Apple ProRes RAW
White Paper
May 2023

Contents

Apple ProRes RAW

Introduction

3

About RAW Video

4

Data Rate

6

Performance

8

ProRes RAW Plug-ins

12

How ProRes RAW Plug-ins Work

13

A Universal RAW Video Format

14

Using ProRes RAW Plug-ins in Final Cut Pro

15

Using ProRes RAW in Final Cut Pro

17

Using Log Conversion with Built-in Camera LUTs

18

Using Log Conversion with Custom LUT Effects

22

Grading Directly Without LUTs

24

Conclusion

26

May 2023

2

Introduction

In 2007, Apple introduced the Apple ProRes codec family, providing an
unparalleled combination of real-time, multistream editing performance,
impressive image-quality preservation, and reduced storage rates forhigh‑bit‑depth 4:2:2 and 4:4:4:4 video.
Apple ProRes RAW is based on the same principles and underlying
technology as existing ProRes codecs, but is applied to a camera
sensor’s pristine RAW image data rather than conventional image
pixels. ProRes RAW brings to RAW video the same great performance,
quality, and ease of use that ProRes has brought to conventional video,
in a format ideal for high-dynamic-range (HDR) content creation in
Final Cut Pro.

Apple ProRes RAW

May 2023

3

About RAW Video

Digital camera sensors consist of an array of millions of light-sensitiveelements called photosites that convert the light exposed to the sensor
to an array of digital intensity values. To capture color, most current
digital cameras use a color filter array that yields a single primary color
value (such as red, green, or blue) at each photosite location. This color
filter arrangement is known as a Bayer pattern, where each two-by-twogroup of photosites consists of one red, one blue, and two green sensor
elements. In contrast, conventional RGB images consist of not one but
three primary color values (red, green, and blue) at each pixel location.
R
G
R
G
R
G
R
G

G
B
G
B
G
B
G
B

R
G
R
G
R
G
R
G

G
B
G
B
G
B
G
B

R
G
R
G
R
G
R
G

G
B
G
B
G
B
G
B

Bayer pattern

Apple ProRes RAW

May 2023

R
G
R
G
R
G
R
G

G
B
G
B
G
B
G
B

RGB RGB RGB RGB RGB RGB RGB RGBRGB RGB RGB RGB RGB RGB RGB RGBRGB RGB RGB RGB RGB RGB RGB RGBRGB RGB RGB RGB RGB RGB RGB RGBRGB RGB RGB RGB RGB RGB RGB RGBRGB RGB RGB RGB RGB RGB RGB RGBRGB RGB RGB RGB RGB RGB RGB RGBRGB RGB RGB RGB RGB RGB RGB RGB

Conventional RGB

4

About RAW VideoThe process of converting a Bayer pattern image to a conventional RGB
image is known as demosaicing. For conventional video, demosaicing
and other processing operations are performed within the camera to
produce viewable RGB images that can be recorded into a video file.

R
G
R
G

G
B
G
B

R
G
R
G

G
B
G
B

Demosaic
andprocess

Bayer image

RGB RGB RGB RGBRGB RGB RGB RGBRGB RGB RGB RGBRGB RGB RGB RGB

Conventional
video file

RGB image
In camera

At playback time, an application needs only to decode the conventional
video file to produce RGB images that can be edited and displayed. The
demosaicing and processing have already been performed by the camera
at capture time and are “burned in.”In contrast, ProRes RAW directly encodes the Bayer pattern image.
Demosaicing and processing are deferred to the time of playback andare performed by application software.

R
G
R
G

G
B
G
B

R
G
R
G

G
B
G
B

Bayer image

ProRes RAW
video file

Demosaic
andprocess

RGB RGB RGB RGBRGB RGB RGB RGBRGB RGB RGB RGBRGB RGB RGB RGB

RGB imageIn application

This requires more computation during playback but allows for greater
flexibility. Just as different image and video codecs must make tradeoffs
between compression rate, quality, and complexity, demosaicing
algorithms must make tradeoffs between speed, quality, and otherfactors. Using ProRes RAW lets you defer the choice of demosaicing
algorithm until post‑production and allows you to take advantage of RAW
processing enhancements and demosaicing algorithm improvements infuture software.

