Transcoding media — especially big files like those that use RAW codecs — can take a lot of time and resources. When a videographer shoots in one format, but the editor has to convert the footage to another, the workflow screeches to a halt. Apple’s new software will hopefully provide a fast track for teams that use both Macs and PCs. That said, pros — who work on short deadlines and are thus rather cautious about changing their workflows — may shy away from using it until it’s proven to be reliable.

Cinema cameras typically provide several RAW codec options, including first-party options. For example, Canon cameras like the C-300 Mark II work with both Apple ProRes RAW and Canon’s own RAW formats. Many external recorders — which grab a signal via the host camera’s HDMI output — are also capable of capturing ProRes RAW footage. These files are then sent to a color corrector or editor for refinements and assembly.

ProRes RAW was off to a rough start when it launched a few years ago. It wasn’t supported by many cameras, capture devices or editing suites. However, that seems to be changing slowly. Canon, Blackmagic, Arri, Red and many other manufacturers now provide the ability to shoot in Apple’s format. By bringing Creative Cloud editors who use PCs into the fold, adoption could increase — though more and more pro editors are moving from Premiere Pro to Blackmagic’s DaVinci Resolve.