Carlos: Love the 'deep dives' you do on specific topics. One of my cameras is the Canon XF400. It does not shoot in RAW but does have Clog 3. Any suggestions for shooting in CLog 3 when that's all you have?
Other than protect your highlights because mid-tones and shadows can be raised with minimal penalty, I don't know. With CLog from what I've noticed and that is regardless of flavor...highlights are unforgiving and everything else seems to give you 2-2.5 stops of flexibility without making the image fall apart.
Great stuff! Curious if this would have differed if you would have actually captured C-log 3 at the sensor level. C-log 2 should be exposed to middle grey at ~39 IRE, and C-log 3 should be exposed to ~34 IRE. In your example, you “converted” to C-log 3 in resolve, and I’m guessing that this is not the same. As in, capturing C-log 2 at 39 IRE at the sensor level, then transforming that info into a different Log format that requires ~34 IRE may not give you the same waveform as shown in your example. Just something to ponder. Thanks, Carlos!
Thanks so much for all your videos Carlos, I really appreciate the time and effort you put into sharing your knowledge. Have you made a LUT package for the C70 yet? I'm most keen to get it as/when you make it available. Have a great day..
Thank you for the info..some othet youtuber has another comparison where he says he doesnt see any difference giving some examples....but i think your take on this is very good and informative because of the waveform the highlight clipping room and shadow clipping area is really visible and in C-Log 3 is like you said you are locked in to a limited area to work with or improve upon compared to C-Log 2..i always wondered why Canon is leaning toward C-Log 3 and most of the mirrorless expensive Cameras only support Log 3 instead of 2? Can you shad some light on this? To be on subject i thank you for visually pointing this out wby C-Log 2 is better then Log3..i am dissapointed in the newer and more expensive cameras for not having Clog 2 and only have that option for C-Log3..i am getting ready to buy the Canon R3 to make short cinematic videos and films ,travel videos and more story telling stuff in short 3-5 min max...and i hope Canon is watching or aware of your video because you naild it really well and extensively....thanx again and i hope you can answer my question....Also you think the R3 is going to be good at what i want to do? I am not a film director or anything.. I'd do this for a hobby and small music.videos maybe..just throwing ideas but i am 100% sure i will be doing it and will be buying it..
Thank you for this. So assuming R5 gets Canon Raw Light, shooting that way and then using Clog 2 in Resolve would get me the most dynamic range, correct?
Hi Carlos, thanks for your videos which are always comprehensive and full of detail ! I have just bought a C300 MIII and I would like to ask you how to make a perfect exposure with this new sensor. If I shoot in Raw format in Log2 my middle gray at 18% must be exposed to how much? 39.8% ? Sorry for the question, but I can't find this information... Thank you for your answer
I usually go with a range from 40% to 55% depending on the skin colors in my scene. If you don't have people in the shot 40% give you all the flexibility you would ever need on a current or modern delivery to web, streaming, broadcast or cinema.
It reduces your overall dynamic range by 1.5 to 2 stops by crushing the dark areas of your exposure giving the appearance of more contrast. Highlights don’t change between the two other than the super whites. People like CLog3 because the color grading skills don’t have to be good or great to work with that log curve.
@@carlosq00 This is great. Thanks for taking the time to show your workflow. I don't think shooting in CLog3 is always about people's ability or inability in color grading. We often film in CLog3 when we have quick turnaround times and want a bit more of a baked in look right out of camera, but still need a slightly flatter profile for quick adjustments in post. I see your point though. CLog3 is a good option if you don't know how to fully grade a clip.
But what do you think about shooting Clog3 in Low light? Isn’t it much less noisy there if you still want to achieve bigger contrasts because of the aggressive gamma curves of clog 2 ?
I shoot CLog2 10 out of 10 times...in low light it becomes even more important if something in my frame needs to stay relevant and is not being illuminated fully.
@@carlosq00 Can you do a video showing how you grade from clog 2 to your video quality? I can't figure out clog 2 color grading (i get weird colors, flat colors, and very soft looking images)
Hi, I always have a doubt with my canon r5 ... the maximum dynamic range of the sensor is at ISO 100, now when I shoot 8k raw video I think it is better to disable the logs (log 2 iso 400 and log 3 iso 800) to capture more dynamic range ... what do you think?
Now that canon log 3 is available on the R5, would you shoot in log 3 on R5 to match a C70 log 3. Or would you shoot C70 in log2 and R5 in raw and try to match?
I've always been a CLog2 guy from back when it was released. There is practically zero effort in matching the C70 to the C500 Mark II and the R5 when shooting in CLog2. The only time that becomes tricky is when settings change in color space change. So I will give CLog3 a try but likely it will be for my own understanding not my day-to-day workflow.