Apple ProRes RAW

May 2023

5

Data Rate

ProRes RAW is available at two compression levels: Apple ProRes RAW
and Apple ProRes RAW HQ. Both achieve excellent preservation of
RAW video content, with additional quality available at the higher data
rate of Apple ProRes RAW HQ. Compression-related visible artifacts
are very unlikely with Apple ProRes RAW, and extremely unlikely withApple ProRes RAW HQ.
As is the case with existing ProRes codecs, the data rates of
ProRes RAW are proportional to frame rate and resolution. ProRes RAW
data rates also vary according to image content, but to a greater degree
than ProRes data rates.
With most video codecs, including the existing ProRes family,a technique known as rate control is used to dynamically adjust
compression to meet a target data rate. This means that, in practice,
the amount of compression—hence quality—varies from frame to frame
depending on the image content. In contrast, ProRes RAW is designed tomaintain constant quality and pristine image fidelity for all frames. As aresult, images with greater detail or sensor noise are encoded at higher
data rates and produce larger file sizes.

Apple ProRes RAW

May 2023

6

Data Rate

ProRes RAW data rates benefit from encoding Bayer pattern images
that consist of only one sample value per photosite. Apple ProRes RAW
data rates generally fall between those of Apple ProRes 422 andApple ProRes 422 HQ, and Apple ProRes RAW HQ data rates generally
fall between those of Apple ProRes 422 HQ and Apple ProRes 4444,
as shown in the chart below.

Data rate

Comparative Data Rates

Uncompressed ProRes
12-bit RAW
4444

Apple ProRes RAW

May 2023

ProResRAW HQ

ProRes422 HQ

ProResRAW

ProRes422

7Performance

Like the existing ProRes codec family, ProRes RAW is designed for speed.
Despite the additional computational demands of RAW video editing,
ProRes RAW brings to RAW video the same first-rate performance andease of editing that ProRes has brought to conventional video.
RAW video playback requires not only decoding the video bitstream
but also demosaicing the decoded RAW image. Final Cut Pro includes a
streamlined and GPU-optimized demosaicing algorithm designed to meetthe performance demands of real-time, multistream video editing.

Apple ProRes RAW

May 2023

8Performance

The following chart shows the number of full-quality 4K streams
that can be played simultaneously for Apple ProRes RAW HQ
and Apple ProRes RAW on a 20‑core Mac Studio computer.
Apple ProRes 4444 and Apple ProRes 422 HQ are included forcomparison.
Mac Studio – Final Cut Pro Multistream Playback DCI 4K 59.94p
ProRes RAW

13

ProRes RAW HQ

13

ProRes 422 HQ

32ProRes 4444

19
0

8

16

24

32

Number of simultaneous 4K streams

Testing conducted by Apple in February 2022 using preproduction Mac Studio systems withApple M1 Ultra, 20-core CPU, 64-core GPU, 128GB of RAM, and 8TB SSD. Tested on prerelease
versions of macOS Monterey 12.3 and Final Cut Pro 10.6.2, using 1-minute picture-in-picture projects
with 13 streams of Apple ProRes RAW video, 13 streams of Apple ProRes RAW HQ video, 32 streams ofApple ProRes 422 HQ video, and 19 streams of Apple ProRes 4444 video, all at 4096 x 2160 resolution
and 59.94 frames per second. Performance may vary based on system configuration, media type,and other factors.

ProRes RAW also supports accelerated reduced-resolution decoding
modes that are used in the Final Cut Pro Better Performance playbacksetting for even greater performance and responsiveness.
MacBook Pro – Final Cut Pro Multistream Playback DCI 4K 59.94p
7ProRes RAW

11
Better Quality

Better Performance

6

ProRes RAW HQ

906

Number of simultaneous 4K streams

12

Testing conducted by Apple in October 2021 on preproduction 16-inch MacBook Pro systems withApple M1 Max chip with 10-core CPU, 32-core GPU, 64GB of RAM, and an 8TB SSD. Tested on
macOS Monterey with Final Cut Pro 10.6 using 1-minute picture-in-picture projects with 11 streamsof Apple ProRes RAW video and 11 streams of Apple ProRes RAW HQ video, all at 4096 x 2160 resolution
and 59.94 frames per second. Performance may vary based on system configuration, media type, andother factors.

