Colour Space Transform
for Final Cut Pro
One Plugin. Every Camera.
Consistent Colours.
High-end Colour Grading with our Free Colour Space Transform Plugin for Final Cut Pro
Colour Space Transform
Professional Colour Grading in Final Cut Pro is finally possible now
No matter which limitations you face when colour grading in Final Cut Pro.
We most likely solved them.
Why a Colour Space Transform for Final Cut Pro makes all the difference
Professional workflows start with proper colour management.
Instantly match any camera
Shot on three different cameras? Bring them all into one unified working colour space with a click.
Learn more →
Grade in a proper working colour space
Work in an intermediate colour space the way colourists do in Resolve without leaving Final Cut Pro.
This allows you to build one look for your entire project and achieve consistency across footage from different cameras
Learn more →
Cameras don’t have looks – Manufacturer LUTs do
Whenever you use a LUT provided by a camera manufacturer, you surrender to their colour science. With our CST, you are in charge.
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Beyond a Colour Space Transformation
Our CST comes with sophisticated DRT capabilities. This means your images will look more natural compared to even DaVinci Resolve’s CST.
Learn more →
Ditch the LUT hunt
Stop searching for camera-specific LUTs that never quite match. Our CST replaces that whole workflow with one consistent pipeline.
Learn more →
CST > LUTs
Applying a LUT is a destructive operation, meaning all information outside the LUT’s range is cut-off and you cannot bring it back.
Our CST works non-destructively, giving you access to all of your footage’s dynamic range no matter where you are.
Learn more →
Grading for hours and still getting nowhere?
It’s likely not your fault! Let us explain…
Working with Footage from different Cameras
On most projects, you’re working with footage from different cameras.
For example: 
Main Camera, 
B-Camera
Action Camera or Drone
Each Camera Speaks a different Language
In your timeline, you mix and match footage from these cameras. So your timeline looks like this:
Final Cut Pro does not have any proper colour management
That means you need to rely on LUTs which work for the individual clips but won’t make your project feel cohesive. This is somewhat inevitable as you need to treat each clip individually and differently.
In the end, you’re fighting technicalities instead of being creative with your colour grading.
It doesn’t have to be this way!
Make all your Clips speak the same Language with proper Colour Management in Final Cut Pro
Option 1
Transform all your footage into a common working colour space such as KOLOR Default, ACES or DaVinci Intermediate.
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Colour Space Transformation
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Option 2
Transform all the footage into your main camera’s colour space such as S-Log, C-Log or any other camera colour space.
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Colour Space Transformation
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KOLOR vs. DaVinci Resolve
Focus on the creative vision, not fixing broken images.
While DaVinci Resolve’s CST can transform your footage for display, its colour science is very basic. You as a colourist have to manually fix errors like blown out neon lights.
Thanks to our built-in Device Rendering Transform (DRT), KOLOR’s Colour Space Transform gives you a better starting point.
No clipping in sight!
Our Colour Space Transform is truly non-destructive*
Do you know this situation? When shooting, you make sure you protect all your highlights.
But when you apply a LUT in Final Cut Pro everything blows out.**
LUT
CST
(*) The signal will be clamped only when transforming scene or intermediate spaces to display spaces to avoid sending out illegal values.
(**) You can also prevent this issue by making your adjustments before the LUT. But if you’re using Final Cut Pro’s camera LUT feature, you’re out of luck.
Supported Cameras and Colour Spaces
We support all commonly used colour spaces.
| KOLOR | KOLOR Default |
| ACES | ACEScct |
| Apple | Apple Log |
| Apple Log 2 |
| ARRI | LogC3 |
| LogC4 |
| BlackMagic Design | Film Gen 5 |
| DaVinci Intermediate |
| Canon | C-Log |
| C-Log 2 | |
| C-Log 3 |
| DJI | D-Log |
| D-Log 2 | |
| D-Log M |
| FujiFilm | F-Log |
| F-Log 2 | |
| F-Log 2 C |
| GoPro | GP-Log |
| GP-Log 2 |
| Insta | I-Log |
| Leica | L-Log |
| Linear | Linear |
| Nikon | N-Log |
| Panasonic | V-Log |
| Phantom | Phantom Log 1 |
| Phantom Log 2 |
| RED | Log3G10 |
| Samsung | Samsung Log |
| Sony | S-Log 2 |
| S-Log 3 |
| Display Spaces | Gamma 2.2 (sRGB) |
| Gamma 2.4 (Rec.709) | |
| Gamma 2.6 |
Download our Colour Space Transform for free
Download Colour Space Transform
for Final Cut Pro
What you need to do:
- Step 1
- Enter your name and email address.
