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Canon C300 MKII: First Look at the new Canon Log 3 Gamma

Introduction

Isn’t it amazing how time flies?! It’s been nine months to the day since I posted my initial reviews of the Canon C300 MKII: Part I and Part II. I’ve gotten so much great feedback from people as they started playing around with the camera, so I wanted to continue the conversation with my initial study of the camera’s newest feature: Canon Log 3 Gamma.

Back in April, Canon announced a firmware update for the C300 MKII at NAB 2016. Features of this update include:

Canon Log 3 Gamma
Improved Image Quality: Reduction in dark noise levels in Log 2, as well as a reduction in streaking and black sun spots.
ACES Output via SDI/HDMI
Magnify Function during recording
Additional Lens Functionality: Including Dual Pixel Focus Guide with the 17-120mm and Cinema Prime lenses.

While there are many features in here that we’re all excited about, I want to spend this post looking at the new Log 3 Gamma.

All of the videos and images included in this post are streaming from Vimeo with originally uploaded ProRes 4444 files, but there is an encoding conversion process that happens on the back-end. You can download them in full quality here. (As long as storage allows…!)

Setup

Throughout this review, I will be looking at the presets Log 2/Cinema Gamut and Log 3/Cinema Gamut. Previously, I placed Log and Log 2 together as a comparison, but I think it’s safe to say we won’t be shooting with Canon Log as much anymore, unless we are matching to an original C300. Since we have all had some time to get used to working with Log 2, I wanted to use this as a new baseline to compare against. I’ve heard from many people that they love the way Log 2 handles highlight roll off, but wish they could push it beyond the base of ISO 800. Personally, I am excited to use Log 3 so I don’t have to flip between Log and Log 2, depending on my lighting conditions. Thankfully, the noise reduction algorithms incorporated into this firmware update allow us the real possibility of looking at these two gamma settings side by side. If you remember before, I was recommending to not pushing Log 2 past ISO 800, and if possible, not above ISO 400. Thankfully, that’s not quite the case anymore.

Custom Picture menu There are some new Custom Picture Preset options available. Following in the footsteps of the Log 2 presets, you now have Log 3 presets in the following color spaces: Cinema Gamut / BT.2020 / DCI-P3 / BT.709. Same as before, each of these Custom Picture Presets allow you to use viewing LUTs on any combination of outputs: Mon & HDMI / Rec Out / LCD & VF. This is helpful if you aren’t comfortable / equipped to work in the Cinema Gamut color space, or have specific needs for your final output and distribution. In this test I look entirely at the Cinema Gamut preset. Since this offers the widest color space, you can see what the possibilities are. When working in a smaller color space, be aware that you may lose out on some color rendering.

I shot all of these tests at 1920×1080 RGB444 12-bit. This setup provides the richest color depth and highest gradient detail the camera can offer, so I chose to test noise with this in mind.

Dynamic Range

At the time of Canon’s announcement of Canon Log 2, people were in a tizzy of excitement/skepticism about the rating of 15 stops of dynamic range. As I showed you in my review, I found the DR to be more like 14-14.3 stops at the time of review. It also seems that with time, this uproar has slowed to a whisper. With the announcement of Log 3, Canon rated it at 14 stops.

As I said before, using a chip chart to test dynamic range has it’s pros and cons. There are many high quality charts out there that can give you a clear picture of what’s happening, but I tend to prefer the old fashioned method of real-world testing. I set up a gray card and lit it evenly with a soft light source. Then I simply over and under exposed the camera one stop at a time until I flat-lined at either 0% or 100% on the IRE scale. I said it before and I’ll say it again: Despite having minor fluctuations in values based on the lens quality and f-stop characteristics, but these are factors that will exist in the real world, so I am fine having them part of my test. The real reason for doing all of these tests in the first place is to give you a more accurate understanding of the equipment you are working with on a regular basis.

Canon Log 3

With still retaining detail, I’m getting 5.3 stops over middle grey and 6 stops under middle grey. At 5.7 stops over, the highlights completely flatline. You can see how 6 stops and 7 stops under have blended into the same line on the IRE scale, and the colors are indistinguishable. This gives me 12.3 stops of Dynamic Range in Canon Log 3. Again, Canon claims 14 stops with Log 3, so I don’t know if my results differ because of the testing environment or other factors, but I would rather have a real-world test tell me my acceptable range than a sterile testing room. I’m curious to see what others get.