Apple ProRes RAW

May 2023

9Performance

Compared to other RAW video formats supported by Final Cut Pro,
ProRes RAW offers superior performance in both playback andrendering, as shown in the charts below.
Picture-in-Picture Playback: Simultaneous 4K Streams
ProRes RAW

30

ProRes RAW HQ

30

Canon Cinema
RAW Light

3

REDCODE®
1
RAW 5:1
REDCODE®
1
RAW 3:1
Testing conducted by Apple in February 2022 using preproduction Mac Studio systems withApple M1 Ultra, 20-core CPU, 64-core GPU, 128GB of RAM, and 8TB SSD. Tested on prerelease
versions of macOS Monterey 12.3 and Final Cut Pro 10.6.2, Canon RAW Plugin 2.1 for Final Cut Pro,and plug-ins from RED Apple Workflow Installer v18.2, using 50-second picture-in-picture projects
with 30 streams of Apple ProRes RAW video, 30 streams of Apple ProRes RAW HQ video, 3 streams
of Canon Cinema RAW Light video, 1 stream of REDCODE® RAW 5:1 video, and 1 stream of REDCODE®
RAW 3:1 video, all at 4096 x 2160 resolution and 23.98 frames per second. Performance may vary basedon system configuration, media type, and other factors.

Faster 8-Bit HEVC Export
10.5x

ProRes RAW HQREDCODE®
RAW 3:1

Baseline

9.6x

ProRes RAW
REDCODE®
RAW 5:1

Baseline

3.9x

ProRes RAW HQ
Canon Cinema
RAW Light

Baseline

Testing conducted by Apple in December 2021 on preproduction 16-inch MacBook Pro systems withApple M1 Max, 10-core CPU, 32-core GPU, 64GB of RAM, and 8TB SSD. Tested on macOS Monterey
with Final Cut Pro 10.6.1, Canon RAW Plugin 2.1.0.3 for Final Cut Pro, and plug-ins from RED Apple
Workflow Installer v18.2.2, using 50-second projects with Apple ProRes RAW HQ video, Apple ProRes
RAW video, REDCODE® RAW 3:1 video, REDCODE® RAW 5:1 video, and Canon Cinema RAW Light video,
all at 4096 x 2160 resolution and 23.98 frames per second. Performance may vary based on system
configuration, media type, and other factors.

Apple ProRes RAW

May 2023

10Performance
Faster H.264 Export
7.3x

ProRes RAW HQREDCODE®
RAW 3:1

Baseline

6.9x

ProRes RAW
REDCODE®
RAW 5:1

Baseline

2.7x

ProRes RAW HQ
Canon Cinema
RAW Light

Baseline

Testing conducted by Apple in December 2021 on preproduction 16-inch MacBook Pro systems withApple M1 Max, 10-core CPU, 32-core GPU, 64GB of RAM, and 8TB SSD. Tested on macOS Monterey
with Final Cut Pro 10.6.1, Canon RAW Plugin 2.1.0.3 for Final Cut Pro, and plug-ins from RED Apple
Workflow Installer v18.2.2, using 50-second projects with Apple ProRes RAW HQ video, Apple ProRes
RAW video, REDCODE® RAW 3:1 video, REDCODE® RAW 5:1 video, and Canon Cinema RAW Light video,
all at 4096 x 2160 resolution and 23.98 frames per second. Performance may vary based on system
configuration, media type, and other factors.

