As I understand it, for cameras that can record Log natively, it can provide most of the dynamic range benefits or RAW, whilst keeping the convenience of single file clips and space conservation of [barely] compressed formats like Prores. (From here on in 'Prores' is interchangeable with your intermediate codec of choice)
But being that ML users must shoot RAW to get these benefits, by the time we get MLVs into a usable format, we've already had to deal with (to varying degrees deepening on model) space/time/res limitations and extra workflow steps involved with shooting RAW. So as we're not really able to cash in on a lot of the conveniences that a true cam->NLE log workflow provides, I'm interested to know why the people that are using things like VisionLog / Cinelog-C in their workflows choose to do so.
I assume some people would like to go Log-Prores to keep dynamic range available whilst maintaining the playback/scrub speed of Prores in NLEs like FCP.
If so do you....?
1. Drop a Log->Rec709 LUT on your Log clips (or output/timeline) by default so you're viewing as Rec.709, and do cc/grading before the LUT in the chain?
This would obviously have the benefit of allowing clipped areas to be recovered if needed, but should otherwise look like the Log step never happened. Other than that, is there also a specific benefit to applying color correction while in the Log colourspace as opposed to filming 'flat' (contrast/saturation reduced) Rec709? Another way to say this is: If I'm displaying Log footage through a Rec.709 LUT, but adjusting curves before that LUT, the function curve is affecting a very different set of values than if it were after the LUT. Do people use this to advantage? What the theory?
2. Drop a "Film Look" type LUT on the log footage that has the Log->Rec709 transfer built in?
Since I've been playing with Log and thinking about it, this should effectively give the LUT access to values that lie outside the range of rec.709 and presumably the opportunity to map those values into more a pleasing highlight rolloff. In testing though I can't say such a subltle difference justifies the extra steps and CPU load.
3. Begin grading directly from the Log footage, working contrast and saturation back in manually?
I hear a lot that log is just an intermediate step for maintaining DR, and not intended for output. But I swear a lot of new TV series with flat look resemble Log footage with the blacks pulled down and some sat in the mids. Is this the case or am I just misinterpreting a stylistically flat, but not necessarily log grade.
