Export LOG from Final Cut Pro X

I examined the file. You can edit that in an FCP SDR library using a Rec.709 project (which is what the Arri metadata shows), then export it as ProRes 4444. However, there are other metadata issues. These are not unique to Arri.

Cameras like Arri and even my team's Sony FX6s record lots of acquisition metadata which can be important in post production. This includes clip timecode and also many camera items. See below for an example from Arri.

The problem is exporting this from FCP (and I think other NLEs) does not carry over the original proprietary camera metadata to the exported file, even if the codec and container format is the same. Arri has a special metadata tool called ARRI Reference Tool which can extract this metadata from the camera files, but it cannot be inserted or merged into the NLE-exported file. The extracted metadata is apparently intended for use in specific post-production tools.

Another issues is clip (aka source) timecode. Even if adding an audio lane to otherwise non-edited camera files, FCP (and I think other NLEs) view that as a multiple timecode sources. E.g, the audio could have its own timecode so there would be conflicting timecode sources for the output file. The file is exported using 00:00-based timecode, not the original clip timecode. There is a third-party timecode tool called QTChange which lets you edit the timecode, and I think a batch operation is possible to read timecode from the original camera files and rewrite that to the newly-exported files. However, that would be an additional complex post production step that would require investigation and testing.

For these reasons (not because of color profile) I don't think it's feasible to add audio to the Arri clips without losing important metadata. If you don't need the metadata (now or in the future) you could go ahead and do it, but I would discuss that in advance with the assistant editor, post-production supervisor, or whoever has that responsibility.

Arri ProRes metadata sample:

Media/UUID : BB3B0738-7A72-11EF-85D9-000E8E6ED4DB

com.arri.camera.CameraId : A20D

com.arri.camera.CameraIndex : A

com.arri.camera.CameraModel : ARRI ALEXA Mini

com.arri.camera.CameraSerialNumber : 22605

com.arri.camera.ColorGammaSxS : LOG-C

com.arri.camera.ExposureIndexAsa : 800

com.arri.camera.LookFileBurnedIn : No

com.arri.camera.NdFilterDensity : 1200

com.arri.camera.NdFilterType : 3

com.arri.camera.ProjectFps : 24000

com.arri.camera.ReelName : A001A20D

com.arri.camera.SensorFps : 24000

com.arri.camera.ShutterAngle : 1728

com.arri.camera.SupVersion : 6.01.02

com.arri.camera.SxsSerialNumber : 224003201294

com.arri.camera.UserDate : 20240924

com.arri.camera.UserTime : 12h44m25

com.arri.camera.WhiteBalanceKelvin : 5600

com.arri.camera.WhiteBalanceTintCc : 0

com.arri.camera.CameraClipName : A001C025_240924_A20D.mov

Color primaries : BT.709

Transfer characteristics : BT.709

Matrix coefficients : BT.709

Time code of first frame : 03:47:08:15

Time code of last frame : 03:47:22:22

synced material cuted in final cut pro x send via XML file to colorist, is that work flow will be able to work?

Unfortunately, XML doesn't always reproduce everything perfectly. It seems like sometimes it works well and sometimes it doesn't. You won't know until you actually try it.

●Color mask is inverted when loading XML

Import all Arri clips to FCP, select all clips in the Event Browser, in Inspector's "Info" tab at the bottom, set view to "General", set Camera LUT to "None." That turns off the auto-applied LUT on all clips. They will then be exported with the original log profile. You don't need Compressor.

Import all Arri clips to FCP, select all clips in the Event Browser, in Inspector's "Info" tab at the bottom, set view to "General", set Camera LUT to "None." That turns off the auto-applied LUT on all selected clips in the Browser.

They can then be added to the timeline and edited with sound, then exported as ProRes 4444 using the original log profile. You don't need Compressor.

Tom, if you Google 'arri camera sample footage' (no quotes), there's Arri ProRes material to download. The one I used is under ARRI LF ProRes, filename: B001C004_180327_R1ZA.mov.

Richpeinn: I downloaded Some ProRes 4444 ARRI Log C material, and the original file metadata said Rec.709. Therefore I used a standard gamut library and a Rec.709 project. I then imported to FCP, added an additional audio layer, ensured the Arri LUT was turned off, exported and it looked identical to the camera file. Examination of both files with MediaInfo showed the NCLC tags (color primaries, transfer characteristics, matrix coefficients) were identical.

However there was an issue: if adding an additional audio lane, when exported the clip timecode starts at zero. That might be because an added lane of audio could have its own clip (aka source) timecode, so there would be no way to designate which to use.

If you use the third-party MediaInfo tool and post the complete metadata of your Arri camera clip that would help.

Could you share one of these files using Dropbox or WeTransfer. The link will appear in the notification email but not in the forum.