Canon Log 2

Here, I’m getting 6 stops over middle grey and 8 stops under middle grey. That’s only 2/3 of a stop more in the highlights, but 2 solid stops in the shadows. Here’s where you see how Log 2 holds up on the range better than Log 3. This gives us 15 stops of Dynamic Range in Canon Log 2. This is a slight improvement from my initial tests. It may be because of the re-working of the sensor for both Log 3 and Log 2, or it might be as simple as slight differences in the testing environment.

Canon Log

Lastly, I get 4.3 stops over middle grey and between 5 and 6 stops under middle grey. You can see how you lose all detail in the highlights between 4.3 and 4.7 stops over, and you flatline at 6 stops under. This gives me 10.3 stops of Dynamic Range in Canon Log.

Daylight Exteriors

With the Daylight Exterior footage, we will exclusively look at the gamma settings as they relate to ISO 800, their baseline setting. At ISO 800, you get the maximum number of stops below and above middle grey. If you lower the ISO from there, you will end up compressing your highlights, with only 4 stops above middle grey ISO 160. I do not recommend going below ISO 800 with either gamma setting. And since you have internal extended ND filters up to 10 stops, why would you??

Night Exteriors

With the Night Exterior footage, I will look at ISO 800 as the base, but then push both gammas up to ISO 10,000 in a real-life scenario. All of these shots are un-graded, so keep in mind some of the noise you see in the deepest blacks of the shot will most likely be eliminated once you put a simple curve on the shot. For demonstration purposes, I wanted to show you what the footage looks like straight out of the camera. I’ll let you take on the grading tests yourself!

In this first series of shots, we are looking at Canon Log 2/Cinema Gamut. The series begins at ISO 800. While there is some noise in the lowest end of the shadows, these will basically disappear in the grade. As we move onto the next shot, we jump to ISO 5,000. The reason for doing this is I primarily want to look at the higher end of the ISO range and see how far I am comfortable pushing the camera. For a more incremental look at the Log settings, refer to the last video in the section. There is definitely noise in the image at 5,000, but if you remember the amount we had with the previous firmware (refer to Canon C300 MKII Review: Part 2 under ISO Noise), it has certainly improved. If I had to push the ISO with Log 2, its at ISO 5,000 I would draw the line. At 6,400 the noise is really starting to creep in, and by 8,000 its dominating.

In this next series of shots, we are looking at Canon Log 3/Cinema Gamut. Again, we begin with ISO 800 and move directly to ISO 5,000. ISO 800 is incredibly clean at Log 3. And at ISO 5,000, you can still barely see any noise. In fact, the little noise you do see (even up to ISO 10,000!) appears to me more of a textural element than anything else. There seems to be a difference in how Log 2 and Log 3 register the noise components of the sensor. I don’t know if this is true, or if there is something happening with the internal noise reduction, but there is definitely a difference in the grain structure of camera noise between Log 2 and Log 3.

Lastly, here is a side-by-side comparison of Log 2 and Log 3 as we incrementally step from ISO 800 to ISO 10,000.

ISO Noise

Here, I will show you each incremental ISO from 800 to 25,600 for both Log 2 and Log 3 on the naked sensor. This is rolling the camera with no lens attached, just the port cap. I chose to not shoot ISOs below 800, because 1) highlight retention is compressed and yields ugly roll-off and 2) there is no noise in either Log 2 or Log 3 anyways. At the top of frame, I included a slice from the waveform monitor (showing just o-20 IRE in an RGB scale) to see when the noise begins to appear. As the ISO increases, you will see the black “line” incrementally get stretched taller. With Log 2, take notice what happens with the color beyond ISO 2000. The green channel begins to dominate the image. With Log 3, the balance of the green and red channels stays consistent throughout the ISO range. This has a significant impact on how the noise is rendered over your image and why the noise that is present in Log 3 is less noticeable and more pleasing.

