Creative colour: how Canon Log can enhance your filmmaking

Shooting video using Canon Log is about more than just maximising dynamic range. While all of Canon's Cinema EOS Cameras, most XA and XF camcorders and a growing number of mirrorless models offer a variety of Log-based gamma curves designed to retain detail in both the darkest and brightest parts of your footage, Canon Log is capable of far more than this. It also increases flexibility in colour grading, allowing a creative editor to really go to work on a video's colour palette. This makes it possible to produce a stylish, cinematic look that can become the cinematographer's visual signature.

"In a graded image, I look for my own interpretation of reality," says Italian cinematographer Ivan D'Antonio. "I want to create something that looks familiar and natural, but at the same time it shouldn't be just a perfect representation of nature. It should reflect the beauty of nature through someone's vision, as a painter does."

With a background as a painter himself, Ivan describes himself as "more like a macchiaiolo – one of the Italian impressionist painters. I prefer to find the truth of how I see things and not how they 'should' look." He has shot with Canon since the start of his career, beginning with a Canon XH A1 camcorder. "I always prefer Canon, as I feel the colours are really painterly," he says.

Ivan started using Canon Log in the Canon EOS C100, then in a variety of Cinema EOS cameras. "Using Canon Log really improved the way I work," he says. "I started to be more free, and really started to experiment and develop my style."

A logarithmic gamma curve called Canon Log was introduced for the original Canon EOS C300 (now succeeded by the Canon EOS C300 Mark III) in November 2011. It was quickly recognised as a fantastic tool for maximising dynamic range without adding any additional file size.

Canon Log applies a logarithmic tone curve and processing parameters at the point of capture to deliver a manageable file size while squeezing the widest possible dynamic range from the sensor – over 16 stops of dynamic range can be achieved on the EOS C300 Mark III and EOS C70 when using Canon Log 2. The resulting footage requires processing because of its low contrast and saturation straight from the camera, but it holds more tonal information that can be utilised in post-production to deliver a far wider range between the darkest and brightest areas.

"And then when you come to the EOS C70 and the EOS C300 Mark III, Canon Log 2 extends dynamic range to more than 16 stops, thanks to the Dual Gain Output (DGO) sensor technology. And the more information you've got to play with, the better," says Paul.

If you want broadcast- or edit-ready footage straight out of your camera, then normal colour profiles or Canon Wide DR are ideal. But for just a little extra time in post, shooting in Canon Log delivers improved image quality and ultimate control over the look of your footage. It also gives you the flexibility to grade the content into various different output formats such as BT.709, BT.2020, HLG or PQ HDR.

Because shooting in Log produces a low-saturation, low-contrast image, you need to take care to get the exposure right. All the recent Canon Log enabled cameras allow you to apply a viewing LUT, either to the camera's monitor or to an external monitor, giving you a far better idea of what the final footage will look like. On the EOS C70, for example, the View Assist feature gives you a visual representation of a broadcast standard, BT.709 calibration.

"You have to expose it right," says Ivan, "although I have managed to save a bad shot thanks to Canon Log! I tend to 'expose to the right' to keep the highlights, and then in post-production I bring down the exposure. The images come out incredibly clean, and I use an external monitor with LUTs so I can see how they'll look. I always use the waveform rather than just looking at the monitor."

It's not just about getting the exposure technically right, but learning how the camera works in Log to allow you to create the right mood for the scene. "Before starting your first project in Canon Log, experiment with it," advises Ivan. "Try to understand how you should light for it and how the post-production works. It might sound difficult, but once you get used to it, you will be able to do everything quickly to create the images you have in your mind."

The original Canon Cinema EOS cameras such as the EOS C300 featured 8-bit CMOS sensors and Canon Log to extend dynamic range up to 12-stops. Technology has rapidly developed since then, with today's cutting-edge 12-bit DGO and BSI sensors delivering up to 16-stops of dynamic range. Being able to capture this extra 4-stops of latitude led to the introduction of Canon Log 2 and Canon Log 3, with the original Canon Log no longer being required in current models.

Canon Log 2 provides the absolute maximum dynamic range (more than 16-stops on the EOS C300 Mark III and EOS C70), with detailed shadows and rich highlight information. Canon Log 3 provides the same highlight performance with slightly less information in the shadows (up to 14-stops).

Aron Randhawa, Pro Video Product Specialist at Canon Europe, explains: "One of the disadvantages of using Canon Log 2 is that you have so much detail in your shadows that the noise floor is elevated, which means your clip requires more careful work in post-production to get it looking the way you want. For many people, it's not so important to have so much detail in the shadows – they're more concerned with highlight retention and a quick turnaround. Using Canon Log 3 avoids having to reduce the amount of noise in each clip during grading, saving a lot of time."

Consequently, Canon Log 3 is the most used Canon Log curve today because it enables a relatively quick turnaround in production, while still giving lots of control over the contrast and colour of the final movie.

