Why We Shoot in LOG (MMM#42)
Greetings all,
Madeline here with the 42nd entry in The Movie Minute. For this entry’s topic, we’ll be diving into a common tool used in our productions-shooting in LOG format.
So what is LOG? Each camera we shoot with, whether the GH5, FS7, A7IV, EOS R, etc. has different color profiles for shooting video. While I typically use the “Cinelike D” profile for my camera, Jacob and Taylor on the other hand like to shoot most of their footage in LOG, a special format common across different cameras. Footage shot in this color profile appears flat and gray-ish, but the main rationale behind using this format is that it allows for greater latitude and control in post-production, which is especially crucial for longer-form projects. This is due to its use of a gamma curve that captures more dynamic range and prioritizes information over appearance, giving those involved in the color correction and grading process more room to play around and experiment with settings to make the project at its best.
Of course, it’s important to keep several things in mind when deciding whether or not to shoot in LOG. Always remember that the footage will need to be color corrected (to achieve a natural and consistent look) and graded (to creatively enhance the visual mood). And maintaining an adequate amount of exposure is crucial – underexposure can have a notable impact on how the footage can be flexibly graded! LOG also may not be ideal for fast turnaround content such as social media reels, and using a LUT to monitor when shooting is also an important step.
When bringing the footage into Premiere, one of the first things that must be done is to apply a LUT to all LOG footage. Typically, we use LOG to 709 LUTs that are made for each camera that are applied to the various clips based on what camera they were shot with (or an adjustment layer depending on the project), bringing the clips’ colors into the Rec. 709 color space. After that, we apply the auto setting in Premiere’s Lumetri Color panel to adjust color settings, and use the color match feature for interviews that are shot with multiple angles.
And though it might look like it’s done at first, it’s still important to do some manual color corrections with white balance and other settings. Even after the auto adjustment, clips may look like they have too much red, blue, green, or pink, or the saturation may need to be adjusted. It’s here that the editor must use their eyes to adjust temperature, tint, and saturation to get a more realistic and accurate look. Then, fine color grading is done by adjusting additional settings like exposure, contrast, blacks, whites, highlights, and shadows. In larger projects with bigger teams, dedicated colorists may handle the color grading portion, but leaving a place to start for them can save them time as well.
Overall, the LOG color profile, when used correctly, is a powerful tool that can be used to make a project shine. While adjusting these small settings can be tedious at times, it is nonetheless an important step, especially for longer form content such as video resumes. In fact, uploading projects without proper color grading isn’t uncommon- and it can have a great impact on how the audience views and engages with the video!
And that concludes this entry in The Movie Minute. Wishing you all the best, and see y’all in 2! -Madeline
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