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Topics Canon

Many will remember the excitement surrounding Canon’s release, in March 2010, of a firmware update for the 5D Mark II which added 24p to the camera’s already ground-breaking video mode (the 5D Mark II was the first “full-frame” DSLR with 1080p video recording). This mid-lifecycle enhancement is perhaps most responsible for igniting the DSLR video revolution.

…continue reading Canon Log for the 5D Mark IV

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As the year officially draws to a close, it’s time for our annual round-up of the most popular CineTechnica blog posts over the last 12 months. It’s been a busy 2016, and as usual a wide range of topics was represented – including new product announcements, comparison charts, workflow how-tos, custom scene files, and more.

Our Top 15 blogs are listed below in no particular order. Make sure to check them out, and let us know in the comments what you’d like to see us cover in 2017!

…continue reading Top Blogs of 2016

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Panasonic’s VariCam cameras are capable of capturing a wide dynamic range. In order to do this, Panasonic has their own Log recording codec, V-Log. V-Log is a gamma response designed to capture the full dynamic range off the sensor. If you are familiar with Log, you know that what you see in Log is not like anything you see in the finished product. Therefore, we need tools in the camera to expose Log properly. Thankfully, Panasonic has included several ways to evaluate exposure in the VariCam. In this blog, I will show you the tools to get great results from the VariCam.

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Canon’s newest firmware update ( for their C300 Mark II camera contains a number of nice improvements to the camera’s features and functionality. One of the updates that caught our eye is the inclusion of a new logarithmic gamma curve, Canon Log 3, available from the Custom Picture menu. From what we know, this new log curve aims to “split the difference” between the legacy Canon Log curve (aka Canon Log 1) and the newer Canon Log 2 curve that’s been a part of the C300 Mark II since its introduction last year. We’ve had a chance to take a closer look at this new curve on a C300 Mark II running the new firmware.

Canon Log 3 looks like it could be the “GoldiLog,” in other words, a “just right” Log gamma setting for shooters who are used to the unique characteristics of Canon Log 1 but who want more dynamic range than classic Canon Log 1 can provide.

…continue reading Canon Log 3: Is It the “GoldiLog”?

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One of the most popular blog posts I’ve written was a guide to Applying LUTs to Log Footage in various NLEs. Since I posted it, a lot has changed in the popular NLEs; the tools used to apply Look Up Tables are now included in many of them, and they are generally better than ever. Here is a break down of how to apply LUTs to Log footage (or any footage) in Final Cut Pro X, Adobe Premiere Pro CC, Avid Media Composer 7, and Resolve 10

…continue reading An Updated Guide to Applying LUTs to Log Footage

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Recently I have been getting a number of questions about Log mode in the Canon C300, which is great because that means that many of us are using this mode. However, there are some really important things to know before jumping in. Canon has recently published a white paper on Canon Log that is full of great info. It’s not exactly light reading, however, so I’ll try to outline some of the important information about Canon’s Log curve in this blog.

The most important thing to know about Canon Log is where your middle gray level should fall. The all-important 18% reflectance middle gray level is our reference when using a light meter or when using a waveform. Generally in standard video modes, the middle gray level would land around 50% on a waveform scale, but with Canon Log (like other Log curves) this middle gray level is intended to fall much lower. In the graphic below, you’ll see a mapping of Canon Log on a Video Percentage (waveform) vs Reflection Percentage graph.

…continue reading Working With Canon Log

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NOTE: This article has been updated, read the Feb 2014 update here – Updated Applying LUTs to Log footage

Working with Log material can be difficult at times, so we have put out a couple of different LUTs for use when using the Sony F3’s S-Log or Canon Log from the Canon C300. You can download the F3 LUTs here and the C300 LUTs here, as many of you have already done. Arri has their online LUT Generator, and the Technicolor CineStyle LUTs are available when using the CineStyle profile on the 5D Mark II.

We are often asked how to use these LUTs and work with Log in general, so I have put together some methods for using LUTs and other plugins to work with Log footage in different NLEs. There are a lot of great programs available that make this process very easy, like Scratch Lab, YoYotta, ColorFront OSD, and many more. For the purposes of this demo though, I’ll focus on some inexpensive (or free) utilities that can tackle the problem.

…continue reading Applying LUTs to Log Footage in FCP, Premiere, Avid and Resolve

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