It's worth noting, however, that the groundbreaking DGO sensor in the EOS C300 Mark III and EOS C70 significantly reduces noise in the shadows, making Canon Log 2 just as practical as Canon Log 3 with those cameras. Both the EOS C400 and EOS C80 are equipped with a full frame BSI sensor and Triple Base ISO system, providing excellent low-light performance and 16 stops of dynamic range with Canon Log 2.

It's also worth bearing in mind that when shooting in Log, many people expose to the right to produce a slightly brighter image than they ultimately want. They then reduce the brightness of the image in post-production, making the shadows darker rather than bringing out more detail.

Aron continues: "Really, Canon Log 2 is best suited to high-end professionals who want to squeeze everything out of the camera that they possibly can and have the time and the money to make the image as rich as possible. Canon Log 3 is ideal for everyday users who are making productions on a regular basis. It still gives an incredible level of detail for both SDR and HDR content, but it enables a much easier workflow."

Canon Log curves are also a great match for a 10-bit post-production process because, as Aron explains, "the extra level of gradation in the colour as well as the additional dynamic range from the Log curve means you're able to manipulate brightness and colour with a new level of creative freedom."

Having different Log settings available gives a cinematographer more options on the shoot. Then, in post, you can apply a specific LUT to your image, or do your own colour correction to give it a particular aesthetic.

"At the moment, my favourite is Canon Log 2," says Ivan. "I use it for bigger projects. It is simply perfect, with a great dynamic range and super-flat colours – especially for bright scenes. You can see both in the highlights and shadows. Of course, you need more time for the colour correction process, but you can achieve unlimited beauty.

"For smaller projects or if I have to deal with low light, I prefer Canon Log 3 as it produces cleaner images at high ISOs. It has slightly less dynamic range in the shadows, but the colours are more vivid, so you need less time in post-production and the results are great."

Whether you're aiming to "achieve unlimited beauty" or simply to realise your particular vision, Canon Log gives you more scope for creativity.

The ability to shoot in Canon Log across different types of cameras gives filmmakers more flexibility. Canon EOS R System and EOS/PowerShot V series mirrorless cameras equipped with Canon Log are ideal when a more compact and manoeuvrable filming solution is required. They can be used in places where it may be more challenging to accommodate a larger Cinema EOS camera – such as the interior of a vehicle or on a drone – and they allow content creators who work with hybrid cameras to enjoy the creative benefits of Canon Log.

When used as part of a multicam setup, EOS mirrorless cameras set to Canon Log allow footage to be easily aligned with Cinema EOS cameras in post-production for a consistent look. Some models, including the EOS R50 V and EOS R5 Mark II, enable you to import Look Files, apply your own Custom LUTs and capture creatively expressive footage in-camera.

If you don’t have time or budget to grade Canon Log footage, there are cinematic video settings and Canon camera colour profiles to help you create video that looks great and is ready to share straight away.

As highlighted earlier, a standard Custom Picture (CP) setting such as BT.709 or Wide DR delivers an image that’s suitable for display without post-processing. The Canon 709 picture profile is an option in the Custom Picture menu in Cinema EOS cameras and some Canon mirrorless camera models, such as the EOS R5 Mark II and EOS R1. Canon 709 provides a subtle boost in contrast and saturation in-camera alongside smooth highlight roll-off, making it a great option to achieve cinematic-looking footage without colour grading.

Canon EOS mirrorless cameras also feature Picture Style menus where you can select customisable presets that control the colour, contrast and sharpness of videos as well as stills. Both the EOS R50 V and PowerShot V1 take this a step further with a Colour Filter mode that enables you to easily give footage a distinctive look and feel. From classic faded sepia and retro green tones to contemporary teal and orange combinations, the filter effects provide a simple way to alter the mood of your video content. For added convenience, the EOS R50 V has a dedicated COLOR button that enables you to switch quickly between the available colour modes.

In addition, some Canon EOS cameras have dedicated HDR Movie modes that enable you to record high dynamic range movies that also don’t require grading. These can be captured in either PQ or 709 and, thanks to improved processing, highlight roll-off is smoother, white clipping is minimised, and dynamic range is expanded by up to 3 stops. This means HDR Movie mode delivers enhanced brightness detail – perfect for content creators wanting high-quality YouTube uploads with a very fast turnaround. Watch this sample HDR Movie footage to see the effect (HDR monitor recommended for the best experience).

Ultimately, Canon Log gives you the most flexibility when it comes to crafting a unique film, but these additional colour tools are a simple way to find the right look and feel for your video when shot-to-screen turnaround time is paramount.

Canon Log was first introduced with the Canon EOS C300 in 2011 and different versions of it are now available in all of the current Cinema EOS range of pro cine cameras, as well as many EOS R System mirrorless cameras and Canon EOS/PowerShot V series cameras.