How to shoot and edit Log footage for beginners?
Log footage looks flat and gray straight from the camera — that is by design. It preserves maximum dynamic range for color grading. Here is how to expose it correctly, record it properly, and grade it to look beautiful in post-production.
How to expose Log correctly
Overexpose by 1-2 stops. Log footage needs to be exposed brighter than you think. The flat, gray look tricks your eye into thinking it is correctly exposed when it is actually underexposed.
Use your camera’s zebras or histogram — set zebras at 70% and make sure skin tones are hitting that mark. On a waveform monitor, skin should sit around 55-65 IRE.
Never underexpose Log. Lifting underexposed Log footage in post reveals ugly noise and banding in the shadows. Overexposing is safer — you can always bring it down cleanly.
Use 10-bit recording. Log in 8-bit produces banding in the flat midtones when you grade. 10-bit is essential for usable Log footage.
Editing Log footage step by step
Step 1 — Apply the manufacturer’s LUT. Sony provides S-Log3 to Rec.709 LUT. Canon provides C-Log3 to Rec.709 LUT. This instantly converts the flat footage to a normal-looking starting point.
Step 2 — Adjust exposure. Fine-tune overall brightness after the LUT is applied.
Step 3 — White balance correction. Fix any color cast so skin tones look natural.
Step 4 — Creative grade. Now add your creative look — warm tones, cool shadows, lifted blacks, or whatever style you want.
Step 5 — Add contrast. Log footage after a LUT may still look slightly flat. Add contrast carefully until it feels right.
Log-capable cameras at Camera Shop Egypt
Common Log mistakes
Shooting Log in 8-bit: The banding ruins the footage. If your camera only records 8-bit internally, use S-Cinetone or Neutral instead of Log.
Underexposing: The most common mistake. Log footage should look overexposed on the LCD — use zebras to confirm.
Not grading at all: Uploading flat Log footage to YouTube. It looks terrible ungraded. If you do not plan to grade, do not shoot Log.
Using the wrong LUT: S-Log3 footage needs an S-Log3 LUT, not an S-Log2 LUT. Mismatched LUTs produce incorrect colors.
Start with S-Cinetone (Sony) or Canon Neutral if you are not ready for full Log workflow. These profiles give you a great look with moderate grading flexibility — the perfect stepping stone before committing to Log.