CUSTOM LOG3 LUT

Working with LUTs in post-production is crucial when using Log footage. There are many LUTs floating around the internet, both from the manufacturer, as well as custom ones from third party companies or individuals. For myself, I have never been able to find a LUT that works for me. Since I do most, if not all, of my shooting with the internal BT.709 camera LUT, I figured this would be the best place to start. If this is what I’m seeing in the camera during production, it might as well be what I’m using as a starting place in post-production. Unfortunately, the pre-built LUTs from Canon have never worked for me. They are always way too contrasty and never match what I’m seeing in camera. I took it upon myself to build my own. To build the LUT, I recorded a color chip chart (X-Rite Colorchecker Classic) in both Log3 and BT.709 straight from the camera.

Canon Log3 / Cinema Gamut

Canon Log3 / Cinema Gamut

BT.709

BT.709

In DaVinci Resolve, I placed both shots side-by-side and graded the Log3 footage to match the BT.709 footage. From here, I exported the grade as a LUT and voilà! I now have a 3D LUT I can apply to all my Log3 footage. Here is the LUT I built, so feel free to use it on your projects. Despite me loving it, I make this available to you at your own risk. Be sure to play around with the LUT and see if it works for you, and if not, feel free to tweak it or build your own. Happy shooting!

Canon Log3 - ISO 3200

Canon Log3 – ISO 3200

Canon Log3 - ISO 3200 with LUT

Canon Log3 – ISO 3200 with LUT

Canon Log3 - ISO 800

Canon Log3 – ISO 800

Canon Log3 - ISO 800 with LUT

Canon Log3 – ISO 800 with LUT

Conclusion

I hope you’ve found this initial breakdown of Canon Log 3 as useful as it was to me putting it together. I find that Log 3 does a great job sitting between the Log and Log 2 gammas. Log has much more contrast and less dynamic range, but retains the ability to push your ISO. Log 2, on the other hand, is very flat, has high dynamic range, but cannot handle a dramatic ISO push. Log 3 does a great job of balancing contrast and dynamic range with the ability to shoot in low light. Please share your comments and own findings below and I look forward to the next round of tests!

42 Comments

  • mattporwoll / July 28, 2016 at 1:38 pm

    If you are looking for an update to Canon XF Utility (v3.1) that works with Log3, head to Canon Europe’s site:
    http://www.canon-europe.com/support/consumer_products/products/digital_cinema/digital_cinema_camera/eos_c300_mark_ii.aspx?type=download&language=EN&os=OS%20X%2010.11%20(El%20Capitan)

    Reply
  • Hasan Nidal / July 28, 2016 at 11:15 pm

    Dear Matt,

    Thank you very much for your tests I really appreciate what you are doing.
    After watching your C300mkii tutorials and the results that you got with the C300mki I was very excited to convince some companies to go the C300mkii road for their productions and they are very very happy with it.

    Now from the tests I think that I will keep using the Canon Log 2 for most of my shoots especially all the day stuff. And will use the Canon Log 3 whenever I really need that extra few stops. I don’t know what is the magic about it but the Canon Log 2 is the closest log to Alexas C-Log so far; Something so pleasing about it.

    Do you think the 5000 and the 8000 iso will be usable on big productions ?
    So excited to download the firmware tomorrow.

    Thanks again for the tests and for your time and effort, I really love the real situations tests it represents the situations that we shoot in usually instead of just a perfectly lit lab scenarios.

    Kind regards,

    Hasan

    Reply
    • mattporwoll / July 29, 2016 at 3:58 am

      Hi Hasan,
      Thanks for your kind words about the post. I’m glad you’ve found it helpful. I certainly agree Log2 has some very special qualities and closely resembles Log-C footage. I love using it when I can. As far as the ISO, I would not be comfortable pushing as far as 5,000. As I said in the post, I wouldn’t suggest going beyond 2,000. This is largely because of the shift towards green in the noise at 2,000 and beyond. But also the amount of noise at 2,000 starts to become too dominant. As I’ve done, I would recommend doing your own tests (and feel free to copy my setup) to find your happy place, given your needs and the client’s comfortability.

