BRAW/ProRes RAW in Resolve/FCPX Workflows - Seeking Advice

Hey everyone,

I'm Jason Fong, a Gaffer, and I've been running into some workflow snags lately on narrative and commercial spots. We shoot a lot on cameras like the C70 or a Pocket Cinema Camera 6K G2, often recording in BRAW, especially when we're trying to maximize dynamic range with our Forza 720B and amaran 150c setup. But then the editor on one project was working exclusively in FCPX, which meant either transcoding everything or dealing with ProRes RAW from other cameras.

Then on another gig where we used an ALEXA Mini for A-cam, the editor was in Resolve, and we encountered a different set of challenges trying to get everything to play nice. I've tried a few different transcoding approaches, but it always feels like I'm losing something or adding unnecessary steps.

How are you all handling the interoperability issues and specific quirks between BRAW and ProRes RAW when you're jumping between NLEs like Resolve and FCPX? What's your go-to process?