Faster Render Speed
20.17x

ProRes RAW HQREDCODE®
RAW 3:1

ProRes RAW HQ
Canon Cinema
RAW Light

Baseline

5.89x
Baseline

22.85x

ProRes RAW
REDCODE®
RAW 5:1

Baseline

Testing conducted by Apple in February 2022 using preproduction Mac Studio systems withApple M1 Ultra, 20-core CPU, 64-core GPU, 128GB of RAM, and 8TB SSD. Tested on prerelease
versions of macOS Monterey 12.3 and Final Cut Pro 10.6.2, Canon RAW Plugin 2.1 for Final Cut Pro, andplug-ins from RED Apple Workflow Installer v18.2, using 50-second projects with Apple ProRes RAW HQ
video, Apple ProRes RAW video, REDCODE® RAW 3:1 video, REDCODE® RAW 5:1 video, and Canon
Cinema RAW Light video, all at 4096 x 2160 resolution and 23.98 frames per second. Performance
may vary based on system configuration, media type, and other factors.

Apple ProRes RAW

May 2023

11

ProRes RAW Plug-ins

Since the initial release of ProRes RAW, Apple has provided a standard,
general-purpose RAW conversion pipeline, both for Apple’s own
products and for third-party applications that support ProRes RAW.
The processing stages following ProRes RAW decompression—
including white balancing, demosaicing, color conversion, and exposureadjustment—have been uniform, independent of the camera maker,
model, sensor, and any unique processing features a camera makermight want to provide.

Decode
ProRes RAW
video file

R
G
R
G

G
B
G
B

R
G
R
G

G
B
G
B

Bayer image

Standard RAW conversion• White balance• Demosaic• Color conversion• Exposure/gain

RGB RGB RGB RGBRGB RGB RGB RGBRGB RGB RGB RGBRGB RGB RGB RGB

RGB imageIn spring 2023, Apple introduced ProRes RAW plug-ins, an innovationthat lets camera makers provide their own ProRes RAW processing
pipeline to take advantage of the unique properties of their cameras,
sensors, lenses, and more.

Apple ProRes RAW

May 2023

12

ProRes RAW Plug-ins

How ProRes RAW Plug-ins WorkWhen you install a ProRes RAW plug-in from a camera maker and edit
ProRes RAW footage from a camera model supported by the plug-in,
you can choose whether to use standard processing or camera-specificprocessing provided by the plug-in.
If you choose the ProRes RAW plug-in, it’s used to create the RGB
image. Using a ProRes RAW plug-in can allow you to make cameraspecific adjustments such as custom white balancing, noise reduction,
demosaicing, lens distortion correction, and more.
Standard RAW conversion

Decode
ProRes RAW
video file

R
G
R
G

G
B
G
B

R
G
R
G

G
B
G
B

Bayer image• White balance• Demosaic• Color conversion• Exposure/gainStandard adjustments
Camera maker’s plug-in• White balance• Noise reduction• Demosaic• Lens distortion correction

Custom adjustments

RGB RGB RGB RGBRGB RGB RGB RGBRGB RGB RGB RGBRGB RGB RGB RGB

RGB image withstandard look

RGB RGB RGB RGBRGB RGB RGB RGBRGB RGB RGB RGBRGB RGB RGB RGB

RGB imagewith camera
maker’s look

This process works for cameras that support ProRes RAW either byrecording internally or by recording to a third-party recorder, such as
those made by Atomos, as long as the ProRes RAW media contains themetadata needed by the plug-in. (You might need to update the firmwarein the camera or recorder to the latest version.)Apple ProRes RAW

May 2023

13

ProRes RAW Plug-ins

A Universal RAW Video Format

ProRes RAW can be regarded as a universal RAW video format: Everycamera maker can provide their own unique processing, in a completely
confidential way, by writing a single ProRes RAW plug-in that bringsout the best quality and unique looks created by their own cameras.
ProRes RAW becomes, in effect, the conduit for their custom processing.
A single RAW video format, ProRes RAW can carry the uniquecharacteristics of any camera, sensor, processing, and lens combination.
ProRes RAW simply delivers the RAW sensor values at the highest quality
and efficiency, and custom plug-ins handle the unique processing.
As shown in the figure below, ProRes RAW plug-ins can be supported not
only in Final Cut Pro (and other Apple products in the future) but also
by the many third-party applications that have licensed the ProRes RAW
SDK, such as nonlinear editors (NLEs) and color correction applications.
Final Cut Pro

Application A

Application B

Static linkage

ProRes RAW SDK(Apple provides SDK)
Dynamic linkage

Camera maker A
plug-inCamera maker B
plug-in(Camera maker develops plug-in)

The ProRes RAW plug-in model has been designed to work not onlywith macOS but also with Windows and Linux. Apple will work with all
ProRes RAW third-party application developers to provide updated SDKs
with support for ProRes RAW plug-ins.
After an application has been updated to incorporate the new SDK
version, it will support any camera maker’s plug-in without requiring
a further update. Camera makers need only develop one plug-in (persupported OS platform) that provides their unique processing, and theirplug-in will automatically be supported by all applications that haveupdated to the new ProRes RAW SDK.

