Does dual camera recording support ProRes or Log video?

What ProRes and Log actually assume

ProRes is a professional intermediate codec built to store far more picture information per frame than a delivery format like H.264 does, in exchange for a bitrate and storage footprint many times larger. Log is a color profile that deliberately captures a flat, low-contrast image, keeping detail in the brightest and darkest areas that a normal-contrast recording would clip away, so a colorist can shape that range into a look afterward instead of the camera baking one in at the moment of capture.

Both are built around the same assumption: one camera, one continuous stream of full-information frames, handed to an editor who has not yet made the final decisions about look and contrast. That assumption is true of a single-camera recording. It is not true of a dual-camera one.

Why a multi-camera session cannot carry the codec

A multi-camera session already spends a fixed hardware budget on two live camera feeds, a real-time GPU compositing pass, and an encode of the result — the same budget that already rules out 4K and rules out convenience presets like "high" the way a single-camera recording gets them for free. ProRes at any resolution needs a bitrate and a sustained write speed several times higher than the H.264 file DualCam already writes at its ceiling, on top of a workload that is already running two cameras instead of one. It is not a smaller ask than 4K; it is a considerably larger one.

Every camera inside a multi-camera session also has to run a format explicitly flagged by the system as multi-cam capable. Whether or not the codec workload were affordable, that is a separate, hard requirement, and it rules out reaching for a format built and tested for single-camera capture.

Why Log specifically has nothing to attach to

Log solves a problem that only exists if the image is still unfinished when it leaves the camera. DualCam draws the front and back camera images into one frame on the GPU as they arrive and writes that exact frame to the file — the same fact that makes the layout, the filter and each camera’s exposure permanent the instant a frame is recorded. By the time a frame exists at all, its contrast and color have already been decided, per camera, and composited together.

A flat profile is only useful ahead of a grading step that has not happened yet. There is nothing flat left to grade in a file where the picture was already finished before it was written — asking for Log here is asking to preserve range in an image that has already committed to its final look.

What to shoot instead, if grading is the real goal

• A single-camera shot in whatever format your iPhone actually offers for one camera at a time — that is where Log and ProRes exist, if your iPhone supports them, because a single-camera recording has none of the constraints a multi-camera session runs into.
• The reaction or commentary layer as a separate dual-camera or single-camera clip, then combine the two in an editor afterward, rather than expecting one file to be both a graded piece and a live-composited one.
• DualCam’s own live filters — Vivid, Warm, Cool, Mono and Film — if what you actually want is a specific look baked in at the time of shooting rather than a flat starting point to shape later. They apply in the shader as you record, which is a genuinely different tool aimed at a genuinely different goal than Log.