Use automatic log processing in Final Cut Pro for iPad
Final Cut Pro uses built-in camera LUTs to automatically convert log media to the wide-gamut HDR working color space of Final Cut Pro for iPad projects and timelines. Camera LUTs provide log processing that allows the log media to accurately reflect the colors and contrast of the original scene. You can also manually apply camera LUTs to log media.
Note: Camera LUTs built into Final Cut Pro should not be confused with custom LUTs, which are not supported in Final Cut Pro for iPad. To stylize video clips with a particular “look” to enhance the story you’re telling, use the color-grading presets that come with your Final Cut Pro for iPad subscription.
How automatic log processing works
When you import media, Final Cut Pro detects metadata in the media identifying the log format and automatically applies the appropriate built-in camera LUT. Camera LUTs are applied to every instance of a clip (across the project) and are applied before any clip effects.
Camera LUTs preserve the full dynamic range of the log media. Depending on the source camera, built-in camera LUTs also take into account metadata such as camera exposure index, ISO setting, and white balance.
Manually apply, change, or remove a camera LUT
In some cases, media files may not contain metadata that allows Final Cut Pro to apply the appropriate camera LUT automatically. For example, some cameras don’t embed this metadata, or the metadata may simply be lost if the material is transcoded. You can manually apply a camera LUT to a video clip, or switch to a different camera LUT.
In Final Cut Pro for iPad, open a project, then tap
in the toolbar.In the browser, tap a clip recorded with the log option, then tap Inspect in the lower-left corner of the screen (or press Control-I on a connected or paired keyboard).
In the inspector, tap
to the right of Log Processing, then tap the log format corresponding to your footage.
Final Cut Pro converts from the log format you chose to an HDR linear color space, preserving the full dynamic range of the source. The change is applied to all instances of the clip, in all timelines in the current project.