Apple ProRes RAW

May 2023

14

ProRes RAW Plug-ins

Using ProRes RAW Plug-ins in Final Cut Pro
After you update to the latest version of Final Cut Pro, download theappropriate plug-in from the camera maker’s website, and install theplug-in, you can set Final Cut Pro to use the plug-in instead of thestandard conversion.

Choose a ProRes RAW plug-in

1. Import ProRes RAW media compatible with the plug-in, and select itin the browser or the timeline.
2. If the Info inspector isn’t already shown, choose Window > Show in
Workspace > Inspector, then click the Info button at the top.
Click the Info button.

Click Modify
ProRes RAW Settings.

3. At the bottom of the Info inspector, click Modify ProRes RAW Settings.

Apple ProRes RAW

May 2023

15

ProRes RAW Plug-ins

4. In the ProRes RAW Settings window, click the “Process using” pop-up
menu and choose the plug-in you want to use.

Choose the plug-in.

5. View or adjust any of the plug-in settings.
For more information, see Adjust ProRes RAW camera settings in the
Final Cut Pro User Guide for Mac.

Apple ProRes RAW

May 2023

16

Using ProRes RAW in Final Cut Pro

ProRes RAW is an ideal format for creating wide-gamut, high-dynamicrange (HDR) content because it captures the full dynamic range andcolor gamut of the camera sensor. If you want to create standarddynamic-range (SDR) content, such as high-definition broadcast(Rec. 709) video, the high dynamic range of a ProRes RAW source file
must be restricted to a dynamic range suitable for viewing on an SDR
display. This process is called tone mapping.
There are three primary ways to use ProRes RAW with Final Cut Pro inyour post‑production workflow:•

Using Log Conversion with Built-in Camera LUTs•

Using Log Conversion with Custom LUT Effects•

Grading Directly Without LUTs

For more information about working with HDR in Final Cut Pro,see the Final Cut Pro User Guide for Mac and HDR and Wide Color Gamut
in Final Cut Pro.

Apple ProRes RAW

May 2023

17

Using ProRes RAW in Final Cut Pro

Using Log Conversion with Built-in
Camera LUTs

Most professional video cameras today support recording in a log
format. Using log enables a higher dynamic range of light levels to be
represented compared to standard video gamma functions. Because
many color-grading workflows are based on working with log video,
Final Cut Pro can automatically apply a log conversion setting to
ProRes RAW media files during import. With log conversion applied,
ProRes RAW files behave just like conventional log video and can beedited the same way.
Using built-in log conversion allows you to color correct ProRes RAW
video as if it were SDR or HDR video, depending on your librarycolor-processing setting. When your library is set to Standard color
processing, you can color correct ProRes RAW video as if it were SDR
video. With your library set to Wide Gamut HDR, you can color correct
ProRes RAW video as if it were HDR video.

RAW to Log Setting

Decoding ProRes RAW directly results in HDR linear values rather thanlog. When using standard RAW conversion, the RAW to Log setting in
the ProRes RAW Settings window applies different camera maker log
functions so that you can color correct your ProRes RAW files as log
video. (Prior to Final Cut Pro 10.6.6, this setting was located in the Infoinspector.) Because ProRes RAW files contain metadata that identifies
the camera maker, Final Cut Pro can apply the appropriate log function(such as Canon Log 2, Panasonic V-Log, or Sony S-Log3) upon import.
You can also adjust this setting manually.

Apple ProRes RAW

May 2023

18

Using ProRes RAW in Final Cut Pro

Change the RAW to Log setting

1. Select one or more video clips recorded with ProRes RAW.
2. If the Info inspector isn’t already shown, choose Window > Show in
Workspace > Inspector, then click the Info button at the top.
Click the Info button.

