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Digital Compositing for Film and Video by Steve Wright

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CHAPTER 13

Working with Log Images

If you have read the previous chapter, “Log versus Linear,” you will find many of the key concepts developed there in action here. In that chapter we found the virtues of log data to be that it retains the full dynamic range of the film and is the most efficient lossless encoding of the picture information. We also learned that log images are harder to work with. In this chapter we will find out why, and what to do about it.

The issues are divided into two sections. The first is on converting Cineon log film scans to linear for working in a linear compositing environment, which most studios do. The second section addresses the issues of how to perform acts of compositing, color correction, and screen operations ...

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