Exposing log footage means setting exposure so that the flat, low-contrast log image holds enough light in the shadows to stay clean while keeping highlights below clipping. Log looks gray and dull on the screen, so you judge exposure with a waveform or a viewing LUT, not by how pleasing the picture looks.
Why It Matters
A log curve packs a wide dynamic range into the file, but that range depends on correct exposure. Underexposed log footage is the most common problem. The shadows fall into noise, and when you lift them in grading, banding and color noise appear. A properly exposed shot grades easily and keeps skin, sky and shadows in their intended places.
Learning to expose log with confidence also helps you avoid the opposite problem, clipping highlights that cannot be recovered. The aim is a target that suits the camera, the scene and the grade.
Beginner Basic Steps For Exposing Log
Know Your Camera’s Base ISO
Log profiles are designed to work at a specific base ISO, often much higher than the standard base. Some cameras have dual base ISO, with a second native sensitivity for low light. Using the recommended ISO gives the cleanest image. Check the manual for each log profile, and avoid values between the native settings. See ISO explained and dual gain sensors.
Use A Viewing LUT Or A Waveform
A viewing LUT, or look-up table, applies a contrast curve to the monitor so the image looks normal while recording stays flat. It helps with composition and judging faces, but remember it can hide clipping. A waveform monitor shows brightness values directly and is the best tool for exposing log. Read LUTs explained and video scopes.
Steps For A Reliable Exposure
- Set the recommended base ISO for the log profile.
- Set the frame rate and shutter speed, for example 24 fps and 1/48 second.
- Control brightness with aperture or ND filters, not shutter speed.
- Open the waveform and place the main subject, such as skin, near the manufacturer’s suggested level.
- Check that highlights stay below clipping, and the darkest important areas sit above the floor.
- Record a short test clip and review it on a bigger monitor if possible.
Typical Target Levels
Targets vary with each camera, so use these as a guide only.
| Element | Typical log level |
|---|---|
| 18 percent gray card | About 38 to 44 percent on the waveform, depending on the profile |
| Caucasian skin | Roughly 5 to 10 percent above middle gray |
| Darker skin | Close to or just below middle gray, adjusted for the profile |
| Highlights | Below the clipping point, often under 90 percent |
Many camera makers publish the exact middle gray value for their log curve, so look it up for your model. See middle gray 18 percent.
Common Mistakes
- Exposing by the LUT preview and underexposing the log image.
- Using a wrong ISO between the native settings, which adds noise.
- Changing shutter speed to control exposure, which changes motion look.
- Forgetting that zebras and false color may be set for standard video.
A Quick Test
Shoot a gray card and a face with three exposures: normal, one stop over and one stop under. Grade each to a match and compare noise in the shadows.
Handy for this: Monitor Calibrator — colors you can trust. (affiliate link)
Advanced Advanced Exposure Strategies
Expose To The Right Within Log
Many colorists prefer log footage exposed a little bright, because the extra light lowers noise in the shadows and lets you pull the image down in grading. A half to one stop overexposure can be useful, as long as highlights are safe. Test your camera, because some models clip earlier than others. See expose to the right for the principle in stills.
False Color And Zebras
False color maps brightness values to colors, so you can see exposure over the whole frame. Learn the colors your monitor uses, particularly the ones for middle gray and clipping. Set zebras to a level that matches the log curve rather than a default of 70 or 100 percent. Using false color with a viewing LUT gives a consistent method across cameras and sets.
Dynamic Range And Scene Contrast
Log gives more range, but the scene may still exceed it. In a window-lit room, choose whether to protect the highlights or keep the interior clean. Add light to the room, use ND on windows, or accept a bright window. See dynamic range explained and mixed lighting color.
Bit Depth, Codecs And Noise
Log footage in 8-bit codecs is more fragile than 10-bit, because the stretched curve has fewer values available. If your camera supports 10-bit, use it, and keep compression light, such as an all-intra codec. Heavy grading on 8-bit log can cause banding. See 8-bit versus 10-bit video, all-intra versus long GOP and video codecs.
Grading Log Footage
In post, apply a technical LUT or color managed transform to convert the log image into a working space, then set exposure and contrast. Adjust exposure at the start of the node tree so later corrections work on balanced footage. See log footage, technical LUTs, Resolve color management and color grading basics.
Matching Cameras
When shooting with two cameras, match the log profile and base ISO, set both to the same white balance, and check middle gray on the waveform for each. Different brands place middle gray at different levels, so compare the footage with a chart in a quick test. See camera matching profiles.
Working On Set
Make exposure a routine. Check the waveform at the start of every setup, re-check when the light changes, and keep a gray card handy. Share the target values with the colorist so grades start from a consistent point. If you cannot judge exposure well on a small monitor, trust the scopes, not your eyes.
Troubleshooting
- Noisy shadows after grading: the footage was underexposed, so raise exposure next time.
- Clipped highlights in log: reduce exposure or use ND, and check your zebra setting.
- Banding in skies: use a higher bit depth or add subtle grain.
- Odd colors in shadows: noise reduction may be needed, or the ISO was between native values.
Try It
- Look up the base ISO and middle gray level for your camera’s log profile.
- Shoot a gray card and face at three exposures.
- Grade all three and compare noise.
- Set up your waveform or false color and save it as a user preset.
Common Questions
How do I expose log footage correctly?
Use the recommended base ISO, judge exposure on a waveform or with false color, place skin and gray near the target levels for your camera, and keep highlights below clipping.
Should I overexpose log footage?
Often by a half to one stop, because it reduces shadow noise. Test your camera and keep the highlights safe.
Why does my log footage look noisy?
Most often it was underexposed, then brightened in post. Expose a little brighter, and use the correct base ISO.
Can I judge log exposure on the screen?
Not reliably. A raw log image looks flat, and a viewing LUT can hide clipping, so use scopes.
Related Lessons
- Log Footage for what log profiles are and why they exist.
- Video Scopes for reading waveforms and false color.
- LUTs Explained for viewing and technical LUTs.
- Middle Gray 18 Percent to anchor exposure.
- Expose To The Right for the logic behind brighter exposure.
Gear That Helps With This
Hand-picked kit that makes this lesson easier to put into practice.
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