Log footage is an important part of the post-production workflow. Here’s what you need to know about “Understanding Log and Color Space In Compositing” for digital filmmaking.

As digital filmmaking becomes more and more affordable, technologies become increasingly available to colorists or post-production professionals. In this case, Log footage. The Log (logarithmic) color space has been around for quite a while. Initially high-end post houses used it with scanned film negatives in a color space called Cineon Log. Now, pretty much all camera manufacturers offer their own Log curve (or multiple). There is S-Log 2&3 (Sony), LogC (Arri), Canon Log, V-Log (panasonic), Red Logfilm, Blackmagic Log, etc. Each of them are different, usually tailored for the color science of the particular manufacturer’s products. Read the article at Rocketstock.


The human eye responds to light more or less linearly as the real light intensity doubles. This is familiar to photographers as an exposure value, where increasing an exposure value by one always looks like the same amount of additional brightness, even though every increase in visible brightness actually represents a doubling of light intensity. If we view a scene with a single 100W light aiming at it, we could call light 100. Let’s assume the scene is comfortably exposed in these circumstances, so we can call it brightness 1. To double the amount of light, we might add another 100W light, so light is 200 and brightness is 2, which is fairly intuitive. But to increase the apparent brightness by the same amount again, so that brightness is 3, we need to double the amount of light again, so that light is 400. For further understanding log and color space, read more at Redshark.

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