BRAW vs. ProRes RAW on Sony FX3 / FX3a: The 2025 Reality

By

For wildlife filmmakers utilizing the Sony FX3 or the newer FX3a, the choice between external recorders—specifically the Atomos lineup (ProRes RAW) versus the Blackmagic Video Assist (BRAW)—often comes down to ecosystem preference.

With the release of Firmware 7.00 for the FX3 and Firmware 2.00 for the FX3a, Sony has finally enabled BRAW output over HDMI.

However, a technical analysis of the signal chain in DaVinci Resolve Studio 20.2 reveals a critical limitation. If you are looking to purchase a recorder today, understanding how Sony transmits data over HDMI is essential to avoiding a costly mistake.

It’s Not the Codec. It’s the Metadata.

The limitations visible in post-production are not caused by the recorders or the codecs themselves, but by the source signal.

While the current Sony firmware allows the video data stream to flow to the Blackmagic Video Assist, it does not transmit the complete metadata packet required to unlock BRAW’s full potential. Without this “handshake” containing specific sensor profile data, the Blackmagic recorder cannot tag the file with adjustable parameters, forcing it to bake in the camera settings.

The Behavior in DaVinci Resolve 20.2

With the native support for ProRes RAW introduced in DaVinci Resolve 20.2, the functional difference between the two formats on a Sony timeline is binary.

ProRes RAW (via Atomos Ninja)
Atomos recorders are designed to capture the partial metadata Sony transmits (specifically White Balance and ISO information) and encapsulate it correctly. As a result, Resolve recognizes the file as a malleable raw container.

  • ISO: Fully adjustable. Users retain clean +/- 2 stop overrides.
  • White Balance: Unlocked sliders for Temperature and Tint.
  • Highlight Recovery: Functions as a true raw recovery tool.

BRAW (via Blackmagic Video Assist)
When BRAW files recorded from a Sony HDMI source are imported, the Camera Raw tab is severely restricted due to the missing metadata packet.

  • ISO: Locked to the value set in-camera at the time of recording.
  • White Balance: Locked.
  • Controls: Adjustments are limited strictly to Decode Gamma and Gamut selection.

Technically, BRAW on Sony behaves as a high-bitrate, high-quality Log format rather than a raw format. It offers the data rate of raw, but lacks the post-exposure flexibility.

Image Fidelity and Noise Handling

For wildlife cinematography, where lighting conditions are often uncontrollable and ISO capabilities are tested, the noise floor handling is a key differentiator.

ProRes RAW
These files exhibit more visible noise in the shadows and mid-tones. This is the preferred behavior for a raw format, as it indicates the recorder is bypassing internal in-camera noise reduction. This preservation of “raw” noise allows for superior highlight roll-off and gives the editor the freedom to apply specialized noise reduction in post-production.

BRAW on Sony
The BRAW files appear significantly cleaner straight out of the recorder. However, this smoothness suggests that—due to the missing sensor metadata—a layer of processing is applied before the encode. Consequently, when pushed aggressively in grading, the image tends to clip highlights sooner and muddy the shadows faster than the corresponding ProRes RAW files.

The Verdict for Wildlife Filmmakers

If your workflow is based in DaVinci Resolve and you shoot on the Sony FX3 or FX3a, ProRes RAW remains the superior choice.

In wildlife filmmaking, distinct moments often occur too rapidly to perfect exposure or white balance in-camera. The ability to alter ISO and WB in post-production is the primary reason for shooting raw.

  • The Recommendation: Utilize an Atomos Ninja (V, Ultra, or TX) to record ProRes RAW. This workflow retains approximately 95% of the flexibility of internal raw recording.
  • The Alternative: Avoid the Blackmagic Video Assist for Sony cameras until a future firmware update enables full metadata passthrough. While BRAW is an exceptional codec for cameras that support the full metadata protocol (such as the Panasonic S series or Fujifilm GFX), on Sony bodies, it currently serves as a restrictive wrapper.

Sony could fix this tomorrow with a one-line firmware change. Until they do, the “best RAW codec” debate is pointless – only one of them is actually giving you RAW flexibility in Resolve.

Hope this helps someone avoid buying the wrong recorder.

Drop a comment if you’re still rocking BRAW on Sony and loving it (or regretting it). I’d love to hear your experience.

And Sony… please. Just flip the metadata switch. The people are begging.

Leave a Reply