      Reply
      • Hasan Nidal / July 31, 2016 at 10:32 pm

        Dear Matt,
        I downloaded the firmware on 2 cameras today and so far I am very happy with the update especially the cleaner Canon Log 2!
        It’s a very noticeable difference. Will do more intensive tests to see how far I can push the limit in nightshoots with the Log 3 as well.

        Again thanks a lot for your post and for sharing your knowledge and expertise.

        You have a friend in Dubai now, anything you need you can hit me up :)

        Kind regards,

        Reply
  • Andi / July 29, 2016 at 8:35 pm

    Hi Matt,
    Your work is highly appreciated.
    Any idea where middle gray level should fall with Log 3 ?
    What is your experience so far ?

    Thank you very much.

    Cheers
    Andi

    Reply
    • mattporwoll / July 30, 2016 at 2:00 am

      Hey Andi,
      Unfortunately, I don’t have an exact number for you on the recommended middle gray level with Log3. But if you take a look at Abel Cine’s article about Log3, they say it should be the same as the original Log at 32.5%. If that’s the case, I would consider aiming for 35-38%, since I found 32.5% to be a little under for Log. Here’s a link to Abel’s post: http://blog.abelcine.com/2016/07/28/canon-log-3-is-it-the-goldilog/

      Reply
  • Andi / July 30, 2016 at 6:47 pm

    Matt :
    Thank you very much.
    Will shoot a documentary next week.
    Rest assured, you will be apprised of all future developments. 😉

    Reply
  • Andi / August 28, 2016 at 12:53 pm

    After 3 weeks of intense shooting with the the new Log3 I am more than happy with the results. Putting middle grey around 40 turned out to work just fine.
    Footage looks closer to ARRI than any other camera I used over the last years. I am sold ! Next documentary at the planning stage. C300/Log 3 planned firmly.

    Reply
  • corey hendrickson / September 14, 2016 at 7:01 pm

    great info… thanks for sharing. tangent question… any way to program S&Q so its available with a single button and not having to dive into the menu settings? the assigned and sq button seems only to adjust frame rate when activated – or am i missing something embarrassingly obvious? thanks!

    Reply
    • mattporwoll / September 14, 2016 at 9:38 pm

      Hi Corey,

      There is not a way to directly apply S&Q functions to an assignable button, but what you can do is put the “Recording Mode” menu option into the “My Menu” and apply “My Menu” to an assignable button. That way, you don’t have to dig for it each time. I find “My Menu” to be one of the most useful options on the camera. I put everything I use on a regular basis – Initialize Media, Resolution, CP Presets, etc. Hope that helps!

      Reply
      • corey hendrickson / September 15, 2016 at 2:02 pm

        great idea… thank you for the quick response!!!

        Reply
  • benjamin schechter / December 1, 2016 at 5:00 am

    Hey Matt,
    Thanks so much for the informative article. I was wondering if you would be interested in posting something on utilizing a waveform monitor for shooting/exposure? I am interested in seeing how you go about doing so, and your thoughts relative to it. I’m trying to become more familiar with the process, and feel it’s something you could be very helpful with.

    Thanks!

    Reply
    • mattporwoll / January 23, 2017 at 11:21 pm

      Hi Benjamin,
      There are many ways to best utilize a waveform monitor on set, but it all depends on the kind of work you are doing and how much control of a situation you have. Without going into too much detail, the most important things I am looking at on a waveform when shooting is where are my highlights and where are my midtowns / skin tones. Be sure your waveform is showing the Log information and not the LUT, since you want to see where you are falling on the native file being recorded. Thankfully, with the C300 MKII, the waveform is always showing the native information, pre-LUT. I use the waveform to be sure I am holding my highlights at or under 100 IRE, or knowing where and why I am losing the information. During interviews, I will use the waveform to judge where my skin tones fall. With the C300 MKII, I found, when using a light meter on an 18% grey card, midtones fall at 32 IRE for Log, 35 IRE for Log2, and 32 for Log3. This can all be seen in my posts about the Log curves. The adjustment beyond that for skin tones comes with how you want to expose your image and the look you are going for. Generally speaking, you will want to expose Caucasian skin tones about a stop over middle grey, and African-American skin tones at or a little under middle grey. There are many useful tutorials out there on using waveforms, but I hope this gave you a little insight into the basics. Happy shooting!

