I think for me the options are using FCPx internal tools or going to resolve and render out the graded files. I also tried Colourlab.ai and that has cost me a LOT of time! The AI does not really work for exposure, I have to dial everything back manually, then going back to FCPx it removes all my audio effects from the timeline I had already applied, and then playback got so slow on an M2 Mac Pro max 32gb ram that I couldn't play back in realtime and had to start over again grading in FCPx. I tried out CF2 as well but its too slow clicking through all these menus and has no real advantage agains the inbuilt color correction. That's strange that there is no clean workflow to grade a clip which has a LUT applied on clip level. So I am afraid I will have to live with it. I guess when I use an adjustment layer instead it will get even more complicated as I cannot affect the underlying clip when I just use the color dials - I guess color effect will then be applied to adjustment layer itself. I usually use those shortcuts to copy the color information from 1, 2 or 3 clips prior automatically very often, it's a huge timesaver. When I copy the color effect from the previous clip via shortcut, the color effect gets updated, but moves to the bottom position in the effects panel, so I have to drag it back up over the custom LUT effect manually. You can use them for your films and TV, social videos, presentations, and more. Technical/transformation LUTs are designed for a specific exposure, levels, and gamma setting, so they aren't some magic fix or universally applicable (for the highest quality) in all situations. This LUTs pack contains 22 Cinema Slog2 LUTs and 22 Cinema Rec 709 LUTs. This doesn't mean you need to even use a LUT, at all. So, emulating a scene-referred workflow in FCP is the best way to work with the full color space (gamut and gamma) of the original/camera source media. What I've described is approximately what is referred to as a "scene referred" workflow, which means that adjustments to the image are made in the original/camera gamut and gamma before the transformation into the output (or display) color space. In other words, if you add the LUT later in the "color processing pipeline", either as a "Custom LUT" at the clip level (last in the chain of effects applied) or via an adjustment layer, any corrections you make will have access to the source's wider gamut. Unless the original footage is properly exposed and white balanced out-of-the-camera, and you don't need to add any sort of custom "look", the LUT applied via the Camera LUT feature in FCP isn't going to yield the best possible result. Anything beyond very slight corrections after that don't work very well (as the LUT has "clamped" the levels/colors in the source). If you apply the LUT as a "Camera LUT" in FCP, the color space is transformed.
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