Final Cut Pro waveform measurements inconsistent for Panasonic V-Log

Formal Technical Complaint: Panasonic LUMIX S5IIX V-Log Footage Displays Inconsistent Waveform Measurements in Final Cut Pro 12.4

To: Apple Support – Final Cut Pro Technical Support and Engineering

Subject: Request for Engineering Investigation – Incorrect or Inconsistent IRE Waveform Measurements of Panasonic LUMIX S5IIX V-Log Footage

Dear Apple Support and Final Cut Pro Engineering Team,

I am requesting a formal technical investigation into a persistent discrepancy between the exposure waveform displayed by my Panasonic LUMIX S5IIX camera and the waveform displayed when the same recorded footage is examined in Apple Final Cut Pro 12.4.

The problem is straightforward and measurable: the same recorded image produces different IRE readings on the camera and in Final Cut Pro. This discrepancy occurs even when no LUT is applied in Final Cut Pro. It is therefore not a LUT issue, a creative grading issue, or a third-party software issue. I need Apple to investigate how Final Cut Pro interprets the original recording and calculates its waveform measurements.

The problem has significantly disrupted my documentary production. I have spent months trying to establish a dependable camera-to-editing workflow, and I need a technically accurate explanation and a permanent, practical solution.

1. The measured problem

When recording with the Panasonic LUMIX S5IIX, I use the camera's waveform display to evaluate exposure.

When I subsequently inspect the same recorded image in Final Cut Pro 12.4, the waveform displays lower IRE values.

The measured examples are:

Same recorded image areaS5IIX camera waveformFinal Cut Pro waveformHighlight measurement 185 IRE78 IREHighlight measurement 295 IRE87 IRE

This represents a difference of approximately 7–8 IRE.

These measurements are from the same recorded footage, not different takes or different exposure conditions.

The discrepancy is present with no LUT applied in Final Cut Pro. Removing or changing a LUT is therefore not a solution and cannot explain the underlying problem.

I need Apple to establish why Final Cut Pro displays different numerical waveform measurements for the same recorded image and whether the application is interpreting the recording correctly.

2. Camera and recording configuration

The camera is a Panasonic LUMIX S5IIX, recording with the following configuration:

• Photo Style: V-Log
• Colour gamut: V-Gamut
• Real Time LUT: Off
• No recording LUT applied
• V-Log View Assist: V-709
• View Assist was also switched off during testing, without resolving the discrepancy
• Recording container: MOV
• Resolution: 3840 × 2160
• Frame rate: 23.98p
• Recording format: 4:2:2, 10-bit, ALL-I
• Bit rate: 400 Mbps
• Audio: LPCM

The camera records V-Log/V-Gamut footage intended for post-production. V-709 View Assist is a monitoring aid; it does not mean that I am recording a V-709-converted image.

I have consulted the Panasonic camera documentation and V-Log/V-Gamut reference material. There is no selectable Luminance Level menu option available in the V-Log configuration I am using. Please do not direct me to change a setting that is not available in this configuration.

3. Final Cut Pro 12.4 settings and clip information

The editing application is Apple Final Cut Pro 12.4.

The relevant project and library settings are:

• Library colour processing: Standard Gamut
• Project colour space: Standard Rec.709
• Waveform: Luma
• Waveform colour-space setting: Rec.709

The Final Cut Pro Inspector information for the examined clip showed:

• Camera LUT: None
• Color Space Override: None
• Color Profile: HD (1-1-1)
• Clip colour space: Rec.709
• Resolution: 3840 × 2160
• Frame rate: 23.98p
• Codec identification: H.264/AVC1

The camera records V-Log/V-Gamut, yet Final Cut Pro identifies the inspected clip as HD (1-1-1) / Rec.709.

This raises an important question about how Final Cut Pro identifies and interprets this recording.

I have not found a selectable V-Log option in the Color Space Override controls available for this clip. Therefore, recommending that I select V-Log in that control is not a workable solution.

I need Apple to explain precisely what Final Cut Pro 12.4 is reading from this file, which colour interpretation it applies, and how that affects the waveform measurement.

4. Metadata findings

Inspection of the supplied recording identified two different sets of colour-related information.

The video stream was reported as containing:

• Colour primaries: BT.709
• Transfer characteristics: BT.709
• Matrix coefficients: BT.709
• Colour range: Full range

However, the embedded Panasonic camera metadata identified:

• Camera: DC-S5M2X
• Capture gamma: V-Log
• Capture gamut: V-Gamut