--- title: "Frame.io Alternative for Cinema RAW: Format-by-Format Comparison for ARRIRAW, R3D, BRAW, and Sony RAW" author: "Cutsio Team" date: "2026-05-08" lastmod: "2026-05-08" category: "Comparisons & Alternatives" excerpt: "A format-by-format comparison of cloud review platforms for cinema raw footage — which platforms natively support ARRIRAW, RED R3D, Blackmagic RAW, and Sony RAW, where manual transcoding is still required, and how Cutsio fits each format." tags: ["Frame.io Alternative","ARRI RAW","RED RAW","BRAW","Sony RAW","Cinema RAW","Client Review","Post Production","Comparison","Visual Search"] --- ## Which cloud review platforms support cinema raw formats natively and which still require manual transcoding? For cinema raw review, the important distinction is whether a platform can decode camera originals into review media, not merely store the files. Cutsio supports ARRIRAW, RED R3D, and Blackmagic RAW through its enterprise raw ingestion add-on; many general review platforms still require a ProRes, DNxHR, H.264, or H.265 review transcode before upload. Sony RAW from Venice and FX-series workflows should be verified per production because native cloud decoding support is narrower and more version-dependent. The fundamental problem: cinema raw formats are sensor data, not video files. They require format-specific decoding (ARRIRAW requires the ARRI SDK, R3D requires the RED SDK, BRAW requires Blackmagic SDK) to generate viewable images. Most cloud review platforms were built for compressed video delivery and have no infrastructure for raw decoding. This comparison covers the four major cinema raw formats — ARRIRAW, RED R3D, Blackmagic RAW, and Sony RAW — and evaluates each cloud review platform's native support, manual transcoding requirements, and workflow gaps. Working with raw camera footage? Check out [How to Build a Searchable Library From ARRIRAW, RED R3D, and ProRes Footage](/blog/how-to-build-searchable-library-from-arriraw-red-r3d-prores-footage). ## What does native raw support mean in a cloud review platform? Native raw support means the platform accepts the original camera file format and handles the decoding and transcoding on the server side. The user uploads the .ari, .mxf, .r3d, .braw, or .mxf (Sony RAW) file directly, and the platform generates a streamable review asset without any local processing. Without native raw support, the user must: 1. Transcode raw files to a compressed format (ProRes, H.264, DNxHR) on a local machine 2. Organize and name the transcoded files to match the original camera files 3. Upload the transcoded files to the review platform 4. Manage the relink between the review platform's files and the original raw files for conform This four-step process is where dailies workflows slow down. A DIT who has already offloaded and verified camera cards must spend additional hours rendering proxies before anyone can review the footage. ## Format-by-format: Which platforms support each cinema raw format natively? | Cloud Platform | ARRIRAW (.ari, .mxf, .arx) | RED R3D (.r3d) | Blackmagic RAW (.braw) | Sony RAW (.mxf, Sony RAW) | | :--- | :--- | :--- | :--- | :--- | | Cutsio (enterprise add-on) | Native | Native | Native | Contact for support | | Frame.io | Verify workflow | Verify workflow | Verify workflow | Verify workflow | | Hedge Postlab | Supported in dailies workflows | Supported in dailies workflows | Supported in dailies workflows | Limited/verify | | Silverstack Cloud | Supported in dailies workflows | Supported in dailies workflows | Supported in dailies workflows | Limited/verify | | Dropbox Replay | Not native | Not native | Not native | Not native | | Vimeo Review | Not native | Not native | Not native | Not native | | Pix | Verify workflow | Verify workflow | Verify workflow | Verify workflow | ### ARRIRAW ARRIRAW is broadly supported in professional dailies workflows because ARRI provides decoding through its Image SDK and partner ecosystem. Cutsio supports ARRIRAW through its enterprise add-on; other dailies systems should be checked by exact product, plan, and software version. ARRIRAW file variants (.ari single-frame, .mxf MXF-wrapped, .arx ARRIRAW Xpress) are all supported by Cutsio's enterprise add-on. The MXF container is the most common format from Alexa 35, Alexa Mini LF, and Alexa LF cameras. ### RED R3D R3D support is common in professional post tools because RED provides SDK access, but cloud review support still varies by vendor and workflow. Cutsio supports R3D through its enterprise add-on; verify other platforms by exact version and whether they decode originals or only store uploaded files. R3D files require careful metadata management. Preserve the complete RED folder structure, including RMD sidecars and any look reference files created by the DIT workflow. For cloud upload, treat metadata sidecars as part of the camera-original package rather than optional extras. ### Blackmagic RAW (BRAW) BRAW support in cloud review platforms is growing but less universal than ARRIRAW or R3D support. Cutsio supports BRAW ingestion through its enterprise add-on. Other dailies and review tools should be checked by exact Blackmagic RAW SDK support, product version, and whether the workflow decodes camera originals or relies on user-generated proxies. BRAW is unique among raw formats because it was designed to be edit-friendly. Blackmagic RAW files are smaller than ARRIRAW at equivalent resolutions and require less processing power to decode. This makes BRAW more practical for cloud dailies workflows than ARRIRAW in some respects, though the Blackmagic RAW SDK must still be integrated into the cloud transcode pipeline. ### Sony RAW Sony RAW is the least supported cinema raw format in cloud review platforms. Sony's RAW format from Venice and FX series cameras uses the .mxf container with Sony's proprietary raw encoding. The Sony RAW SDK is available but less widely distributed than ARRI or RED SDKs. Cutsio evaluates Sony RAW support case by case as part of enterprise camera-original ingestion. Most productions should verify Sony RAW support with the platform before