{"id":56836,"date":"2014-02-13T00:00:00","date_gmt":"2014-02-12T23:00:00","guid":{"rendered":"https:\/\/709mediaroom.com\/tutorial-material-log-c-in-final-cut-pro-x\/"},"modified":"2025-05-05T08:36:25","modified_gmt":"2025-05-05T06:36:25","slug":"tutorial-material-log-c-in-final-cut-pro-x","status":"publish","type":"post","link":"https:\/\/709mediaroom.com\/en\/tutorial-material-log-c-in-final-cut-pro-x\/","title":{"rendered":"Tutorial: Material Log C in Final Cut Pro X"},"content":{"rendered":"

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When working with ProRes files from an ARRI Alexa<\/a> camera, they are most often recorded using the Log C curve. This way we can preserve detail in both highlights and lowlights and have much more range for the color correction process (among other things).<\/p>\n

In this two and a half minute tutorial it is quite clear (in a basic way) what Log C recording is, what it is for and how it works in editing.<\/p>\n

If we have recorded in logarithmic, we usually generate what we call “dailies” for editing. In this case it is a matter of creating a new clip that keeps all the original metadata but with a 3D LUT applied to view the shot with normal saturation and contrast. <\/p>\n

*In other situations dailies may also involve transcodes (from ARRIRAW to ProRes or DNxHD) or resolution changes (from 4K to Full HD).<\/p>\n