Click Modify
ProRes RAW Settings.

3. At the bottom of the inspector, click Modify ProRes RAW Settings.
4. In the ProRes RAW Settings window, click the RAW to Log pop-up
menu and choose an option.

Choose a log
conversion option.

5. Click the Close button to close the ProRes RAW Settings window.

Apple ProRes RAW

May 2023

19

Using ProRes RAW in Final Cut Pro

Camera LUT Setting

A lookup table (LUT) is a set of data that transforms pixel values tochange the way an image looks. Because log video footage initially
looks flat, Final Cut Pro can apply a Camera LUT setting to make theimage look less flat and more vibrant. It essentially converts the logencoded image to an image in the intended output color space in a waythat looks pleasing to the eye. As with all video shot with log encoding,Final Cut Pro automatically applies the Camera LUT setting based on
metadata in the file that identifies the camera maker. If the metadata is
missing (for example, if it was lost during transcoding), you can view orchange the Camera LUT setting in the Info inspector.

Confirm or change the Camera LUT setting

1. Select one or more video clips recorded with ProRes RAW.
2. If the Info inspector isn’t already shown, choose Window > Show in
Workspace > Inspector, then click the Info button at the top.
Click the Info button.

Camera LUT setting

Choose General,
Extended, or Settings.

3. Click the Metadata View pop-up menu in the bottom-left corner, thenchoose either General, Extended, or Settings.
4. In the Camera LUT pop-up menu, confirm the current setting, orchoose a different Camera LUT setting.

Apple ProRes RAW

May 2023

20

Using ProRes RAW in Final Cut Pro

The type of conversion performed by the built-in camera LUT depends
on the library color-processing setting. When color processing is set toStandard, the log conversion applies tone mapping to reduce the originalhigh dynamic range of the log content to a range suitable for SDR video.
To make the full dynamic range of the original video available in theworking color space, change the library color-processing setting to
Wide Gamut HDR. When color processing is set to Wide Gamut HDR, thebuilt-in camera LUT does not apply tone mapping and preserves the fulldynamic range for color correction and effects.

Set library color processing to Wide Gamut HDR
1. Select a library in the Libraries sidebar.

2. Choose File > Library Properties, then click the Modify button at the
top of the inspector.

Click to set thecolor processing.

3. Select Wide Gamut HDR.
You can add ProRes RAW clips directly to an HDR project in thetimeline—for example, a project set to Rec. 2020 PQ or Rec. 2020 HLG—
and monitor them using a professional reference monitor such as theApple Pro Display XDR. You can easily color correct the clips using
the advanced color correction tools in Final Cut Pro. See Intro to color
correction effects and Color correct HDR video with Pro Display XDR
in the Final Cut Pro User Guide for Mac.

Apple ProRes RAW

May 2023

21

Using ProRes RAW in Final Cut Pro

Using Log Conversion with Custom LUT
Effects

This workflow employs a Custom LUT effect (instead of a built-in camera
LUT) and allows you to color correct ProRes RAW video as though it were
log video.

Step 1: Change the Camera LUT setting to None

1. Select one or more video clips recorded with ProRes RAW.
2. If the Info inspector isn’t already shown, choose Window > Show in
Workspace > Inspector, then click the Info button at the top.
Click the Info button.

Choose None.

Choose General,
Extended, or Settings.

3. Click the Metadata View pop-up menu in the bottom-left corner, thenchoose either General, Extended, or Settings.
4. Click the Camera LUT pop-up menu and choose None.
When Camera LUT is set to None, the color correction tools (suchas Color Wheels and Color Curves) and other effects operate on the
log-encoded values. No tone mapping is applied to the source, and no
dynamic range is lost.

Apple ProRes RAW

May 2023

22

Using ProRes RAW in Final Cut Pro

Step 2: Apply color correction and any other video effects

Make adjustments to color balance, exposure, and white balance.
Do any of following:•

Adjust the ISO setting and color temperature: See Adjust ProRes RAW
camera settings in the Final Cut Pro User Guide for Mac.

