Logarithmic recording curve of digital cameras that captures high dynamic range in a flat, desaturated image for maximum color grading flexibility in post-production.
Log (logarithmic) refers to a recording or gamma curve used in digital film and video cameras that encodes sensor data logarithmically, rather than linearly or according to the Rec.709 standard. The goal is to compress the sensor's wide brightness range (dynamic range) into a limited bit depth – typically a 10-bit signal path – with minimal loss. The result is a deliberately flat, low-contrast, and desaturated image that only receives its final look in post-production through color grading.
The term originally comes from film transfer: Kodak's Cineon encoding was developed to digitally capture analog film negative and represent the film's wide density range. Today's log curves are conceptually based on this principle and the exposure characteristics of negative film.
With linear encoding, each additional f-stop (doubling of light quantity) requires twice as many code values. In a 10-bit signal, only a few f-stops can be stored losslessly this way. The log curve, instead, distributes the available code values approximately evenly across the f-stops, ensuring that both bright and dark areas receive sufficient data points.
For evaluation on set and in preview, the log image is typically converted to a displayable image (e.g., Rec.709) using a LUT (Look-Up Table), which restores contrast and saturation to the midtones.
Each camera manufacturer uses its own log implementation, tailored to its sensors. Known variants:
| Manufacturer | Log Curve |
|---|---|
| ARRI | Log C |
| Sony | S-Log (original S-Log, later S-Log2 and S-Log3) |
| RED | REDLog / Log3G10 |
| Canon | C-Log (C-Log2, C-Log3) |
| Panasonic | V-Log / V-Log L |
| Fujifilm | F-Log |
| Blackmagic | Blackmagic Film / Gen 5 |
Sony's first log curve was the original S-Log (retroactively also referred to as S-Log1), which was used in professional models like the PMW-F3 around 2010/2011. The later, widely adopted variant S-Log2 (introduced with the F65) and S-Log3 build upon it – thus, S-Log2 was not the first, but the first widely available and popular S-Log curve.
Log is chosen when maximum latitude for color manipulation in post-production is desired – for example, in high-contrast lighting situations, mixed light sources, or when the footage will undergo extensive grading later. Because the log image appears flat, the DoP and DIT typically work with a monitoring LUT on set to realistically assess exposure and look. Since log records midtones with lower data density, clean, often slightly overexposed, exposure ("shooting to the right") is important to avoid noise in the shadows.
Ich setze Log ein, wenn ich mit extremen Lichtverhältnissen konfrontiert bin – etwa Gegenlichtaufnahmen oder hohe Kontraste zwischen Innen und Außen. Das flache Material gibt mir in der DI die Freiheit, Schatten aufzuhellen oder Lichter zu retten, ohne dass das Bild ausreißt oder clippt.
Log ermöglicht mir, in der Postproduktion die emotionale Tonalität einer Szene zu definieren, ohne bereits beim Dreh festgelegt zu sein. Ich kann dieselbe Aufnahme je nach Dramaturgie warm und einladend oder kalt und bedrohlich gestalten – das Material hält diese Entscheidungen offen.
Log bedeutet 30-40% höhere Datenraten und damit Mehrkosten für Speicher und Datenmanagement, aber auch eingesparte Drehtage durch weniger Beleuchtungsaufwand. Der obligatorische Color Grading-Schritt verlängert die Postproduktion um 1-2 Wochen, reduziert aber Reshoots durch technische Bildfehler.
1. Was beschreibt „Log" am besten?
2. Zu welchem Department gehört „Log"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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