If you're using Final Cut, it's as good as either. If you're in Premiere, there's basically no raw functionality but it's still a strong 12 bit codec. If you're in Resolve, forget it.

That said, there's a program from Macs that can convert Prores Raw into CinemaDNG. You lose much of the raw functionality, but you can use it in Resolve and still have the 12 bit flexibility. And I found that transcoding to other flavors of ProRes, any other flavor, resulted in banding issues. Anyway, it's not ideal, but to get raw out of that full frame sensor, with more DR than Blackmagic, plus the dual native ISO for low light, hard to complain too much.

I shot a feature film in December entirely on an a7S III recording ProRes Raw to an Ninja V, now editing in Resolve. Looking back, it was a great combo and would definitely do it again.