GLOSSARY
LOG Footage
Logarithmic gamma encoding that compresses the camera sensor's full dynamic range into a file-compatible signal. Flat, desaturated, wrong — until you grade it.
Why LOG exists
Camera sensors capture 14–16 stops of dynamic range. Standard Rec.709 gamma only holds about 6–7 stops before clipping. LOG encoding redistributes the tonal values using a logarithmic curve so that more of the sensor's range fits into the file's bit depth without crushing shadows or blowing highlights. S-Log3 (Sony) places middle gray at 41 IRE with a theoretical 15+ stops of latitude. V-Log (Panasonic) maps middle gray to 42 IRE. ARRI Log C4 places it at 40 IRE on a 0–109 IRE scale. The specifics differ per manufacturer, which is why applying a Sony LUT to Panasonic LOG footage produces a distinctly wrong image — the curves are not interchangeable. LOG is not a look. It is a storage format for dynamic range.
Expose to the right or to the middle?
The old rule was expose to the right (ETTR) to maximize signal-to-noise ratio in the shadows. On LOG footage, ETTR means your waveform monitor should show the brightest usable highlights around 75–80 IRE on S-Log3 — not 100, because clipping is unrecoverable and LOG compresses highlights aggressively. In practice, most DPs expose LOG at or slightly above middle gray (41–45 IRE for S-Log3) because modern sensors have clean enough shadow noise that pushing in post is viable. The mistake beginners make is slapping a LUT on LOG footage and calling it graded. A Log-to-Rec.709 LUT is a de-log transform, not a color grade. It gives you a flat, correct-tonality image. The actual creative work — contrast shaping, skin tone refinement, sky toning — happens after de-logging. If your pipeline is LUT-in, export-out, you are skipping the entire point of shooting LOG in the first place. You would get comparable results shooting a standard profile and spending those 30 seconds adjusting contrast instead.
LOG Footage FAQ
Can I shoot LOG on 8-bit cameras?
Technically yes, but you will see banding on gradients and posterization in lifted shadows. LOG redistributes tonal values across limited bit depth — on 8-bit that gives you roughly 40–50 discrete values for the midtones instead of 200+. Use a standard or HyperGamma profile on 8-bit cameras instead.
What IRE should skin tones sit at in LOG?
On S-Log3, properly exposed Caucasian skin tones land around 55–60 IRE. On V-Log, approximately 56–62 IRE. Darker skin tones will read lower. These are guides, not rules — lighting ratio matters more than hitting a number.
Is LOG better than RAW?
They solve different problems. RAW gives you uncompressed sensor data with full white balance and ISO flexibility. LOG is already baked into a video file with a gamma curve. RAW is more flexible; LOG is lighter on storage and faster in post.
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