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How to color grade LOG in Final Cut Pro

Science & Technology

Introduction

Over the past few years, the quality of video on the internet—especially on platforms like YouTube—has vastly improved. A significant reason for this enhancement is the widespread adoption of shooting in 10-bit LOG. If you're not shooting in LOG format, you may be missing out on crucial image quality, regardless of your camera's capabilities.

In this article, we'll explore the correct workflow in Final Cut Pro (FCP) for processing LOG footage, ensuring you extract every bit of image quality while retaining flexibility for color grading. We will focus on using Apple's ProRes and the new Appal color space available in the iPhone 15 Pro, which has revolutionized mobile filmmaking.

Understanding LOG

Before diving into the workflow, let's clarify what LOG is. LOG isn't a type of codec such as ProRes or H.264; instead, it refers to a color profile. This profile creates a flat image by reducing saturation and contrast, preserving a greater range of data. Think of it as the video equivalent of shooting RAW photos, but with more manageable file sizes.

Setting Up in Final Cut Pro

Let's begin by creating a new project in Final Cut Pro and adding some LOG footage to the timeline. To understand how LOG footage looks when unprocessed, you can reveal the original file in Finder; it will appear flat and lifeless.

However, Final Cut Pro automatically applies a built-in color correction (a basic LUT) to your footage, which is why it looks more like standard footage in the timeline. To work with LOG properly in FCP, follow these steps:

  1. Select Your Footage: In the browser, select all your clips and navigate to the inspector, where you can find the Camera LUT settings. By toggling the Camera LUT off, you're revealing the original LOG footage.

  2. Color Space Override: We will be working in Standard Dynamic Range (SDR) rather than High Dynamic Range (HDR) due to compatibility. Make sure to override the color space to Rec. 709, which is the standard for SDR.

  3. Initial Adjustments: Avoid making basic adjustments like increasing saturation or contrast directly. Instead, use a proper LUT to transform the flat image into something that looks better.

  4. Applying a Custom LUT: Open the Effects Browser, select "Color," and add a Custom LUT to your timeline. Choose a LUT that suits your footage, like the one I provide in the description.

  5. Using Color Wheels: Make all primary adjustments (exposure, white balance) before applying your LUT. This step is crucial; if you make changes after applying the LUT, you risk losing valuable image details.

  6. Copying Adjustments: Once you’re satisfied with one clip, you can paste the attributes across the entire timeline using command shortcuts. Remember to ensure any necessary adjustments are made before copying.

  7. Using Adjustment Layers: To apply a specific look to the entire project, you can use adjustment layers. Drag an adjustment layer above all your clips, and then apply a LUT on the layer to ensure a cohesive style across your timeline.

Conclusion

Working with LOG footage can be intimidating, but following a proper workflow in Final Cut Pro allows you to maximize your image quality and creativity. By understanding how to effectively utilize LUTs and color adjustments, your videos can achieve a cinematic quality that stands out on platforms like YouTube.

Keywords

LOG, Final Cut Pro, color grading, LUTs, Rec. 709, Appal, SDR, HDR, image quality, workflow.

FAQ

1. What is LOG?
LOG is a color profile that manages dynamic range and preserves more data in your footage by presenting a flat image.

2. Why should I shoot in LOG?
Shooting in LOG allows for greater flexibility during color grading, preserving more image details than typical video profiles.

3. How do I color grade LOG footage in Final Cut Pro?
Use a proper LUT while making initial adjustments (like exposure or white balance) before applying any LUT to the timeline.

4. What is the difference between SDR and HDR?
SDR (Standard Dynamic Range) is more universally compatible with editing software, whereas HDR (High Dynamic Range) is complex to grade due to higher dynamic ranges and is less commonly supported.

5. Can I use adjustment layers in Final Cut Pro?
Yes, you can use adjustment layers to apply a consistent look across multiple clips in your timeline.