RED Log is RED Digital Cinema's logarithmic gamma encoding curve that stores linear sensor data efficiently for color grading while maintaining dynamic range.
"RED Log" refers to the logarithmic gamma encoding curves used by the camera manufacturer RED Digital Cinema. A RED camera initially captures light linearly at the sensor; a log curve then maps these linear values logarithmically, allowing the high dynamic range to be stored within a limited bit depth without abrupt clipping in highlights or banding in shadows. The image intentionally appears flat and desaturated, intended as source material for color correction (grading), not for direct viewing.
Over the years, RED has used two main log variants: the older REDlogFilm and the Log3G10 used in the current IPP2 pipeline.
REDlogFilm is a gamma encoding option (available in REDCINE-X PRO, among others) that, according to RED, utilizes a "traditional log curve" and emulates the "well-supported characteristics of Cineon film scans." By adhering to the Cineon specification, the material is compatible with classic post-production workflows and existing LUT libraries. REDlogFilm provides only the pure logarithmic mapping and is intended for fully manual grading.
In contrast, REDgamma (e.g., REDgamma4) is not a pure log curve: it combines a log curve with a contrast curve featuring film-like toe and shoulder characteristics, resulting in a more immediately pleasing, higher-contrast image – at the expense of grading latitude.
With the IPP2 image pipeline, RED introduced Log3G10, a log curve for encoding camera data within the REDWideGamutRGB (RWG) color space. The designation describes two properties:
REDWideGamutRGB is a standardized camera color space that encompasses all colors a RED camera can produce without clipping. Unlike previous camera-specific color spaces, the combination of RWG and Log3G10 remains consistent across all camera models. Log3G10 thus fulfills the same function as REDlogFilm or Cineon, but covers a wider dynamic range and is designed for HDR output.
For camera and lighting crews, it's important to note: Log material appears flat and low-contrast on monitors and does not intuitively represent the actual exposure. Therefore, to evaluate light and exposure on set, a monitoring LUT (e.g., Rec.709) is typically applied to the flat log image, while recording continues in Log or REDCODE RAW. This preserves highlights and shadows for later grading, while allowing the operator and Director of Photography to see a normally contrasted preview image.
Ich setze RED Log hauptsächlich ein, wenn ich maximale Flexibilität im Grading benötige – besonders bei schwierigen Lichtsituationen mit hohem Kontrastumfang. Das flache Bild erfordert präzises Monitoring mit korrekten LUTs, da das native Log-Material extrem kontrastlos und entsättigt aussieht. Bei Tageslicht-Exteriors kann ich problemlos 2-3 Blenden unterbelichten und trotzdem saubere Details in den Schatten herausholen.
RED Log gibt mir die Sicherheit, dass wir in der Post jede gewünschte Stimmung erreichen können, ohne bereits am Set finale Entscheidungen treffen zu müssen. Besonders bei emotionalen Szenen nutze ich die Flexibilität, um warme oder kalte Looks je nach narrativem Bedarf zu entwickeln. Die hohe Auflösung erlaubt mir außerdem nachträgliche Reframes ohne Qualitätsverlust.
RED Log bedeutet höhere Postproduktionskosten durch erweiterte Color-Grading-Sessions, spart aber teure Nachdrehs durch die Belichtungsflexibilität. Die großen Dateien erfordern robuste Data-Management-Systeme und schnelle Workstations. Bei VFX-lastigen Projekten amortisieren sich die Mehrkosten durch die bessere Integration mit CGI-Elementen und die Zeitersparnis beim Compositing.
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