•

Apply color correction: See Intro to color correction effects in the
Final Cut Pro User Guide for Mac.

•

Apply video effects: See Intro to clip effects in the Final Cut Pro
User Guide for Mac.

Step 3: Import and apply a Custom LUT effect

You will need to apply a Custom LUT effect (as the last effect in the list)
using a 3DLUT file that contains the conversion from log to the output
color space. Custom LUT effects can be purchased and downloaded
from a variety of sources, or you can create one yourself using
inexpensive color-grading software or plug-ins.
1. Select a ProRes RAW clip in the timeline.
2. To open the Effects browser, choose Window > Show in Workspace >Effects.
3. Select the Color category on the left, then double-click Custom LUT
to apply the effect to the selected clip.
4. If the Video inspector isn’t already shown, choose Window > Show in
Workspace > Inspector, then click the Video button
at the top.
5. In the Custom LUT section of the Video inspector, click the LUT
pop‑up menu and choose “Choose Custom LUT.”
Note: If you previously imported a custom LUT, you can choose
Recent and then choose from a list of recently used Custom LUT
effects.
6. In the window that appears, navigate to the LUT file you want toimport, and select it.
7. Click Open.
The LUT you imported appears as the selected LUT at the top of the
Custom LUT section.

Custom LUT

Apple ProRes RAW

May 2023

23

Using ProRes RAW in Final Cut Pro

8. Click the Input pop-up menu and choose the color space the LUT
converts from.
9. Click the Output pop-up menu and choose the color space the LUT
converts to.
Note: Make sure the Custom LUT effect is the last effect in theeffects list. If it isn’t, you can simply drag it to the bottom of the list.

Grading Directly Without LUTs

This workflow allows you to color correct ProRes RAW video as HDR
video, regardless of the library color-processing setting.

Change the RAW to Log and Camera LUT settings to None
1. Select one or more video clips recorded with ProRes RAW.

2. If the Info inspector isn’t already shown, choose Window > Show in
Workspace > Inspector, then click the Info button at the top.
Click the Info button.

Choose None.

Choose General,
Extended, or Settings.

3. Click the Metadata View pop-up menu in the bottom-left corner, thenchoose either General, Extended, or Settings.
4. Click the Camera LUT pop-up menu and choose None.
5. At the bottom of the inspector, click Modify ProRes RAW Settings.

Apple ProRes RAW

May 2023

24

Using ProRes RAW in Final Cut Pro

6. In the ProRes RAW Settings window, click the RAW to Log pop-up
menu and choose None.

Choose None.

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.
7. Optionally, do any of the following:Apple ProRes RAW•

Adjust ProRes RAW camera settings (ISO and color temperature):
See Adjust ProRes RAW camera settings in the Final Cut Pro
User Guide for Mac. The available settings vary by camera model.
For a list of ProRes RAW video cameras and devices, see theApple Support article Cameras supported by Final Cut Pro.

•Use color correction tools, such as Color Wheels, Color Curves,or Color Adjustments: See Intro to color correction effects in the
Final Cut Pro User Guide for Mac.

May 2023

25

Conclusion

Apple ProRes RAW is a powerful tool for recording and creating
stunning images that preserves quality while maintaining performance.
Much of the complexity of working with RAW is minimized with smart,
automatic functions that make it easy for novices and experts aliketo achieve excellent results. Being able to use the RAW image sensor
data directly in Final Cut Pro during post‑production gives you more
control over the processing of the image, including demosaicing,linear‑to‑log conversions, and custom LUTs. Working with ProRes RAW
in Final Cut Pro with the advanced color correction tools, you can create
new looks and compelling images to make your material stand out likenever before.

Copyright © 2023 Apple Inc. All rights reserved. Apple, the Apple logo, Final Cut, Final Cut Pro, Mac,
MacBook Pro, macOS, and ProRes are trademarks of Apple Inc., registered in the U.S. and othercountries and regions. Apple ProRes and Mac Studio are trademarks of Apple Inc. Other productand company names mentioned herein may be trademarks of their respective companies. Productspecifications are subject to change without notice. 028-00727-A
Apple ProRes RAW

May 2023

26