the shoot and have a ProRes/DNxHR fallback plan if native decoding is unavailable. ## What are the manual transcoding requirements for platforms without native raw support? For any platform that does not natively support a given raw format, the user must transcode to a compressed format locally. The following table shows the transcoding effort required per format. | Format | Transcode Target | Approximate Transcode Time (per hour of footage) | Storage Required for ProRes Proxy | | :--- | :--- | :--- | :--- | | ARRIRAW 4.6K | ProRes 422 Proxy 1080p | 20-30 minutes (on M3 Max) | ~12 GB/hr | | RED R3D 8K 8:1 | ProRes 422 Proxy 1080p | 15-25 minutes (on M3 Max) | ~12 GB/hr | | BRAW 4.6K 5:1 | ProRes 422 Proxy 1080p | 10-15 minutes (on M3 Max) | ~12 GB/hr | | Sony RAW 6K | ProRes 422 Proxy 1080p | 20-30 minutes (on M3 Max) | ~12 GB/hr | For a production generating 30 hours of raw footage across a 10-day shoot, the manual transcode adds 5-15 hours of local processing time before any review can begin. This is the core inefficiency that native raw support eliminates. ## How does each platform handle original camera file retention? A camera-original dailies workflow should retain the original files for conform. Platforms that are used only for proxy review usually require the originals to be managed in a separate storage system. | Platform | Original File Retention | Download for Conform | Notes | | :--- | :--- | :--- | :--- | | Cutsio | Yes (attached to each asset) | Yes | Original files available as attachments | | Frame.io | Usually separate | Usually separate | Verify whether originals are stored as files or only proxies are reviewed | | Hedge Postlab | Yes | Yes | Originals stored in cloud | | Silverstack Cloud | Yes | Yes | Originals stored in cloud | | Dropbox Replay | No | No | Proxy-only platform | | Vimeo Review | No | No | Proxy-only platform | | Pix | Verify workflow | Verify workflow | Depends on production configuration | The practical impact: with Cutsio, Hedge Postlab, or Silverstack Cloud, the online editor downloads the original camera files directly from the platform when the picture is locked. With Frame.io, Dropbox Replay, Vimeo Review, or Pix, the online editor must source the original files from a separate storage system — typically hard drives shipped from set, which introduces delay and the risk of lost or mismatched files. ## How does Visual Intelligence differentiate Cutsio from other raw-capable platforms? Cutsio combines enterprise camera-original ingestion with Visual Intelligence: frame-level visual search that analyzes review media content, not just audio transcripts. Other dailies tools may be stronger for on-set metadata, transfer, or production security workflows. Cutsio.s differentiator is search and retrieval across the generated review library. Visual Intelligence provides search capabilities that directly address cinema raw workflow pain points: - MOS footage (no scratch audio) is fully searchable because the search index is based on visual content, not audio - Specific objects, scenes, and actions can be found across thousands of clips - Agentic Chat allows natural language queries like "find the wide shot where the actor enters frame left" This is the key differentiator for productions that generate large volumes of raw footage and need to find specific moments without manual scrubbing. ## Which platform should a production choose based on their primary raw format? | Primary Format | Recommended Platform | Rationale | | :--- | :--- | :--- | | ARRIRAW | Cutsio or Silverstack Cloud | Multiple strong options; Cutsio for Visual Search, Silverstack for metadata depth | | RED R3D | Cutsio or Hedge Postlab | Both native; Cutsio for search, Postlab for DIT integration | | Blackmagic RAW | Cutsio or Hedge Postlab | Both native; Cutsio for team review features | | Sony RAW | Cutsio (contact for support) | Limited options; most require manual transcode | | Mixed formats | Cutsio | Single platform for ARRIRAW, R3D, and BRAW | ## FAQ ### Does Frame.io replace a camera-original dailies pipeline? Frame.io is primarily a compressed-media review and collaboration platform, not a full camera-original dailies pipeline by default. Productions should verify whether their exact workflow supports camera-original upload, server-side decoding, original retention, and conform download; otherwise, they should plan to create ProRes, DNxHR, H.264, or H.265 review media before upload. ### Can Cutsio handle Sony RAW from the Venice 2? Cutsio offers Sony RAW support as part of the enterprise raw ingestion add-on on a case-by-case basis. Contact the Cutsio sales team to verify Sony RAW support for your specific production configuration. ### Is manual transcoding eliminated entirely with native raw support? No. The cloud transcode still creates the streamable review asset — native raw support moves the transcoding from the local machine to the cloud server. The user does not see the transcode, but the processing still happens. The key benefit is eliminating the local render queue and the file management overhead. ### What happens to Blackmagic RAW's edit-friendly advantages in a cloud dailies pipeline? BRAW's smaller file sizes mean faster cloud uploads compared to ARRIRAW at equivalent resolutions. A BRAW 5:1 clip at 4.6K is approximately 0.4 GB/s versus ARRIRAW's 0.75 GB/s at the same resolution. This translates to shorter upload windows and lower bandwidth requirements for BRAW productions. ### Which platform is best for a production that has not yet chosen a raw format? Cutsio is a format-flexible option for productions using ARRIRAW, RED R3D, or Blackmagic RAW through the enterprise add-on. This flexibility makes it the practical choice for rental houses, post facilities, and productions that switch between camera systems across different projects.

Any cinema raw format. One review pipeline.

Upload native ARRIRAW, R3D, or BRAW to Cutsio. Visual Intelligence indexes every frame. Originals stay attached for conform. No manual transcoding required.

Try Cutsio Free

No credit card required. 60 minutes of free processing.