Blackmagic RAW proprietary video codec offering compressed RAW recording with post-production flexibility.
BRAW utilizes wavelet-based compression and stores image data in 12-bit with up to 4096 color values per channel. The format supports resolutions from HD to 12K at frame rates between 23.98 and 120 fps, depending on the camera used. Compression ratios range from 3:1 (Q0, highest quality) to 12:1 (Q5, smallest file size). Metadata includes ISO values, white balance, exposure times, and LUT information, which remain fully adjustable in post-production. GPU-accelerated decoding significantly reduces processor load during editing.
Blackmagic Design introduced BRAW in April 2018 with the firmware update for the Ursa Mini Pro. The format was developed in response to the growing data volumes of raw footage and the need for efficient workflows. In 2019, Blackmagic extended BRAW support to the Pocket Cinema Camera 4K and 6K. Integration into DaVinci Resolve was seamless, as both products originate from the same manufacturer. Adobe Premiere Pro did not receive BRAW support until 2020, after initial licensing disputes were resolved.
BRAW enables recording with a full raw color space while significantly reducing storage requirements. A typical workflow begins with recording in BRAW Q3 (8:1 compression) for standard productions or Q0 for the highest demands. In DaVinci Resolve, ISO, white balance, and exposure can be adjusted without loss of quality. The Netflix series "The Umbrella Academy" (Season 2) used BRAW footage from the Ursa Mini Pro for action sequences. Documentary filmmakers appreciate the ability to achieve maximum post-production flexibility with limited storage space.
BRAW directly competes with RED's R3D format but offers significantly lower hardware entry prices. Compared to Apple's ProRes Raw, BRAW scores with smaller file sizes at comparable quality. Canon Raw Light and Sony's X-OCN require more expensive camera systems, while BRAW is already available in cameras starting at 1,300 Euros. For productions working exclusively within the Adobe ecosystem, ProRes 422 HQ may represent a more practical alternative, but it sacrifices raw flexibility.
BRAW gibt mir die volle Raw-Kontrolle ohne die Speicherplatz-Probleme herkömmlicher Raw-Formate – bei einer 4K-Produktion spare ich etwa 60% Speicherplatz gegenüber Cinema DNG. Die GPU-Beschleunigung in DaVinci Resolve macht das Grading flüssiger als bei anderen Raw-Formaten, und ich kann Belichtung und Weißabgleich in der Post noch um mehrere Stops korrigieren.
Mit BRAW kann ich spontaner arbeiten, weil mein Kameramann weniger Festplatten wechseln muss und wir trotzdem die volle Farbkorrektur-Flexibilität behalten. Besonders bei Available-Light-Szenen gebe ich ihm mehr kreative Freiheit, weil wir in der Post noch zwei Stops unterbelichtetes Material retten können – das erweitert meine visuellen Möglichkeiten ohne zusätzliche Beleuchtung.
BRAW halbiert unsere Speicherkosten im Vergleich zu anderen Raw-Formaten, bei einem typischen Spielfilm spare ich etwa 15.000-20.000 Euro an Festplatten und Backup-Systemen. Die nahtlose Integration in DaVinci Resolve reduziert unsere Post-Lizenzkosten, da wir weniger auf teure Avid- oder Adobe-Lizenzen angewiesen sind. Der Workflow ist effizienter, was 2-3 Tage Postproduktionszeit einsparen kann.
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