      Reply
  • alain / December 22, 2016 at 8:40 pm

    thanks Matt for all your work that we can learn from!

    I was wondering, I want to use the Log 3 and have downloaded the LUTs from the Canon website, however I find it hard to understand which Lut to use. Offcourse I can and will try them all, but I do not have enough knowledge to understand the difference forehand just by understanding the names of the Luts.

    Reply
  • Aidan / January 11, 2017 at 10:20 pm

    Hi Matt,
    Such a wealth of information on your blog. Thank you very much for sharing. I have a two quick questions: Have you ever come across horizontal purple lines in shadow areas of your footage? Or a ghost-like ring on the footage (maybe related to peripheral illumination correction)?

    Reply
    • mattporwoll / January 21, 2017 at 4:34 pm

      It’s interesting you mention this, because we have started to see the horizontal purple lines in our footage on the project I’m shooting now. I’m curious to hear from you with what settings and circumstances you see the lines. We are shooting exclusively in Canon Log-3, C-Gamut. In my experience, the lines occur with ISO’s higher than 800, and when the subject is strongly backlit (when against a window, etc). Are you finding similar circumstances? As far as the ghosting ring, I haven’t found that to be an issue. I always shoot with peripheral illumination turned on. Could it be a result of the filter you’re using? Or the lens type? Sometimes you will see those rings if light has the ability to bounce and reflect off the lens elements, mainly when shooting into a strong light source. Similar to a lens flare, but less pleasing… Be sure to keep me posted on your situation. Thanks!

      Reply
      • Aidan / February 2, 2017 at 1:10 pm

        Hi Matt, I had this issue occur in clog2 & clog3 @800 and higher. I too primarily shoot in Canon Clog3, C Gamut. The purple lines appear in black lit and under exposed scenes. I raised this issue with Canon and was advised to black balance the camera after every ISO change. They also suggest black balancing the camera regularly on a shoot. As for the ghosting ring – i find that it only appears when the peripheral illumination is turned on and shooting in similar situations mentioned above.

        Reply
        • mattporwoll / February 2, 2017 at 1:29 pm

          Thanks so much for your reply. While black balancing every time you change ISO isn’t feasible, doing it as often as possible is probably a habit we should all get into. Thanks so much.

          Reply
          • Aidan / February 11, 2017 at 10:48 pm

            Hey Matt,

            Just did a couple more tests regarding purple lines / backlighting. Black balancing does nothing to fix this problem. Something to be cautious about in the future. I’ll let you know if I find any solutions…

  • John Salami / February 3, 2017 at 7:43 pm

    Matt! THANKS so much! So much great info! I take it all, and apply immediately!
    Please don’t stop the goodness!

    Reply
  • Edgardo M Jimenez / February 7, 2017 at 2:06 pm

    Hello Matt:

    I am a newbie and I just purchased my C300 Mark II. Previously shot a feature with 5D Mark III. I have no film school, but street school. I am sure that you don’t have a full idea how beneficial your posting are for people with experience. IMAGINE FOR PEOPLE LIKE ME !!! THESE POSTINGS ARE GOSPEL !!!!! Even though I don’t fully understand the technicality of some vocabulary, I do get between 85% to 90% of it.

    I do a lot of homework in order to learn and I came across with one of your videos on Youtube about 3 weeks ago. I am very grateful that I found your posts and have been following you, brother.

    QUESTION: I read in a post that it is “safer”, for the average person with no professional color grading capability, to shoot in BT709 (not Log’s) during low light conditions because there is not much (DR) to capture anyway. Is this comment truthful or should I stick to Canon Log 3? I would appreciate your feedback.

    On another topic, I just retired (only 54 not an old junk, Okay? Lol.). I am nearby in Staten Island, if you need some help in your projects, do not hesitate to let me know. It will be an honor to help you (free) and learn all I can in the process. For real!

    THANKS!

