. In April, Blackmagic delivered DaVinci Resolve 20: A Quiet Revolution for Motion Graphics Artists, introducing new tools that gave creators far more flexibility for text, animation, and graphics inside the software. By May, the beta matured into the polished final version with Blackmagic Announces the Final Release of DaVinci Resolve 20, securing stability and refining dozens of features. Most recently, in August, the company extended its ecosystem with Blackmagic Releases Immersive Filmmaking Guides for URSA Cine and DaVinci Resolve, providing practical learning resources that bridge production and post. With these advancements, the addition of ProRes RAW in version 20.2 lands in a software environment that is already broader, more stable, and more educationally supported than ever before.
Takeaway
ProRes RAW in Resolve has been a long time coming. The codec wars between BRAW and ProRes RAW may continue, but for filmmakers, the update means more freedom. Whether you are cutting footage from a Pocket 4K, grading an iPhone 17 Pro clip, or integrating material from multiple brands, you can now keep your entire workflow inside DaVinci Resolve. For many professionals, this is the update they have been waiting for.
