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696Final Cut Pro User Guide
• You can fix missing or incorrect color space metadata using the Color Space Override
pop-up menu in the Info inspector. See Change a clip’s color space metadata.
• You can use guides in the waveform monitor to precisely measure and set video levels.
Guides are useful as a quick annotation or reference point. To add a horizontal guide,
click once anywhere in the waveform monitor. To remove the guide, drag it off the top or
bottom of the waveform monitor.
• Because the library color-processing setting affects all projects and media in the
library, it’s a good idea to create a separate library for each project or deliverable.
This prevents accidental color space crossover issues. See Create a new library in
Final Cut Pro.
• Dolby Vision 8.4 is a format designed to optimize HDR content for Apple devices. See
Share to Apple devices with Final Cut Pro and this Apple Support article.
Color correct ProRes RAW in Final Cut Pro
Apple ProRes RAW lets you work with the camera sensor’s raw data in Final Cut Pro.
Because ProRes RAW preserves the full dynamic range and color gamut captured by the
camera, it’s an ideal format for creating and color correcting wide-gamut, high-dynamic-
range (HDR) content. If you want to create standard-dynamic-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.
Most professional cameras today support recording in a log format. Using log enables a
higher dynamic range of light levels to be represented. Because many color correction
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. You can also apply a custom
log conversion setting using a lookup table (LUT) effect. For more information about LUTs
and log conversion, see
Apply LUTs in Final Cut Pro.