    Reply
  • Eric / February 25, 2017 at 10:20 pm

    Hey Mate. Thanks for these helpful posts. I got a C300mkii recently and love it. Have you done any tests with color matrix? Particularly neutral VS cinema? Thanks!

    Reply
    • mattporwoll / March 13, 2017 at 4:06 pm

      Hi Eric,

      Thanks for your comment. I have not done any testing between the various color matrix settings, since most of my projects go through a color correct where Cinema Gamut is preferred, but I would love to hear your thoughts if you perform your own test. Let me know what you find!

      Reply
  • Craig Feldman / March 10, 2017 at 5:31 am

    Hi Matt, Hope you’re well. Just wondering if you’ve shot any greenscreen with this camera and if you have any tips. For some reason Im having trouble getting the green to pop. I had the same issue with my c300 too. For shooting greenscreen waste up/ head shots of people my solution was always to light the green with tungsten and person with daylight. But when shooting head to toe you cant really mix lighting.
    Also, has anyone figured out a way to put custom luts in the camera? I wish i could adjust the 709 one to be a bit less contrasty.

    Craig

    Reply
    • mattporwoll / March 13, 2017 at 4:05 pm

      Hi Craig,
      I have not done any green screen shoots with my MKII yet, but in general, I would keep the color temperature the same from the background light to the foreground light. If you mix the lighting, you will not get an accurate green color or saturation that may make it hard to pull a strong key. Since you are shooting in a controlled environment, I would recommend shooting in Canon Log2 / Cinema Gamut to give you the most color depth and exposure latitude. As well, shooting in 1920×1080 12bit RGB444 will give you lots of room to pull a solid key. Regarding LUTs, you cannot load custom LUTs into the camera, but instead can use a monitor that allows for custom LUTs. I normally use the BT.709 LUT in the camera to monitor, and then set an Assignable Button to LUT On/Off so I can toggle the look on and off to see my exposure. I hope this helps!

      Reply
      • Feldman / March 14, 2017 at 3:12 pm

        Sorry for the double posting. I thought the first one didn’t go through. Thanks for the quick reply. Pretty much what I thought! My client seems to want 4 k over the 12 bit 444 but he’s had no problem keying. He’s a premier editor. The only problem he’s had is finding the right LUT for canon log 3. Are you familiar with luts for the canon logs 2 and 3 in premier?

        Reply
        • mattporwoll / March 14, 2017 at 5:13 pm

          Hey,
          I just updated the Canon Log3 post to include a section about LUTs. I included a download link for the Log3 LUT I built as well. I haven’t built a LUT for Log2 yet, but maybe down the road… Hope that helps!

          Reply
  • Feldman / March 13, 2017 at 3:28 pm

    Hi Matt. Hope you’re still enjoying your mark 2. It’s a beautiful looking camera. One thing I’m still a little behind on is my log shooting with greenscreen. Any tips on best log or non log settings for this. Also do you tend to light to the lut? Is the lut provided in the camera good to light to? Its there a way to create a custom lut? Thanks for any help or advice.

    Reply
  • Edgardo Jimenez / March 14, 2017 at 5:55 pm

    Matt:

    I need some guidance here. Really sorry that this is not related to the topic herein discussed.

    I am having some trouble that I didn’t have before. While importing footage to FCPX, I am noticing now that the images are not as “FLAT” as they were during my first test or practice import.

    I am shooting test or practice shots to study how the logs look and how to grade them. I filmed a test shot in Canon Log 3/C Gamut, one in Log 2/C Gamut and one in Log.

    When I import to FCPX, via card reader, only the first test shot, Canon Log 3/C Gamut, comes out “FLAT”. The other two shots, Canon Log 2/C Gamut and Log are coming out with a LUT applied to it and not “FLAT” as it should be.

    What am I doing wrong? Should I conduct some kind of procedure prior to change a preset and start filming again? Why only the first shot of a series of three comes “FLAT”?

    On the “Inspector” with the Metadata View set on “Settings”, I can see that this first test shot (Log 3/C Gamut), when I look at the “Log Processing” info it says: NONE. On the second and third practice shots, the Log Processing info indicates C Log 2 and Canon Log, respectively.

