Apple has updated their ProRes White Paper
In April 2017 Apple updated their white paper on their ProRes codec family. Here are the changes.
An addition about recent changes in Final Cut Pro X:
A variety of cameras can now capture and record a wider gamut of color values when working in log or raw formats. You can preserve this wider color gamut by recording with the ProRes LOG setting on certain cameras such as the ARRI ALEXA or transcoding from the RED® camera’s REDCODE® RAW format. Final Cut Pro 10.3 or later can process color in wide color gamut and output Apple ProRes files in the Rec. 2020, DCI-P3, or D65-P3 color space. This results in deeper colors and more detail, with richer red and green areas of the image.
With Final Cut Pro 10.3 or later, you can also export Apple ProRes files inside an MXF metadata wrapper instead of exporting .mov files. This makes the exported video file compatible with a wide range of playback systems that rely on the MXF standard for broadcast and archiving.
The graph for how many multicam streams are simultaneously supported at HD and 4K on a MacBook Pro has been updated.
Testing conducted by Apple in March 2014 using shipping 15-inch MacBook Pro with Retina display quad-core 2.6GHz units with 1TB flash storage, 16GB of RAM, NVIDIA GeForce GT 750M graphics
Testing conducted by Apple in January 2017 using shipping 2.9GHz quad-core Intel Core i7-based 15-inch MacBook Pro systems with 2TB SSD, 16GB of RAM, Radeon Pro 460 graphics
They also made some changes to the Target Data Rates table. 5120 x 2160 has been replaced by 5120 x 2700, 6K and 8K. Here is a table showing both 5K resolutions and the new rows for 6K and 8K: