You can record ProRes RAW on an iPhone 17 Pro or iPhone 17 Pro Max with Final Cut Camera, but Apple’s documented iPhone-specific RAW adjustment and grading workflow is in Final Cut Pro for Mac. In practice, capture the original RAW footage on the iPhone, transfer it to a Mac, then adjust its camera settings and color for the intended HDR or SDR delivery.
Can you edit and color grade ProRes RAW entirely on an iPhone?
Apple documents ProRes editing in apps including Photos, iMovie, Final Cut Pro for iPad and Mac, and compatible third-party apps. That general support does not establish that an iPhone app can fully edit ProRes RAW or access its RAW camera controls. Apple’s documented controls for iPhone ProRes RAW are in Final Cut Pro for Mac. Check an app’s current format documentation before relying on it for a phone-only RAW workflow.
Record ProRes RAW on a supported iPhone
Apple’s current iPhone recording guide identifies iPhone 17 Pro and iPhone 17 Pro Max as supporting ProRes RAW capture through apps such as Final Cut Camera. Final Cut Camera requires external storage for ProRes RAW recording. When RAW or RAW HQ is selected, the app changes recording settings automatically.
Choose a frame size and frame rate
| Capture option | Frame size | Maximum frame rate |
|---|---|---|
| Open Gate | 4224 × 3024 | Up to 60 fps |
| 17:9 | 4224 × 2240 | Up to 120 fps with certain lenses |
Open Gate is selected by default when RAW or RAW HQ is chosen. The app also removes the color-space selection and enables Preview with LUT set to Apple Log 2 to HDR (HLG). That LUT setting describes the preview; it does not mean the recorded RAW file is itself encoded as Apple Log 2.
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Apple’s general external-drive guidance for supported ProRes workflows describes USB-C storage formatted as exFAT and a USB 3 cable. Its minimum-speed figures for conventional ProRes settings should not be assumed to apply to ProRes RAW: the cited guidance does not specify a RAW-specific minimum drive speed. Select a drive compatible with your device and recording workload.
Import the original footage into Final Cut Pro for Mac
- Connect the external storage containing the original iPhone ProRes RAW media to your Mac and import the original clips into Final Cut Pro.
- During import, deselect Create optimized media and Create proxy media. Apple says import-time transcoding will be discarded if you later adjust the RAW settings.
- Select a clip in the browser or timeline, open the Info inspector, and choose Modify ProRes RAW Settings.
- Confirm that Processing is set to iPhone ProRes RAW.
Adjust the RAW camera settings
In the ProRes RAW settings, adjust exposure, color temperature, and tint before applying creative color correction. Final Cut Pro also provides advanced demosaicing parameters for iPhone ProRes RAW media. Apple identifies Compressor as the app for processing iPhone ProRes RAW denoising.
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Choose a RAW-to-log conversion method that fits the grading approach you intend to use. Apple documents direct correction without log conversion or a LUT; for that route, set RAW to Log conversion and Camera LUT to None.
Choose a color-correction path
Apple describes three ways to move from the RAW image to a graded result in Final Cut Pro. Pick one as the starting pipeline rather than stacking conversion methods without a reason.
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Use the built-in camera LUT
Let Final Cut Pro apply its built-in camera LUT conversion, then make creative corrections to the converted image. This is the simplest documented starting point.
Convert to log, then apply a custom LUT
Use a log conversion when your grading workflow is designed around log footage, then apply a custom LUT and refine the image with further corrections.
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Correct directly without LUT conversion
Disable log conversion and LUT conversion, then make corrections directly. In the RAW settings, choose None for the conversion and the Camera LUT.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Prepare the grade for HDR or SDR delivery
HDR delivery can retain more of the RAW source’s wide dynamic range. For an SDR destination such as Rec. 709, tone-map the high-dynamic-range source for the SDR display; otherwise, the delivered image may not be mapped appropriately for that viewing range.
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Decide whether RAW is the right capture format
| Format approach | What it means for the workflow |
|---|---|
| Standard footage | Ready to view and generally needs little or no grading. |
| Log | Balances file size with grading latitude. |
| RAW | Offers the most post-production flexibility, with heavier storage and workflow demands. |
Choose based on the destination and how much post-production flexibility you need. If you need a quick turnaround or do not plan to grade, standard footage may be simpler; RAW is useful when its additional adjustment latitude justifies the storage and Mac-based finishing workflow.
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