ARRIRAW vs ProRes - Matching TC / Reel Name

Good afternoon,

I had the opportunity to check out some ARRI Raw footage come out of an S.Two machine recently. We recorded proxies as well as the raw at the same time so we could compare and contrast results by bringing everything through Davinci Resolve. I have been able to use / process the Quicktime 4444 files it exported without a problem in the past. The biggest thing I wanted to test was whether or not everything would match perfectly out of the camera (RAW vs ProRes) I thought I would post some results to see if anyone had a solution, or maybe has delt with this sort of thing before. All suggestions and thoughts are welcome!

Here we go:

ARRI RAW:

When bringing in the raw through Davinci everything worked very well, all clips managed to go through, I could color and export without a problem. The same with the Proxies: so far so good. I exported multiple versions (DNxHD 36, 115, ProRes_422 (HQ) etc) of both RAW and Proxies and loaded everything up. It all looked fine but I did notice something strange in two main areas that are incredibly important. Looking closer I noticed the ARRI Raw timecode compared to the Pro Res timecode was off consistently by around 4 frames. I also noticed the RAW Reel number didn't carry though either, whereas the Proxies had a noticeable Reel ID.

Unable to conform at this point, I wasn't sure if the RAW just simply didn't have a reel number embedded OR Davinci perhaps needs another update (They announced their ARRI RAW support recently). The only way I could think to check this was to A) Try and find a trial of Gluetools RAW Support (which didn't tell me much) or B) bring everything through ARRIRAW Converter. I exported a DPX sequence and checked the header information: Whala, reel name. The only issue was that the timecode was still off when I compared it to my earlier findings within Final Cut Pro and AVID.

This is as far as my knowledge base can reach thus far, as I don't have a ton of experience with ARRI Raw footage (In a bit of a stalemate). I guess my main question, is if anyone has experienced something like this before? Another question would be, has anyone ever exported RAW out of Davinci and worked all the way through (Reel Included), matching exported proxies? The final and most important is: What is the main workflow for converting / exporting Raw Arri files? I know there are a handfull of tools out there but which is the most solid? Prefereable outputs would be more of the quicktime / MXF range.

All thoughts and suggestions are welcome,

Daniel