@@carlosq00 so since you prefer clog2, if u were to shoot r5 raw, which log profile would you use? Because in the end you can still convert it to clog2, does clog1 make more sense? Its DR leans towards the shadows compare to clog3.
Hello Carlos please help as when I shoot in Clog2 it has more noise than Clog3.. how can I tackle this to shoot in Clog2 coz when i see noise then i become hesitant to use clog2. Please guide
Clog 2 has more noise because it has more dynamic range (about +1 stop), which results in the sensor capturing more information (and noise) in the shadows. I will sometimes float between Clog 2 and Clog 3 depending on my scenes. If I need deep, rich shadows, I use Clog 2 (but I anticipate that I will need to perform some noise reduction). If it’s a brighter image, and I don’t need to subtleties in the shadows, I use Clog 3. I would recommend that you use what works best for your workflow. If you find that you often need to fineness the info in the deep shadows, and that you lean towards a darker image aesthetic, use Clog 2. If not, use Clog 3. Keep in mind that as long as you know when to pull Clog 2 from your tool belt, you can use anything as long as you know why.
R5 desperately needs a clog with more dynamic range, that or longer record times with cinema raw light. CLOG3 with 4KHQ mode still sounds wonderful to me. I’ll take it
I mainly shoot RAW on the R5 and that is what allow me to stay in the CLog2 version of LOG. With that said, the 120fps in 4K all I is terrific and I don't have any problem with the available dynamic range in that scenario. The faster shutter helps manage the light.
This felt like an ASMR video. Thank you for helping us out !
Your vids are getting better and better editing-wise keep up the cool vids!
Thanks!
Thank you for this Carlos! I have only used CLOG-2 (which gives me everything I want), but have been curious about CLOG-3.
Carlos: Love the 'deep dives' you do on specific topics. One of my cameras is the Canon XF400. It does not shoot in RAW but does have Clog 3. Any suggestions for shooting in CLog 3 when that's all you have?
Other than protect your highlights because mid-tones and shadows can be raised with minimal penalty, I don't know. With CLog from what I've noticed and that is regardless of flavor...highlights are unforgiving and everything else seems to give you 2-2.5 stops of flexibility without making the image fall apart.
Great stuff! Curious if this would have differed if you would have actually captured C-log 3 at the sensor level. C-log 2 should be exposed to middle grey at ~39 IRE, and C-log 3 should be exposed to ~34 IRE.
In your example, you “converted” to C-log 3 in resolve, and I’m guessing that this is not the same. As in, capturing C-log 2 at 39 IRE at the sensor level, then transforming that info into a different Log format that requires ~34 IRE may not give you the same waveform as shown in your example.
Just something to ponder.
Thanks, Carlos!
Thanks so much for all your videos Carlos, I really appreciate the time and effort you put into sharing your knowledge. Have you made a LUT package for the C70 yet? I'm most keen to get it as/when you make it available. Have a great day..
Should be available early next week they've passed all the Quality Control test.
@@carlosq00 Ahh that’s great to hear. Do you make them for Premiere or just Resolve?
Thank you for the info..some othet youtuber has another comparison where he says he doesnt see any difference giving some examples....but i think your take on this is very good and informative because of the waveform the highlight clipping room and shadow clipping area is really visible and in C-Log 3 is like you said you are locked in to a limited area to work with or improve upon compared to C-Log 2..i always wondered why Canon is leaning toward C-Log 3 and most of the mirrorless expensive Cameras only support Log 3 instead of 2? Can you shad some light on this? To be on subject i thank you for visually pointing this out wby C-Log 2 is better then Log3..i am dissapointed in the newer and more expensive cameras for not having Clog 2 and only have that option for C-Log3..i am getting ready to buy the Canon R3 to make short cinematic videos and films ,travel videos and more story telling stuff in short 3-5 min max...and i hope Canon is watching or aware of your video because you naild it really well and extensively....thanx again and i hope you can answer my question....Also you think the R3 is going to be good at what i want to do? I am not a film director or anything.. I'd do this for a hobby and small music.videos maybe..just throwing ideas but i am 100% sure i will be doing it and will be buying it..
Is clog2 even available in the R5? Resolve scopes show no changes between clog and clog2. CineD showed as much as well in their R5 tests.
Ia there any luts for R6 Clog 3...
For a footage of 1080p and 4k Resolution..
I shoot clog in my r6 all the time. Interested if I'll use clog3 when it's released. I'll have to do a comparison.
CLog3 is less crunchy than OG CLog
Thanks baby，can hdr PQ vs clog3?
Thank you for this. So assuming R5 gets Canon Raw Light, shooting that way and then using Clog 2 in Resolve would get me the most dynamic range, correct?
yes, but RAW in general regardless of camera will always get you the most out of the dynamic range, color, and contrast.
Dont you have to shoot in clog3 to use it as you explained in the video.
Hi Carlos, thanks for your videos which are always comprehensive and full of detail !