    Is FCPX processing the Logs by itself? Why these two shots are not coming out “FLAT”?

    Please help me out here. Thanks so much.

    Edgar Jimz

    Reply
  • Benjamin Hesselholdt / March 24, 2017 at 5:02 pm

    Hey thank you very much for your blog. I´m a c300 mark2 owner and love it.

    My question is. Shooting 50p for slow motion seems to have more noise than 25p. I shot in LOG 2.

    What is your experience with image quality and slow motion?

    Kind regards,
    Benjamin

    Reply
    • mattporwoll / March 25, 2017 at 5:08 pm

      Hi Benjamin,

      Generally speaking, there should not be any additional noise when shooting slow motion on the camera. But, I can think of a few things that could cause the noise you are seeing. 1) Since you lose a stop of light when going from 25p to 50p, did you increase the ISO to adjust for the stop difference? If so, you will see more noise. In Log2, I would not recommend going above 800 ISO (400 preferable). 2) Are you shooting in Crop Sensor mode? This will also increase noise, since you are zooming in on the sensor. Other than those changes, you shouldn’t see any more noise in slow motion than in regular speed. I hope that helps.

      Reply
      • Eric / March 25, 2017 at 6:59 pm

        Hey Matt! I purchased a C300mkii recently and I love it! I mainly shoe in CLOG3, but I’m not thrilled with the dynamic range. I’m going to start using CLog2 exclusively. I always use the waveforms when I’m shooting and sometimes the Rec 709 LUT, but my question is about exposure. What do usually aim exposure for skin tones in CLog2. Near 60?

        On my c100 I would always slightly overexpose and then bring it down in post for the best results, but shooting in CLog2 seems a bit different. Love to hear your thoughts. Thanks.

        Reply
      • Benjamin Hesselholdt / March 26, 2017 at 9:43 am

        Thank you for taking time!

        I made a test with increased ISO, so the exposure was the same. Image quality is the same now. Thnx.

        ISO 400 at C-log 2??? I thought 800 ISO was the best ISO in the the LOG modes?

        Kind regards
        Benjamin

        Reply
        • mattporwoll / March 29, 2017 at 10:43 pm

          It’s true that the base ISO, as determined by Canon, is 800 for Canon Log2. While I find 800 acceptable, the cleanest image is at 400. There are some trade-offs when shooting below 800 – the stop range above middle grey is reduced from 6.3 to 5.3 stops, while the stops below middle grey are increased from 8.7 to 9.7 stops (Canon specs). In the end, it all depends what you’re shooting and what trade-offs you are ok with.

          Reply
  • Mark Dobson / April 7, 2017 at 7:43 am

    Hi Matt,

    Just to say thanks for posting your Clog3 LUT. Its provides a really neutral starting point. I found the LUTS published by Canon last November added an unfortunate colour cast – magenta for me – but you one is extremely natural.

    Also thanks generally for all the Cinema EOS information you have posted on your site, a really useful resource. Your comments reassured me that upgrading to the C300MK2 was a good decision.

    Mark

    Reply
    • mattporwoll / April 7, 2017 at 11:14 am

      I’m glad you like the LUT!

      Reply
  • Edgardo M Jimenez / April 7, 2017 at 2:57 pm

    Matt:

    It is okay to use different Canon LOGs, for example Canon Log 2 and Log 3, in the same project (short film/feature)? or Should we stick to only one of them for consistency?

    Reply
    • mattporwoll / April 7, 2017 at 3:02 pm

      As long as you or your post-production team is aware of the changes you are making and when, it’s perfectly acceptable. I have used Log2 when I’m shooting in bright daytime exteriors where I need the latitude, and then switch to Log or Log3 for night shots or dark interiors to allow me to increase the ISO. As long as you stay consistent in a given scene where you don’t have to match one Log gamma to another back-to-back, you’ll have no issues. That’s what is nice about having the various gamma settings – you can take advantage of what each can offer.

      Reply
      • Edgardo Jimenez / April 7, 2017 at 3:25 pm

        Thank you so much, Matt. It is nice to see that you take from your time to help others no matter their degree of expertise. Really appreciated.

        Reply

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