- So after last week's video, a lot of you reached out to me and asked me to do a video on LOG. That's exactly what we're
gonna be doing here. And we recently did a survey. Majority of you regardless of the skillset are struggling with shot
matching, skin tones, balancing and working with 8-bit footage. So I created a one hour long free training that covers all of that. Plus we'll wrap up the training
with an extensive Q and A, and you'll also get a link to download the practice footage, power grades, and some of my personal LUTs. So do not forget to sign
up for the free training. Link is down below and if you're enjoying the
content, pause this video, smash that Like button,
subscribe to the channel, if you haven't already, hit the bell icon so you could be notified
when we put out new content. Make sure you're following me on Instagram and lets roll the info. (upbeat music) So what is LOG? It is short for logarithmic footage. It's when your camera shoots in the flattest setting possible to preserve the most amount
of detail and dynamic range. So now let's look at
the LOG image with Scope and you see how it's
sitting right in the middle? It's so flat. Well, this is exactly
what we need as colorists because this gives us a
lot of room to play with, on the top end, bottom end,
whatever we want to do. Whereas, when you look
at this rec 709 image, at first, it looks good, but the thing is, we can't
really do much with it in post. And especially when you see
bad examples of rec 709, like this shot, that was overexposed, that information is gone. It's clipped. We cannot bring it back. This is something that
wouldn't happen in LOG. You still have to shoot properly, but LOG is still a lot more
forgiving than rec 709. Now you would say, all right, simple. I'll just set my camera
to LOG and done and done. The problem is unless
you're shooting with Alexa, things aren't that easy, okay? And what I'm talking about is most of camera manufacturers out there have their own flavors of LOG, okay? So you've probably
heard of S-LOG, S-LOG 2, S-LOG 3 from Sony or Canon
has C LOG, C LOG 2, C LOG 3 and then Blackmagic is the
ultimate worst nightmare. They have 100,000 LOG profiles out there. They really need to stop. They just really need to
simplify that process. And it's truly a shame because
they make this software. They are the ones that develop Resolve. So I don't know what is going on on the back end with their color science, but it is an absolute nightmare working with Blackmagic cameras because you just have unlimited options and it's just, it will confuse the heck
out of professionals, let alone somebody that's
getting into color grading. So that's the end of
my rant for Blackmagic. Let's get back to our video. So how do you know which
LOG profile to work with? You've probably read the white paper from Sony where it claims that A7S III can achieve 14
stops of dynamic range or Canon will say, C500 Mark II will give you 15 plus
stops of dynamic range. So, that is true. But when you really dig in deep, it will tell you exactly which LOG profile you need to shoot in. It will tell you which
ISO you need to be in and the lighting condition. So a lot of things need to
happen for you to get that maximum amount of dynamic
range that they're claiming. It's not as easy as just
like flipping the switch. Now you've got your C500 Mark II. You can just turn it on, shoot something, and now you're getting 15
stops of dynamic range. So, if you are interested and want to see a video
on what is dynamic range, drop a comment below. I think that would be a
very interesting topic too. And I have a lot of things
that I can share with you because I know majority of my audience are not colorists, you
guys are filmmakers, and it could really help you take your game to the next level, even before you get
into the finishing room. Now here's another thing
that I see floating around on the internet, where people just say, you know, I invested in
this 6, $7,000 camera. It shoots so well and the sensor is so epic, so I'm just gonna shoot
everything in rec 709 or in video mode or in
standard picture profile mode. Don't do that to yourself, okay? You are literally slashing
your dynamic range to half or even less, because let's
just even look at this. S-Cinetone is supposed to be
the best thing ever happened when it comes to rec 709 world. And even then, you can see it
in the white paper from Sony. It claims that, hey, the dynamic
range is less than S-LOG 3. If they were to reveal the
number, it would be shocking. So moral of the story is
if your camera offers LOG, with your eyes closed, shoot in LOG, learn how to convert your
image from LOG rec 709 using tools like Resolve, and you will get much better results. Now remember, LOG is not
intended for delivering, okay? It is intended to be graded
or corrected in post. So, you have to do that part before it goes out into the world. All right? And now we're gonna look
at a few different ways to convert your image from LOG. So the first method I'm gonna show you to convert your image would be by using color space transform. It's basically converting your
image from LOG to anything. You can convert it to different cameras. You can convert it to rec
709, rec 2020, DCI-P3, whatever have you. So it's a very powerful tool. Drop it on, nothing happens, okay? So what you need to do is you need to manually put in the information. So in here, I'm gonna tell
it, hey, this was shot on DJI. So I'm gonna choose
that in my color space. And then under gamma, I'm
gonna choose DJI D-LOG. This doesn't look proper right now, because if I go under my settings, I have my color management timeline color space set to dimension wide gamut. But if I were to go back in there and change that to rec 709 gamut 2.4 and just look what happens, okay. When I hit save, just
look what happens here. Done. So that is our proper rec
709 conversion by using CST. And now I'm gonna save a version and show you a different
way to do this, okay? So the second way would be
more of a traditional way by applying a LUT. So these are not LUTs that I pumped in. These came with the Resolve, okay? So there will be a folder called DJI. You go under there and this is the one that
we're gonna be using, okay? What I like to do is I like to go in here and change that to thumbnail, because otherwise it's really distracting. So this is the one that
we're gonna drop on, okay? As soon as you drop it on, I'm gonna buy some real
estate, look at it, right? So everything looks clean and everything is ready to go for color, but they both look very different. So if I click right here and check our versions, I'm gonna do this, I'm gonna get rid of the outline. Move this over. I'm gonna make this bigger. So you guys can like
really see the difference. They are, I think, a better way to really see
the difference would be by creating a still from here. So I'm gonna drop that still in there. Go to our other version. And now what I'm gonna do is I'm gonna put that on top and you can even see the
scopes, how it's changing. So let's see this. This right here is our LUT and you can see the scopes
and then this is our CST. So these would be two different ways for you to convert your
LOG footage in Resolve. So hopefully you guys are
having as much fun as I am putting these videos together. It gives me time to be a student and just kind of do my own research, put all the pieces together in a way where it will make the most sense to you. And if you are enjoying this content then, do me a favor, smash the Like button, subscribe to the channel
for more awesome-ness. Do not forget to check
out the free training. Trust me. It's gonna just take you
to the next, next level. Link is down below. It's absolutely free. And on that note, work hard,
get obsessed, get possessed. I will see you guys in the next video. (upbeat music)