I have just bought a C300 MIII and I would like to ask you how to make a perfect exposure with this new sensor.
If I shoot in Raw format in Log2 my middle gray at 18% must be exposed to how much? 39.8% ?
Sorry for the question, but I can't find this information... Thank you for your answer
I usually go with a range from 40% to 55% depending on the skin colors in my scene. If you don't have people in the shot 40% give you all the flexibility you would ever need on a current or modern delivery to web, streaming, broadcast or cinema.
Thank you very much for your feedback, for my next shots I will try to stay in this range.
When in doubt, use a light meter.
Great video. I’m still trying to understand what the benefit is of CLOG 3 if 2 gives you the most protection and flexibility. Thoughts?
It reduces your overall dynamic range by 1.5 to 2 stops by crushing the dark areas of your exposure giving the appearance of more contrast. Highlights don’t change between the two other than the super whites. People like CLog3 because the color grading skills don’t have to be good or great to work with that log curve.
@@carlosq00 This is great. Thanks for taking the time to show your workflow. I don't think shooting in CLog3 is always about people's ability or inability in color grading. We often film in CLog3 when we have quick turnaround times and want a bit more of a baked in look right out of camera, but still need a slightly flatter profile for quick adjustments in post. I see your point though. CLog3 is a good option if you don't know how to fully grade a clip.
But what do you think about shooting Clog3 in Low light? Isn’t it much less noisy there if you still want to achieve bigger contrasts because of the aggressive gamma curves of clog 2 ?
I shoot CLog2 10 out of 10 times...in low light it becomes even more important if something in my frame needs to stay relevant and is not being illuminated fully.
@@carlosq00 Can you do a video showing how you grade from clog 2 to your video quality? I can't figure out clog 2 color grading (i get weird colors, flat colors, and very soft looking images)
Hi, I always have a doubt with my canon r5 ... the maximum dynamic range of the sensor is at ISO 100, now when I shoot 8k raw video I think it is better to disable the logs (log 2 iso 400 and log 3 iso 800) to capture more dynamic range ... what do you think?
I try to stick to the native ISO value for the LOG that I am shooting.
@@carlosq00 but when you turn in raw .... the log is decided by davinci or other ... I think that turning at a lower ISO is better right?
Now that canon log 3 is available on the R5, would you shoot in log 3 on R5 to match a C70 log 3. Or would you shoot C70 in log2 and R5 in raw and try to match?
I've always been a CLog2 guy from back when it was released. There is practically zero effort in matching the C70 to the C500 Mark II and the R5 when shooting in CLog2. The only time that becomes tricky is when settings change in color space change. So I will give CLog3 a try but likely it will be for my own understanding not my day-to-day workflow.
@@carlosq00 so since you prefer clog2, if u were to shoot r5 raw, which log profile would you use? Because in the end you can still convert it to clog2, does clog1 make more sense? Its DR leans towards the shadows compare to clog3.
Yep
yep
Need heavy hitters to lobby for CLOG2 in the R5
Yeah, maybe if we all email Canon on the same day...or call in
@ShotOn R5 clog 3 is coming. Canon confirmed it
@@darlingtonjonesimagery9247 clog2 only in raw...clog3 not the best choice
Hello Carlos please help as when I shoot in Clog2 it has more noise than Clog3.. how can I tackle this to shoot in Clog2 coz when i see noise then i become hesitant to use clog2. Please guide
which camera?
@@carlosq00 Canon C70
Clog 2 has more noise because it has more dynamic range (about +1 stop), which results in the sensor capturing more information (and noise) in the shadows.
I will sometimes float between Clog 2 and Clog 3 depending on my scenes. If I need deep, rich shadows, I use Clog 2 (but I anticipate that I will need to perform some noise reduction). If it’s a brighter image, and I don’t need to subtleties in the shadows, I use Clog 3.
I would recommend that you use what works best for your workflow.
If you find that you often need to fineness the info in the deep shadows, and that you lean towards a darker image aesthetic, use Clog 2. If not, use Clog 3.
Keep in mind that as long as you know when to pull Clog 2 from your tool belt, you can use anything as long as you know why.
@@J_HNP thank you so much that's really informative.. appreciate your detailed explanation.
R5 desperately needs a clog with more dynamic range, that or longer record times with cinema raw light. CLOG3 with 4KHQ mode still sounds wonderful to me. I’ll take it
I mainly shoot RAW on the R5 and that is what allow me to stay in the CLog2 version of LOG. With that said, the 120fps in 4K all I is terrific and I don't have any problem with the available dynamic range in that scenario. The faster shutter helps manage the light.
So in the R5 , should I choose clog or clog 3 to get more dynamic range ?
if you are not capturing in RAW, then CLog3 just make sure that view assist is turned off.
@@carlosq00 no..turned on nowadays..they fixed it