Edit NRAW in Final Cut - Rob Wessels Photography

How to import and edit NRAW (Nikon RAW Video) in Final Cut Pro.

Editing N-RAW in Final Cut Pro: A Comprehensive Guide

I wanted to share some exciting news for those of you working with N-RAW files in Final Cut Pro. Recently, if you’ve purchased a Nikon Z8 or Z9, you might have faced the frustration of being unable to edit N-RAW files in Final Cut Pro or even in Premiere Pro. The only native support was available through DaVinci Resolve. As a long-time Final Cut user, switching to another editing platform was not an option for me. Luckily, I found a solution that allows us to work with N-RAW files in Final Cut Pro through a transcoder. Let me walk you through the process.

The Transcoder Solution

Years ago, I discovered a company (Color Finale) that offered a transcoder for editing B-RAW files, and they’ve recently updated their tool to support N-RAW as well. This transcoder is essential for anyone looking to edit N-RAW files in Final Cut Pro.

To download Color Finale Transcoder 2.0 CLICK HERE to visit their website.

Edit N-RAW video in Final Cut Pro with Color Finale Transcoder 2

Disclaimer: This is not a sponsored post. I received early access to the transcoder but purchased it just like everyone else. I found it incredibly helpful and wanted to share my experience.

Why Use RAW Video?

Before diving into the how-to, let’s briefly discuss why you might want to use RAW video. N-RAW is a 12-bit RAW video format, comparable in quality to Apple ProRes but with a significant advantage: it compresses to 50% the file size of ProRes. This format allows for extensive post-production adjustments, similar to working with RAW photos. With RAW video, you get:

12-bit color sampling: This means over a billion colors per pixel, providing far more flexibility in color grading.
Post-production adjustability: You can change settings like white balance and ISO sensitivity after shooting.

However, there are some drawbacks:

Soft images: RAW video can appear less sharp straight from the sensor, though this can be adjusted in post.
Grain: Overexposing and then correcting in post can introduce grain, so proper exposure is crucial.
File size: Even with compression, RAW files are significantly larger than standard 10-bit or 8-bit codecs.

Transcoding N-RAW Files

Now, let’s get into how to transcode and edit N-RAW files in Final Cut Pro.

Download and Install the Transcoder:
- Ensure your transcoder is installed and up to date. It integrates seamlessly with Final Cut Pro.
Prepare Your Library:
- I recommend editing on an external hard drive. Create a new library in Final Cut Pro dedicated to your N-RAW files.
Import Media:
- Connect your camera or hard drive containing the N-RAW files.
- Open the transcoder and select your Final Cut Pro library as the destination.
- Choose your N-RAW files for transcoding.
Transcoding Settings:
- Select your desired codec. For N-RAW, I typically use 422 HQ for maximum quality, though 422 is also an option.
- Adjust the color space to Rec. 2020 and gamma to N-Log to preserve the full color information.
- Correct exposure if necessary within the transcoder.
Import to Final Cut Pro:
- Once transcoded, import the files into your Final Cut Pro library.
- Ensure your library is set to Wide Gamut HDR to handle the 12-bit N-RAW video properly.
Editing and Exporting:
- Create a new project within Final Cut Pro with settings matching your transcoded files.
- Edit as you would with any other footage, taking advantage of the additional color information and flexibility.
- When exporting, you can choose to output in HDR or standard Rec. 709 depending on your needs.

Additional Tips

Monitoring Exposure: Using an external recorder can help monitor exposure more accurately. The histogram on your camera might show blown-out highlights, but an external monitor can provide a more accurate representation.
HDR Video: Remember that RAW video is essentially HDR. Make sure to expose properly to retain detail in both highlights and shadows.

Conclusion

Transcoding N-RAW files might seem like an extra step, but it’s a game-changer for those of us dedicated to using Final Cut Pro. The benefits of shooting in RAW, with its extensive post-production flexibility and superior color sampling, make it worth the effort. This transcoder has made my workflow much smoother and more efficient.

If you found this guide helpful, feel free to leave feedback. I’m considering creating more content on camera settings, HDR video, and other topics. Until then, happy editing!