Final Cut Pro User Guide for Mac
- Welcome
- What’s new
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- Intro to importing media
- If it’s your first import
- Organize files during import
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- Import from Image Playground
- Import from iMovie for macOS
- Import from iMovie for iOS or iPadOS
- Import from Final Cut Pro for iPad
- Import from Final Cut Camera
- Import from Photos
- Import from Music
- Import from Apple TV
- Import from Motion
- Import from GarageBand and Logic Pro
- Import using workflow extensions
- Record into Final Cut Pro
- Memory cards and cables
- Supported media formats
- Import third-party formats with media extensions
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- Intro to effects
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- Intro to transitions
- How transitions are created
- Add transitions and fades
- Quickly add a transition with a keyboard shortcut
- Set the default duration for transitions
- Delete transitions
- Adjust transitions in the timeline
- Adjust transitions in the inspector and viewer
- Merge jump cuts with the Flow transition
- Adjust transitions with multiple images
- Modify transitions in Motion
- Add adjustment clips
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- Add storylines
- Use the precision editor
- Conform frame sizes and rates
- Use XML to transfer projects
- Glossary
- Copyright and trademarks
Color correct ProRes RAW video directly without LUTs in Final Cut Pro for Mac
You can color correct ProRes RAW video as HDR video, regardless of the library color-processing setting. To do this, you turn off the RAW-to-log conversion and camera LUT settings automatically applied by Final Cut Pro. (For more information about these settings, see Use built-in camera LUTs to color correct ProRes RAW video.)
In Final Cut Pro, select one or more video clips recorded with ProRes RAW.
If the Info inspector isn’t already shown, choose Window > Show in Workspace > Inspector, then click the Info button at the top.
Click the Metadata View pop-up menu in the bottom-left corner, then choose either General, Extended, or Settings.
Click the Camera LUT pop-up menu and choose None.
At the bottom of the inspector, click Modify ProRes RAW Settings.
In the ProRes RAW Settings window, click the RAW to Log pop-up menu and choose None.
Choosing None turns off the automatic log conversion, so light values are represented as they exist in the real world, with pixel values proportional to the actual intensity of light captured by the sensor.
For more information, see Adjust ProRes RAW camera settings.
No tone mapping is applied to the source, and the full dynamic range is available in the working space, even in libraries set to Standard color processing. Although highlights may initially appear blown out, you can correct this using color correction tools, such as Color Adjustments, Color Wheels, and Color Curves.
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