BLOGS: My COW Blog Adobe Blog Editing Technology After Effects Final Cut Entertainment

More on Log vs Lin.

COW Blogs : gary adcock's Blog : More on Log vs Lin.
Ok,

So this alexa thingy is really gaining ground, and I have been bombarded by questions about Log vs Lin and how the signals actually look on screen and on a scope, so I did test shoot with my wife working away on her glass jewelry.


So lets look at arri's LogC vs Rec709 of the same content.

This image is showing the visual differences between the logC version on the Right and the Rec709 Linear example on the Left.





We all can see that the LogC image is much flatter, gray and muddy compared to the same image on the Right which has been processed in hardware to match the Rec 709 color space that is used as the default for HD signal and is used on all production monitors.

LOG was developed as a process that would allow a longer tonal range in post to be extracted from film negatives, as film negatives have a base layer that includes color masking that has to be extracted prior to making a positive image or Reversal Print.

This masking was done to offset the impurity of the dyes being used in the silver matrix to record the images. It is hard to make all of the colors respond the same way when colors of light operate at differing wavelengths. So when Arri Started making the ArriScan to convert film to digital, they offered the users a digital file that acted more like a film negative rather than giving these highend post house an image that looked and acted like video.
The first film scanners only created digital from film in a frame by frame process when capturing the files, they were usually converted to DPX ( digital picture exchange) frames that were designed to handle the longer film style latitude and lower contrast range that finishing on FILM required.

This is the same image- only here I am just showing the difference between Log and Rec709 on FCP's waveform display.



You can clearly see that while the REC 709 Image fills the waveform with a longer tonal range, there is not any loss associated with conversion of log gamma to linear that the REC 709 space entails.

The Rec 709 on the left clearly is clamping the whites at 100 IRE and have extended the blacks all the way down to 0 IRE.

Where the LogC image- which is the recorded format of original content for BOTH IMAGES has all of the luma weighted in the middle of the IRE scale, allowing the most amount of "correction" to extract information out of the shadows.

I cannot stress to everyone enough that the Rec 709 file is output of LogC master. These are the same image, I am just using the power of the logarithmic acquisition to offer me a much greater range of control in post.









Posted by: gary adcock on Jul 27, 2010 at 9:42:58 am ARRI Alexa, LogC



Join industry geek Gary Adcock as he explores the world and technology as it relates to Film and Video production. I am also a Glass artist, so I spend my free time creating art from silica and fire when I am not cooking.


Archives:

September 2012 (2)
August 2012 (2)
July 2012 (2)
June 2012 (2)
May 2012 (1)
April 2012 (10)
January 2012 (6)
December 2011 (3)
November 2011 (2)
October 2011 (6)
September 2011 (11)
August 2011 (1)
July 2011 (3)
June 2011 (7)
May 2011 (2)
April 2011 (7)
March 2011 (2)
February 2011 (3)
January 2011 (1)
December 2010 (1)
November 2010 (1)
October 2010 (1)
September 2010 (3)
August 2010 (3)
July 2010 (11)
June 2010 (2)
May 2010 (2)
April 2010 (3)


Tags:

FCPX (19)
ARRI Alexa (11)
IBC (8)
NAB (7)
FCP (6)
Cameras (5)
3D (5)
Thunderbolt (4)
Final Cut Pro (4)
tapeless (2)
FSI (2)
Arri (2)
macworld (2)
DP (2)
Fletcher (2)
3D tools (2)
nab (2)
Sony (2)
CES (2)
LogC (2)
Adobe CS6 (2)
show more
© 2019 CreativeCOW.net All Rights Reserved
[TOP]