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Canon Log LUT Pack
This pack contains technical LUTs for transforming Canon Log 2 & 3 / Cinema Gamut footage to Rec. 709 with enhanced color accuracy.
What’s Included:
In this pack, you’ll find separate folders for different cameras. These each have specific tweaks to achieve the best color accuracy for their respective sensors. There's also a folder called General Purpose, which works well on cameras I haven't yet customized. But because each sensor does have minor color variations, I’ll continue to create camera-specific LUTs and will send those out to customers of this pack as a free upgrade when they’re complete. You can also try certain camera specific LUTs on other cameras if you prefer the results. For example, the C70 LUTs will likely work quite well on the C300 due to the similarity in sensors and color intentions.
Contains:
General Purpose
R5
R5 C
R5 Mark II
R6 Mark II(Compatible with R8)
C70(Compatible with C300)
C80(Compatible with C400)
C50
Variations:
I’ve provided LUTs for Canon Log 2 and Canon Log 3 for the cameras that offer both options. Also, for cameras that can shoot raw video, I’ve included separate folders for AVC and RAW variants. They’re very similar, but did require small tweaks to match. Some cameras, like the R5 and R5 C, can shoot raw, but don’t have an in-camera option for Canon Log 2. I’ve included Canon Log 2 LUTs for these cameras as well, because you can develop the raw video from those cameras as Canon Log 2 if you wish to.
File Names Explained:
- Canon Log Undone 65: Accurate, fully saturated color with a custom curve to give a finished look with one step. Use in post-production.
- Canon Log Undone 33 (Monitoring): Same as above, but made compatible for loading into a camera or monitor.
- Canon Log Undone LC 65: Accurate neutral color with no curve changes. Better for high contrast scenes. LC = Low Contrast. Use in post-production and add contrast to taste.
- Canon Log Undone LC 33 (Monitoring): Same as above, but made compatible for loading into a camera or monitor.
Exposure & Tips:
Expose neutrally. These LUTs are built on correct exposure principles from Canon’s whitepapers, which state that 18% gray should be exposed to 39.8% (10-bit code value of 407) for Canon Log 2, and 34.3% (code value of 351) for Canon Log 3. This also matches the in-camera view assist and exposure tools, so you can rely on them as well.
If you're applying the LUT to over or underexposed footage, it's recommended that you adjust the exposure in an earlier step in your color workflow before applying the LUT. In DaVinci Resolve for instance, this would mean putting an exposure adjustment node before the LUT node.
It's good practice to place this LUT near the end of your color pipeline. This will make adjustments to exposure, white balance, saturation, and other parameters more consistent and allow you to recover more information when compared to attempting to adjust those things after the LUT is applied.
This pack contains technical LUTs for transforming Canon Log 2 & 3 / Cinema Gamut footage to Rec. 709 with enhanced color accuracy.
What’s Included:
In this pack, you’ll find separate folders for different cameras. These each have specific tweaks to achieve the best color accuracy for their respective sensors. There's also a folder called General Purpose, which works well on cameras I haven't yet customized. But because each sensor does have minor color variations, I’ll continue to create camera-specific LUTs and will send those out to customers of this pack as a free upgrade when they’re complete. You can also try certain camera specific LUTs on other cameras if you prefer the results. For example, the C70 LUTs will likely work quite well on the C300 due to the similarity in sensors and color intentions.
Contains:
General Purpose
R5
R5 C
R5 Mark II
R6 Mark II(Compatible with R8)
C70(Compatible with C300)
C80(Compatible with C400)
C50
Variations:
I’ve provided LUTs for Canon Log 2 and Canon Log 3 for the cameras that offer both options. Also, for cameras that can shoot raw video, I’ve included separate folders for AVC and RAW variants. They’re very similar, but did require small tweaks to match. Some cameras, like the R5 and R5 C, can shoot raw, but don’t have an in-camera option for Canon Log 2. I’ve included Canon Log 2 LUTs for these cameras as well, because you can develop the raw video from those cameras as Canon Log 2 if you wish to.
File Names Explained:
- Canon Log Undone 65: Accurate, fully saturated color with a custom curve to give a finished look with one step. Use in post-production.
- Canon Log Undone 33 (Monitoring): Same as above, but made compatible for loading into a camera or monitor.
- Canon Log Undone LC 65: Accurate neutral color with no curve changes. Better for high contrast scenes. LC = Low Contrast. Use in post-production and add contrast to taste.
- Canon Log Undone LC 33 (Monitoring): Same as above, but made compatible for loading into a camera or monitor.
Exposure & Tips:
Expose neutrally. These LUTs are built on correct exposure principles from Canon’s whitepapers, which state that 18% gray should be exposed to 39.8% (10-bit code value of 407) for Canon Log 2, and 34.3% (code value of 351) for Canon Log 3. This also matches the in-camera view assist and exposure tools, so you can rely on them as well.
If you're applying the LUT to over or underexposed footage, it's recommended that you adjust the exposure in an earlier step in your color workflow before applying the LUT. In DaVinci Resolve for instance, this would mean putting an exposure adjustment node before the LUT node.
It's good practice to place this LUT near the end of your color pipeline. This will make adjustments to exposure, white balance, saturation, and other parameters more consistent and allow you to recover more information when compared to attempting to adjust those things after the LUT is applied.