- Step 2
- You will receive an email to confirm your email address. Click the link/button in the email to confirm your email address.
- Step 3
- The plugin will be sent to you within about 2 minutes.
Free Download
System Requirements
🖥️ Apple Silicon Mac
🍎 macOS Sonoma
🎬 Final Cut Pro 11.1.1
Any Questions?
Frequently asked questions about our CST
Yes! In fact, you can use any LUT you like. For example, if you have a LUT for S-Log 3 S-Gamut3.Cine and you want to use it on your GoPro footage, just transform your GoPro Footage to S-Log 3 S-Gamut3.Cine and you’re good to go!
We’re glad you asked! Everything you need to know is here.
Yes! Our CST even comes with presets for all the different cameras. Using these presets, you can apply it to many clips without fiddling around with the settings.
It depends on your workflow, but the most common workflow amongst colourists is using a CST to go to an intermediate colour space before anything else. Then, they perform their operations in this intermediate colour space and finally go to their display space. The signal chain looks like this:
Clip → Input CST (IDT) → Adjustments → Output CST (DRT)
The CST does not do visual camera matching. Camera sensors have different spectral sensitivities and will therefore differ slightly, especially when capturing spectrally narrow lights.
You can imagine the CST like translating all clips to the same language.
Tools will behave consistently and display transforms will do what they are supposed to do regardless of what camera you shot on.
Yes! If you don’t want to use LUTs, you’re now free to do so.
However, you might still want to use some kind of creative look LUTs.
If you’re using a manufacturer LUT, you’re buying the vendors’ colour science. This can be good if you like how your image looks, this can be bad if you don’t like how the image looks.
That said, our CST gives you an alternative, natural rendering with higher precision than LUTs are capable of.
When transforming footage for display, there is no such thing as a true neutral starting point. Not even DaVinci Resolve’s Colour Space Transform.
However, our CST provides a more natural starting point than most manufacturer LUTs do.
Release Notes
Information about Updates, Releases and Patches
→ download latest version here
⚠️ ATTENTION! This update is a major update to the CST which means the new version is NOT backwards compatible.
Please finish all projects before updating or swap all CSTs in your timeline.
Please also note that previously created Effects Presets will not work and need to be re-created!
The good news is: This is hopefully the last time a new version will break old projects thanks to the more robust redesign of the internal architecture.
📷 New Camera Support
- DJI D-Log 2
- Insta I-Log
🛠️ Improvements
- Improved D-Log M conversion for different DJI cameras. They should now feel more consistent. The transfer curve used to convert D-Log M will change dynamically based on the camera selected in the Gamut dropdown. This is to account for differences of D-Log M implementation across DJI cameras.
- Rebuilt internal parameter architecture: Future colour space additions will no longer break old projects and presets.
- Improved user interface
- S-Log 3’s default gamut changed to S-Gamut3.Cine instead of S-Gamut3
⚠️ ATTENTION! This update is a major update to the CST which means the new version is NOT backwards compatible. Please finish all projects before updating or swap all CSTs in your timeline.
Please also note that previously created Effects Presets will not work and need to be re-created!⚠️
📷 New Camera Support
- Adds distinct gamut support for DJI
- Action 5 D-Log M
- Air 2S
- Mavic 2 Pro
- Mavic 3 Pro
- Mini 4 Pro
- Mini 5 Pro
- Pocket 3
- GoPro GP Log 2
- Samsung Log
🛠️ Improvements
- adds Final Cut Pro’s “4k” tag so the plugin shows up when looking for 4k-only effects
- fixes an issue where the installation would fail
- fixes the white point for D-Gamut
🐞 Bug Fixes
- fixes an issue where IDT and ODT presets would show the “Missing Media” screen
- fixes an issue UI of other plugins above the CST could disappear
- fixes white point error in Apple Log 2
- fixes an issue where there could be black artefacts in Apple Log 1 footage
- initial release
