You can record ProRes RAW on iPhone 17 Pro and iPhone 17 Pro Max with Final Cut Camera, but Apple’s documented workflow for changing RAW camera settings and color grading is in Final Cut Pro for Mac. The available Apple documentation does not establish a complete ProRes RAW editing and grading workflow directly on iPhone. In practice, capture on the phone, keep the original RAW files, then adjust and grade them on a Mac.
What you can do on iPhone—and what requires a Mac
Apple lists Photos, iMovie, Final Cut Pro for iPad and Mac, and compatible third-party apps for editing standard ProRes video. That general ProRes support does not establish support for ProRes RAW or its camera-level RAW controls. Apple’s iPhone-specific instructions for adjusting ProRes RAW settings are for Final Cut Pro for Mac. Check an app’s current documentation for explicit ProRes RAW support before relying on it for an iPhone-only workflow.
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For an HDR or SDR finish, Apple describes the correction options in Final Cut Pro for Mac. This is the supported path described here; it does not rule out other apps, but the reviewed documentation does not verify a complete phone-only alternative.
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Check the phone, app, and storage
Apple’s current iPhone recording guide lists 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 recording Apple ProRes RAW. Apple’s instructions for supported USB-C external-drive workflows describe exFAT formatting and a USB 3 cable. Do not assume the minimum drive-speed figures given for conventional ProRes also apply to RAW: Apple’s cited guidance does not specify a ProRes RAW-specific minimum speed.
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Choose the recording format and understand the preview
When you select RAW or RAW HQ, Final Cut Camera sets Open Gate (4224 × 3024) by default and removes the color-space selection. Its guide also offers 17:9 (4224 × 2240). Apple specifies frame-rate ceilings of up to 60 fps for Open Gate and up to 120 fps for 17:9 with certain lenses; the available rate depends on the chosen size and lens. Check the Final Cut Camera guide for the current recording options.
Final Cut Camera enables Preview with LUT set to Apple Log 2 to HDR (HLG) when RAW is selected. That is a preview setting; it does not mean the recorded RAW file is itself encoded as Apple Log 2. Treat the preview transform separately from the RAW footage you will adjust later.
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Import the original media into Final Cut Pro for Mac
- Import the original iPhone ProRes RAW clips into Final Cut Pro for Mac.
- In the import window, deselect Create optimized media and Create proxy media. Apple warns that transcoding done during import will be discarded if you later adjust RAW settings.
- Select the 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.
These steps preserve access to the camera-level RAW controls documented by Apple. If you have already created optimized or proxy media, return to the original source media for RAW adjustments rather than assuming a transcoded copy retains those controls. See Apple’s instructions for adjusting ProRes RAW camera settings.
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In Modify ProRes RAW Settings, adjust the camera-level properties Apple makes available, including exposure, color temperature, and tint. The controls also include advanced demosaicing parameters for iPhone ProRes RAW. These adjustments address how the RAW image is interpreted; they are distinct from later creative color correction.
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Apple identifies Compressor as the app for denoising iPhone ProRes RAW. Its guidance does not describe denoising as a Final Cut Pro camera-setting control, so use Compressor for that task rather than expecting to find it among the RAW adjustments.
Choose a color-correction path
Apple documents three approaches in Final Cut Pro. Pick one that matches your workflow rather than stacking conversion methods without a reason.
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| Approach | How it works | Useful when |
|---|---|---|
| Built-in camera LUT conversion | Use Final Cut Pro’s built-in camera LUT conversion as the starting transform. | You want a straightforward conversion before making creative corrections. |
| Log conversion and custom LUT | Convert to log, then apply a custom LUT as part of your grading pipeline. | Your workflow is built around a specific log space and LUT. |
| Direct correction without LUT conversion | Disable log conversion and correct the image directly. If the RAW-to-log conversion method is set to None, Apple says Camera LUT should also be set to None. | You want to make corrections without an automatic or custom LUT conversion. |
Make your creative corrections after choosing the conversion approach. Apple’s ProRes RAW color-correction guide explains these paths and the HDR-to-SDR consideration.
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ProRes RAW retains a high-dynamic-range source. If your finished video is SDR, such as Rec. 709, tone-map the source’s HDR range for the SDR display. Do not treat the RAW capture’s range and the delivery display’s range as interchangeable. For HDR delivery, the finish can retain more of the source’s wide dynamic range, subject to the target display and delivery workflow.
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Decide whether RAW is worth the workflow
RAW offers the most post-production flexibility, but also brings heavier storage and workflow demands. Standard footage is more immediately viewable and may need little or no grading; log sits between standard footage and RAW in grading latitude and file demands. If you do not need RAW’s extra adjustment flexibility, a standard or log recording may be a more practical choice for a phone-first turnaround. Apple summarizes the distinction in its Final Cut Camera guide to standard, log, and RAW video.
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