thank you so much！ i comfuse about it long time！ your explain make me clearly more！ what about apple log ，sony ， go pro？ can you make a video to explain for it in fcp？
Interesting idea. I thought of something similar but find the approach too clunky. Plus, I recommend staying away from the camera LUT. Final Cut puts the camera LUT at the first instance of the signal chain, leaving you no chance to recover highlights. As you said in your video, "When adjusting the colours of your clip, they stay within limits" - this results from the LUT clipping values at 0 and 100 (or 109, depending on your LUT). The same happens with the camera LUT. Long story short, if you expose improperly, you cannot rescue anything when the camera LUT is applied since it will clip at 0 and 100 (or109), too. To correct that, you would need to get hold of the video signal before the camera LUT and that's impossible in FCP. If you set up your signal chain (just like you would set up your node tree) in a way that allows for corrections BEFORE the device input transform, you will have much more flexibility. Try using an instance of colour wheels before the custom LUT (s-log to ACES), then make all your adjustments in the middle and have another custom LUT (aces to rec709) at the end. Using this approach, you can get rid of adjustment layers. I think your intention was to ensure the proper order of operations for the signal processing, but the inspector on the clip-level works from top (input) to bottom (output), too, just like your node tree from left to right. Then, you could save the signal chain (pre-loaded with the proper aces LUTs) as a preset, and Bob's your uncle. Hope this wasn't too all over the place. If you want to geek a bit about colour, feel free to shoot me an email :)
Plus, if you set up your signal chain as discussed, there is no need for different exposure versions of the LUTs. You would correct exposure before the video even hits the input device transform to aces. :)
In Final Cut, you can use a Custom LUT effect to transform from log, and put your color grading layers above it. This way you can edit your footage before the LUT.
