So basically the entire workflow is a pain in the ass, and I wouldn't recommend it to anyone unless you REALLY need 12-bit and the extra bit-depth. These complications with FCPX mean that I have to run off Prores4444 transcodes from FCPX myself (the metadata complications make it too dangerous to trust to assistants most of the time), and then I have to import the transcoded Prores4444 files into Davinci and strike my Proxy files from there (because it's easier than resetting FCPX into a 2k project for proxy exports, and then switching back over again to transcode the masters.

And you have to do all of this carefully, because if you get it wrong, you can end up with your 3200 EI clips, transcoded at 12,800 EI in their Prores4444 form - and that becomes a real pain in the ass for the proxies/editors/colour grade. So I moved to using FCPX, which is far superior (with a much less painful UI than Compressor), but still has significant issues - like you can't set up a project to export both Prores4444 Masters followed by 2k Prores Proxies automatically (something Compressor would do).įCPX also has issues with accurately reading metadata when dealing with multiple clips, so if you've captured clips at both base ISOs (like 800 ISO for some clips and 12,800 ISO for others) but exposed your high-base ISO clips at a lower EI to reduce noise and improve matching (I always use 3200 EI for my high-base ISO material), you frequently run into issues where the clips' metadata says they're at 12,800 ISO, but they're actually displaying at 3,200 EI, and you have to select and deselect those clips and just muck around a bit before you can get them properly registered in FCPX as what they are (12,800 ISO clips shot at 3,200 EI).

I started off using Compressor, but that was a nightmare to get accurate SLOG3/Sgamut3.cine conversions from. What's your workflow for converting ProRes Raw to 4444?Currently I'm using FCPX.

Davinci resolve 18 prores raw